Tuesday, 17 July 2012
'The Twelve Men' by G.K.Chesterton
The following sketch was one of many written by G.K. Chesterton in the early 1900’s, and published in the ‘Daily News’ national newspaper. They were subsequently printed in book form by Sheed and Ward, New York, in 1955, under the title ‘Tremendous Trifles’. In today’s world, the suggestion that juries are inadequate and counter-productive for the efficient administration of justice, and should be done away with, is regularly put forward by those of a certain mind-set. It is interesting to read Chesterton’s view on this, remembering that he wrote this article more than 100 years ago. The world has changed since then, but not people.
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Gilbert Keith Chesterton (1874-1936)
‘The Twelve Men’ by G.K.Chesterton
'The other day, while I was meditating on morality and Mr H.Pitt, I was, so to speak, snatched up and put into a jury box to try people. The snatching took some weeks, but to me it seemed something sudden and arbitrary. I was put into this box because I lived in Battersea, and my name began with a ‘C’. Looking round me, I saw that there were also summoned and in attendance in the court whole crowds and processions of men, all of whom lived in Battersea, and all of whose names began with a ‘C’.
It seems that they always summon jurymen in this sweeping alphabetical way. At one official blow, so to speak, Battersea is denuded of all its ‘C’s, and left to get on with it as best it can with the rest of the alphabet. A Cumberpatch is missing from one street – a Chizzolpop from another- three Chucksterfields from Chucksterfield House; the children are crying out for an absent Cadgerboy; the woman at the corner is weeping for her Coffintop, and will not be comforted.
We settle down with a rollicking ease into our seats (for we are a bold, devil-may-care race, the 'C’s of Battersea), and an oath is administered to us in a totally inaudible manner by an individual resembling an army surgeon in his second childhood. We understand, however, that we are to well and truly try the case between our sovereign lord the King and the prisoner at the bar, neither of whom has put in appearance as yet.
Just when I was wondering whether the King and the prisoner were, perhaps, coming to an amicable understanding in some adjoining public-house, the prisoner’s head appears above the barrier of the dock; he is accused of stealing bicycles, and he is the living image of a great friend of mine. We go into the matter of the stealing of the bicycles. We do well and truly try the case between the King and the prisoner in the affair of the bicycles. And we come to the conclusion, after a brief but reasonable discussion, that the King is not in any way implicated.
Then we pass on to a woman who neglected her children, and who looks as if somebody or something had neglected her. And I am one of those who fancy that something had.
All the time that the eye took in these light appearances and the brain passed these light criticisms, there was in the heart a barbaric pity and fear which men have never been able to utter from the beginning, but which is the power behind half the poems of the world. The mood cannot even inadequately be suggested, except faintly by this statement that tragedy is the highest expression of the infinite value of human life. Never had I stood so close to pain; and never so far away from pessimism. Ordinarily, I should not have spoken of these dark emotions at all, for speech about them is too difficult, but I mention them now for a specific and particular reason to the statement of which I will proceed at once.
I speak of these feelings because out of the furnace of them there came a curious realisation of a political or social truth. I saw with a queer and indescribable kind of clearness what a jury really is, and why we must never let it go.
The trend of our epoch up to this time has been consistently towards socialism and professionalism. We tend to have trained soldiers because they fight better, trained singers because they sing better, trained dancers because they dance better, specially instructed laughers because they laugh better, and so on and so on. The principle has been applied to law and politics by innumerable modern writers. Many Fabians have insisted that a greater part of our political work should be performed by experts. Many legalists have declared that the untrained jury should be altogether supplanted by the trained Judge.
'The Jury' (1861) by John Morgan
Now if this world of ours were really what is called reasonable, I do not know that there would be any fault to find with this. But the true result of all experience and the true foundation of all religion is this. That the four or five things that it is most practically essential that a man should know, are all of them what people call paradoxes. That is to say, that though we all find them in life to be mere plain truths, yet we cannot easily state them in words without being guilty of seeming verbal contradictions. One of them, for instance, is the un-impeachable platitude that the man who finds most pleasure for himself is often the man who least hunts for it. Another is a paradox of courage; the fact that the way to avoid death is not to have too much aversion to it.
Now, one of these four or five paradoxes which should be taught to every infant prattling at his mother’s knee, is the following: ‘That the more a man looks at a thing, the less he can see it, and the more a man learns a thing, the less he knows it.' The Fabian argument of the expert, that the man who is trained should be the man who is trusted, would be absolutely unanswerable if it were really true that a man who studied a thing and practiced it every day went on seeing more and more of its significance. But he does not. He goes on seeing less and less of its significance. In the same way, alas, we all go on every day, unless we are continually goading ourselves into gratitude and humility, seeing less and less of the significance of the sky or the stones.
Now, it is a terrible business to mark a man out for the vengeance of men. But it is a thing to which a man can grow accustomed, as he can to other terrible things; he can even grow accustomed to the sun. And the horrible thing about all legal officials, even the best, about all judges, magistrates, barristers, detectives, and policemen, is not that they are wicked (some of them are good), not that they are stupid (several of them are quite intelligent), it is simply that they have got used to it.
Strictly they do not see the prisoner in the dock; all they see is the usual man in the usual place. They do not see the awful court of judgement; they only see their own workshop. Therefore, the instinct of Christian civilisation has most wisely declared that into their judgments there shall upon every occasion be infused fresh blood and fresh thoughts from the streets. Men shall come in who can see the court and the crowd, and coarse faces of the policemen and the professional criminals, the wasted faces of the wastrels, the unreal faces of the gesticulating counsel, and see it all as one sees a new picture or a ballet hitherto unvisited.
Our civilisation has decided, and very justly decided, that determining the guilt or innocence of men is a thing too important to be trusted to trained men. It wishes for light upon that awful matter, it asks men who know no more law than I know, but who can feel the things I felt in the jury box. When it wants a library catalogued, or the solar system discovered, or any trifle of that kind, it uses up its specialists. But when it wishes anything done which is really serious, it collects twelve of the ordinary men standing round. The same thing was done, if I remember right, by the Founder of Christianity.'
‘Tremendous Trifles' by GK Chesterton.
'Christ addressing the eleven remaining Apostles, after His Resurrection' by Duccio di Buoninsegna (1255-1318)
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'Blessed are the peacemakers, for they shall be called the children of God' - Sermon on the Mount
'May Our Blessed Lady guide and protect our Holy Father, Pope Benedict XVI'
Friday, 8 June 2012
'Pontifical High Mass in St Peter's, Rome'
With the magnificent
spectacle of the Queen's Diamond Jubilee celebrations still fresh in our mind,
it seems appropriate to mention a celebration of a rather different event, an
event of worldwide significance which occurred many years ago, but within the lifetime of our Queen, namely the ratification on 7th June 1929, of the
Lateran Treaty between the Kingdom of Italy and the Holy See,
which recognised and accepted the
sovereignty of the Holy See with its own 'Vatican City' State.
Cardinal Gasparri and
Benito Mussolini (seated) after exchanging treaty ratifications in the Hall of
Congregations, the Vatican, June 7th, 1929
Thus ended a period
of 58 years during which the incumbent Pope had been a virtual prisoner within
the Vatican itself, and ‘persona non grata’ without. The Vatican having refused
to recognize the 'Law of Guarantees' (1871) on the grounds that in the exercise
of its spiritual jurisdiction, the Law failed to guarantee Vatican
independence from political influence and interference.
After the signing of the Treaty, Pope Pius XI made his
first public appearance at a Pontifical High Mass in St Peter’s. The author H.V.
Morton, in his superb book, ‘In the Steps of St Paul’, has
this to say about this momentous and historic occasion:-
‘I obtained a ticket
for the Pontifical High Mass in St.Peter’s. Pope Pius XI, no longer “the
prisoner of the Vatican”, was to make his first public appearance. The snow had
turned to rain.
Early in the morning, and in full evening dress, I went to St Peter’s, and never have hours passed so easily, as I sat watching the crowds that swiftly filled the gigantic building. The Vatican Guard patrolled the aisles of the church. They wore bearskins, white doeskin breeches and black thigh-boots and, as their spurs rang on the marble floor, I thought that they might be a squadron that had strayed from history at the time of Napoleon.'
Early in the morning, and in full evening dress, I went to St Peter’s, and never have hours passed so easily, as I sat watching the crowds that swiftly filled the gigantic building. The Vatican Guard patrolled the aisles of the church. They wore bearskins, white doeskin breeches and black thigh-boots and, as their spurs rang on the marble floor, I thought that they might be a squadron that had strayed from history at the time of Napoleon.'

The Vatican Guard, also known as the Noble Guard - disbanded by Pope Paul VI in 1970.
'The Swiss Guard was on duty round the Baldacchino, which rises above the tomb of St Peter. They wore their full dress uniform, which is said to have been designed by Michelangelo: steel casques, doublets and hose slashed with stripes of red, yellow, and blue. Each guardsman grasped a pike. As the hours passed, Vatican officials, who might have stepped from the canvasses of El Greco, came softly down the nave to show distinguished visitors to their seats, their pointed white beards lying against starched ruffs, swords slanting against black satin breeches.'
Band of the Swiss Guards outside St Peter's Basilica
'Words of command rang out suddenly from some distant archway. Troops all over the church stood to attention with a ring of pikes and spurs. Then through St Peter’s rang a fanfare of silver trumpets at the sound of which, to my amazement, the thousands of men and women rose to their feet and began to cheer.
I looked down the nave towards the great west doors, and I saw what seemed to be the splendour and chivalry of the Middle Ages coming in slow procession up the church. I saw the burnished casques of the Swiss Guards moving slowly above the heads of the standing people. I saw the Papal Bodyguard, carrying drawn swords and wearing scarlet tunics and helmets from whose crests hung long plumes of black horsehair. I saw members of the Vatican Chapter walking two by two, representatives of every Catholic Order, and many a monk walking in a brown habit. When the cheering died down and there was a second or two of silence, I could hear the steady tramp and the ring of spurs on marble.'
The dome of St Peter's, designed by Michelangelo and others, and completed in 1590, the last year of the reign of Pope Sixtus VI. Height 136.57 metres from the floor of the basilica to the top of the external cross - the tallest dome in the world.
'As the procession came at funeral pace up the nave, the great church, lit hitherto by the pale daylight, blazed suddenly with countless lights; and the trumpets ceased their fanfare. The sound of a solemn march now filled St Peter’s, and I saw Pope Pius XI far off at the east end of the church, seated in the state palanquin, the sedia gestatoria, clothed in white. There was a jewelled tiara on his head, and he sat motionless, except when he slowly raised his hand to trace the Sign of the Cross in the air.'
Pope Pius XI
'Two 'flabella', great fans of ostrich feathers, moved slowly above the Pope’s head, and they reminded me of Constantinople and of the Byzantine emperors, and of the time when the representative of St Peter ruled the church of Eastern Christendom. There was not one meaningless thing in all this rich display. There was not one piece of embroidery that had not been pinned in position by Time. All the centuries had combined to make this progress of the Pope. St Peter’s was suffocating with its memories. I could not understand how people could find breath to cheer and shout their “vivas”. The centuries had flooded the church to the roof, and in that flood the imagination struggled like a drowning man.'
Interior of St Peter's Basilica - painting by Giovanni Pannini (1691-1765)
'People all round me were cheering, but my throat was dry, and I do not think that I could have cheered to save my life. Strangely, perhaps, I was not aware of any emotional appeal in the sight before me: the appeal was purely to the mind and imagination.
There was an elderly man in white, borne shoulder-high in a chair that trembled slightly as it advanced, but I was looking not at one man or one Pope: I was looking at all history and at all Popes. It seemed to me that everything else in the world was young. I had seen the oldest living thing in the world: I had seen the visible expression of a corporate memory that goes back into the very beginning of the Christian Age.'
“Tu es Petrus, et
super hanc petram aedificabo ecclesiam meam”
Ack. 'In the Steps of St Paul' by H.V.Morton
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'May Our Blessed Lady guide and protect
our Holy Father, Pope Benedict XVI'
'St Peter, pray for us.'
Wednesday, 9 May 2012
'Missa Salisburgensis' - baroque splendour
I was interested to read the account of the recent visit of the Papal Choir to Westminster Cathedral, which revealed in a practical way, the extent of the Holy Father’s goodwill towards our Country. Without doubt the visit was very much a personal expression of gratitude for the warm welcome he received on his visit to the United Kingdom, and for the sacred music performed in the his presence, particularly at Westminster Cathedral and Westminster Abbey.
This is the first ever visit of the Papal Choir to this country , a truly historic event, which has allowed us to hear sacred music sung by a choir trained in the European continental style, as distinct from the style and technique of Westminster Cathedral Choir, faithful to the post-war Catholic choral tradition inculcated by the late George Malcolm.
The continental choral tradition has been described as ‘fulsome’ in its manner of presentation, which while creating impressive and lively sound, loses perhaps a little in purity of tone and clarity of enunciation; whereas George Malcolm insisted, among other things, on the importance of these particular qualities, delivered directly and precisely. Since then, this tradition has been honed to near-perfection, with Westminster Cathedral Choir now regarded as one of the finest Cathedral Choirs in the world.
Moving from the 21st century to the 17th century, allows me to introduce a magnificent Baroque composition by Heinrich Ignaz Biber (1644-1704), namely his ‘Missa Salisburgensis’, composed for the great celebrations in Salzburg in 1682, commemorating the cities 1100th anniversary as a centre of Christianity, a jubilee unparalleled in the High Baroque era.
That the papal state of Salzburg enjoyed precedence over the Habsburg emperors and bishoprics, indicates its unique importance, both spiritually and temporarily, with preparations for the ambitious anniversary celebrations beginning years before the event.
Salzburg Cathedral Facade
The archdiocese of Salzburg regarded itself as the focal point of Roman and Venetian tradition, and ‘Missa Salisburgensis’ was composed not only for the glory of God, but also for the honour of Salzburg.
There are six ‘choirs’ in all, comprising two principal vocal choruses with string accompaniment; a ‘chorus’ of recorders and oboes , a ‘chorus’ comprising cornets and trombones; and two groups of court trumpeters,’ outward manifestations of the secular power of the archdiocese, whose fanfares represented the union between heaven and earth.’
The choirs were situated separately, but in complementary areas of the Cathedral, representing the ‘Choirs of angels standing upon every one of the towers of the heavenly Jerusalem, armed with all the instruments of the time, glorifying Almighty God, the Creator of all things.’
That is the message of this great Festival Mass, ‘the innermost concern of which, is the unification and strengthening of every section of society in the archdiocese, in the praise of God.’
Spare a few minutes to listen to the ‘Kyrie’ and ‘Gloria’ from this extraordinary work – you will be blown away – figuratively speaking, of course! I find it deeply spiritual, powerful , and very moving.
I think that Fr Blake from St Mary Magdalen’s, Brighton, as a baroque devotee, will particularly enjoy this. What about a performance at your Church, Father, it would be a full-house, without a doubt! Sublime sacred music, composed for the glory of God, and performed for the honour of God.
KYRIE!KYRIE!
Our Blessed Lady, Queen of Heaven and Earth, guide and protect our Holy Father, Pope Benedict XVI
This is the first ever visit of the Papal Choir to this country , a truly historic event, which has allowed us to hear sacred music sung by a choir trained in the European continental style, as distinct from the style and technique of Westminster Cathedral Choir, faithful to the post-war Catholic choral tradition inculcated by the late George Malcolm.
The continental choral tradition has been described as ‘fulsome’ in its manner of presentation, which while creating impressive and lively sound, loses perhaps a little in purity of tone and clarity of enunciation; whereas George Malcolm insisted, among other things, on the importance of these particular qualities, delivered directly and precisely. Since then, this tradition has been honed to near-perfection, with Westminster Cathedral Choir now regarded as one of the finest Cathedral Choirs in the world.
Moving from the 21st century to the 17th century, allows me to introduce a magnificent Baroque composition by Heinrich Ignaz Biber (1644-1704), namely his ‘Missa Salisburgensis’, composed for the great celebrations in Salzburg in 1682, commemorating the cities 1100th anniversary as a centre of Christianity, a jubilee unparalleled in the High Baroque era.
That the papal state of Salzburg enjoyed precedence over the Habsburg emperors and bishoprics, indicates its unique importance, both spiritually and temporarily, with preparations for the ambitious anniversary celebrations beginning years before the event.
Salzburg Cathedral Facade
The archdiocese of Salzburg regarded itself as the focal point of Roman and Venetian tradition, and ‘Missa Salisburgensis’ was composed not only for the glory of God, but also for the honour of Salzburg.
There are six ‘choirs’ in all, comprising two principal vocal choruses with string accompaniment; a ‘chorus’ of recorders and oboes , a ‘chorus’ comprising cornets and trombones; and two groups of court trumpeters,’ outward manifestations of the secular power of the archdiocese, whose fanfares represented the union between heaven and earth.’
The choirs were situated separately, but in complementary areas of the Cathedral, representing the ‘Choirs of angels standing upon every one of the towers of the heavenly Jerusalem, armed with all the instruments of the time, glorifying Almighty God, the Creator of all things.’
That is the message of this great Festival Mass, ‘the innermost concern of which, is the unification and strengthening of every section of society in the archdiocese, in the praise of God.’
Spare a few minutes to listen to the ‘Kyrie’ and ‘Gloria’ from this extraordinary work – you will be blown away – figuratively speaking, of course! I find it deeply spiritual, powerful , and very moving.
I think that Fr Blake from St Mary Magdalen’s, Brighton, as a baroque devotee, will particularly enjoy this. What about a performance at your Church, Father, it would be a full-house, without a doubt! Sublime sacred music, composed for the glory of God, and performed for the honour of God.
KYRIE!KYRIE!
Our Blessed Lady, Queen of Heaven and Earth, guide and protect our Holy Father, Pope Benedict XVI
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