Modern Iconoclasts draw bead on ever-growing list of targets

The trend of modern iconoclasm seems to be gaining steam, fueled by the complicit support of a mainstream media that either overtly or covertly agrees with the message being sent by those vandalizing monuments across the US and a lack of consequence for those behind the acts.

Most recently, a bronze statue of Catholic Saint Junipero Serra, canonized by Pope Francis in 2015, was not only splashed with red paint but decapitated, and a statue celebrating Francis Scott Key, author of the Star Spangled Banner, was splashed with red paint and the words “racist anthem” scrawled across it.

Besides numerous Confederate statues that have been vandalized and even pulled down, other monuments that have been attacked include those honoring Christopher Columbus, Abraham Lincoln, former Philadelphia Mayor Frank Rizzo, Joan of Arc and Martin Luther King Jr. In addition, the New England Holocaust Memorial and a peace monument in Atlanta have been damaged.

Such actions have taken place across the nation, from Washington state to Florida, New York to Arizona. And they are happening with increasing frequency, particularly when weak-kneed officials such as those at Duke University give criminals what they want and remove the statues after they’ve been vandalized.

Talk about an incentive to continue with extralegal measures.

And it won’t be long before statues of George Washington, Thomas Jefferson, Andrew Jackson and others deemed “politically incorrect” will get similar treatment.

The recent spate of illiberal behavior reminds one of Iconoclasm – the impulse to break or destroy images for religious or political reasons – that spasmodically wracked Christianity during the Middle Ages and Reformation.

Statue of Francis Scott Key, vandalized earlier this week in Baltimore.

Iconoclasm reared its ugly head in Byzantine Greece between 726–87 and 815–43 as a theological debate involving both the Byzantine church and state. In a lesson on the need for separation of church and state, imperial legislation by the Byzantine state barred the production and use of figural images.

Archaeological evidence suggests that in certain regions of Byzantium, including Constantinople and Nicaea, existing icons were destroyed or plastered over. Very few early Byzantine icons survived the Iconoclastic period, according to Sarah Brooks of James Madison University.

During the Protestant Reformation, a period not especially noted for open-mindedness, statues and images were destroyed in countries across Europe.

Significant iconoclastic riots took place in Zurich, Copenhagen, Munich, Geneva, Augsburg, Scotland, Rouen and La Rochelle in the 16th century, ostensibly in accordance with biblical prohibitions against graven images but no doubt as a means of furthering anti-Catholicism.

In 1549, radical Protestant preachers in London incited a mob to destroy many of the interior decorations in Old St Paul’s Cathedral. In addition, monasteries were sacked in different locales, as well.

And then there was the French Revolution, in which a wide variety of monuments, religious works and other historically significant pieces were destroyed in an attempt to eradicate any memory of the Ancien Régime.

Consider the priceless objets d’art destroyed by intolerance over the millennia. What a tremendous loss to our cultural, religious and spiritual histories.

Confederate statues were the starting point in this most recent spate of Iconoclasm, and the media, that great bastion of the First Amendment, has covered the attacks while ignoring the fact that those who mete out such violence aren’t likely to stop as this cultural inquisition continues to grow and generate increasing attention.

We live in odd times when individuals who one may very generously label as well-intentioned can’t smell their own hypocrisy. Insisting you’re part of a civil rights movement while trampling at least half of such known rights would seem to invite a primer on said liberties. Mob rule is generally frowned upon when it comes to discussing civil rights, at least where I come from.

That which may be considered – logically or not – painful historical facts are not de facto grounds for unilaterally squelching the freedoms of others.

(Top: Destruction of religion icons in Zurich, Switzerland, in 1524.)

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Old red-brick church survives in high-tech San Francisco

The outsider tends to think of San Francisco as irreligious city.

Cable cars, the Golden Gate Bridge and LGBT pioneers are among things so-called “Baghdad by the Bay” is easily recognized for, but San Francisco has an array of beautiful structures, including many houses of worship such as Grace Cathedral, Sherith Israel synagogue, Saint Ignatius Church, Saints Peter and Paul Church and Mission Dolores, the oldest surviving structure in the city, dating to 1776.

Other noteworthy houses of worship are less well known. Take Saint Francis Lutheran Church, the only Lutheran church in the world to be named for the Italian (Catholic) saint.

Located on Church Street, near the intersection of Market Street in the Castro District, Saint Francis Lutheran dates back to just before the devastating 1906 Earthquake. By the time of the disaster, the main floor meeting hall had been completed and was in use, but the sanctuary above was still unfinished.

The earthquake damaged the sanctuary, but the main floor was left intact and was used by the Red Cross as a hospital and shelter for the injured and homeless.

The red-brick church was constructed in a Danish-Gothic style, modified in the Nordic tradition, according to NoeHill in San Francisco, a website dedicated to San Francisco historical sites.

It possesses a wooden steeple and features a stone foundation and steps. In the sanctuary are copies of two masterpieces by Danish sculptor Berte Thorvaldsen (1770-1844).

San Francisco, like much of California, received a wide array of immigrants from many parts of the world following the 1849 Gold Rush. Danish immigration to California began in the San Joaquin Valley and gradually moved to Fresno and then north to the Bay Area and San Francisco.

For many years, religious services in San Francisco were performed by Lutheran clergy dispatched more than 180 miles from Fresno, according to NoeHill in San Francisco.

Around 1900, when the Danish community in San Francisco had reached a size to warrant its own church, the community wrote to Queen Louise of Denmark asking for financial assistance. The monarch sent a gift of 500 Kroner, which formed the basis of the building fund.

At the beginning of the 20th century, the area around the church was populated mainly by Scandinavians and Germans. For many years, the neighborhood supported five Lutheran churches, each holding services in a different language: Norwegian, Danish, Swedish, Finnish and German.

Over the years, as English became the common tongue the various Lutheran congregations merged. In 1964, a Danish and Finnish congregation merged and named the new congregation in honor of San Francisco’s patron saint, Saint Francis.

(Top: 111-year-old Saint Francis Lutheran Church, in San Francisco’s Castro District.)

Romanesque church appears to have date with wrecking ball

Developers are expected to make public early next month designs to raze a 88-year-old historic church in Worcester, Mass.

Developers of the proposed Roseland Apartment complex will unveil plans, which include tearing down the former Notre Dame des Canadiens Church to erect a four-story apartment building, on Aug. 2 at a Worcester public meeting.

The church, built in 1929, was closed by the Diocese of Worcester a decade ago. Multi-year efforts to preserve the structure have apparently failed.

Worcester is said to be “in a renaissance of development, dining and culture,” and historic properties like the Notre Dame Church in its downtown have been targeted by developers to make for Worcester’s new future, according to the website Masslive.com.

Located in the downtown of what was once a major industrial city, the church served for three-quarters of a century as the epicenter of Worcester’s once-large French-Canadian community.

The Romanesque Revival style structure was the first French-Canadian Roman Catholic parish established in Worcester, and the mother parish to three later French Canadian parishes in the city.

Historically, French Canadians represented Worcester’s largest immigrant population, second only to the Irish.

While some artwork, historical artifacts and stained glass windows have been removed for reuse, many stained-glass windows still remain in the building, according to the group Preservation Worcester.

It should be noted that the church is in desperate need of an overhaul, which would likely be quite expensive, given its size. That said, it’s hard to imagine a replacement that could prove anywhere near the draw for tourism.

Over the past 20 years, many Roman Catholic dioceses in New England and the Rust Belt have had to consolidate and close churches as attendance and parish membership has dropped.

Notre Dame des Canadiens is not listed on the state or national registers of historic places, but is listed on the Massachusetts Cultural Resources Information System.

The church survived an earlier attempt at demolition. During the dreadful urban renewal efforts that swept much of the US in the 1950s and ‘60s, plans called for Notre Dame des Canadiens to be knocked down. However, strong opposition from residents from across Worcester resulted in the Worcester Redevelopment Authority dropping its plans to acquire and demolish the church.

It doesn’t appear the church will get a second reprieve, however.

(Top: Image of Notre Dame des Canadiens church, Worcester, Mass.)

SC structure drew inspiration from Washington Irving

One of South Carolina’s more celebrated architectural gems began as an antebellum bank.

The Farmers’ and Exchange Bank Building, on Charleston’s East Bay Street, has been garnering the attention of locals and visitors alike since its construction in 1854.

Its Moorish design made it a novelty then and now, and it caught the eye of famed writer William Gilmore Simms, who penned an article for Harper’s Magazine in June 1857.

“It is a novelty in the architecture of Charleston, if not of the day, being Moorish in all of its details, yet without reminding you of the Alhambra or the Vermillion towers,” wrote Simms (1806-1870), regarded as a force in antebellum Southern literature. “It is of brownstone of two tints, laid alternately – an arrangement which adds considerably to the effect. The interior is finished with arabesque work from floor to ceiling, and is lighted with subdued rays from the summit. This gives a rich and harmonious effect to the whole. It is of recent erection, Jones and Lee the architects. The corporation itself is a new one, and prosperous, like all the temples reared to the god of the Mines, the Counter, and the Mint, in this virtuous city.”

The building, built to house the Farmers’ and Exchange Bank, was designed by Charlestonians Edward C. Jones and Francis D. Lee in 1853 and completed the following year.

Jones was an especially notable architect whose other works included the Church of the Holy Cross in Stateburg and Charleston’s famed Magnolia Cemetery.

The Farmers’ and Exchange Bank building has rounded horseshoe arches and a façade featuring pale Jersey and darker Connecticut brownstone, giving it a striped effect typical of many Moorish structures.

Its design is thought to have been influenced by illustrations in Washington Irving’s 19th century work, Tales of the Alhambra, a revised edition of which was published two years before construction.

The structure was built by David Lopez, who also constructed Charleston’s Kahal Kadosh Beth Elohim synagogue and Institute Hall, where the South Carolina Ordinance of Secession was signed in December 1860.

The Farmers’ and Exchange Bank continued in Charleston until Federal bombardment of the city during the War Between the States forced the bank’s move to Columbia. It didn’t survive the conflict.

Later, the structure was used for a variety of purposes, including a Western Union telegraph office, office space for long-time Sen. Ernest “Fritz” Hollings and, most recently, a restaurant.

By 1970 there was talk of tearing the building down to make room for parking; however Charleston banker Hugh Lane Sr. spent $50,000 to preserve the structure in the early 1970s.

(Top: Farmers’ and Exchange Bank Building, Charleston, SC.)

How red poppies came to be given out on Memorial Day

In Flanders Fields

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved, and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

– John McCrae

In Flanders Fields, among the most iconic war poems even penned, was written in May 1915 by Canadian physician and Lt. Col. John McCrae after he witnessed the death of his 22-year-old friend, Lt. Alexis Helmer, at the Second Battle of Ypres.

McCrae performed Helmer’s burial service himself, during which time he noted how poppies quickly grew around the graves of those who died at Ypres. The next day, he composed In Flanders Field while sitting in the back of an ambulance at a medical station outside Ypres.

McCrae’s references to the red poppies resulted in the remembrance poppy becoming one of the world’s most recognized symbols for soldiers lost in war.

McRae never got an opportunity to reap recognition for his poem.

In January 1918, while commanding a Canadian General Hospital at Boulogne in Northern France, McCrae died of pneumonia at age 45. He was buried with full honors in the Commonwealth War Graves Cemetery at Wimereux, just north of Boulogne.

Helmer and McRae were two of approximately 67,000 Canadians who died in service during World War I. In all, some 39 percent of Canadians mobilized for war in the 1914-18 conflict were killed or wounded.

Old-style church reminiscent of English country parish chapel

The Episcopal Church of the Nativity, located in small-town Union, SC, reminds one of a rural English parish church.

Built in Gothic Revival style, its cornerstone was laid in 1855 but construction was halted during the War Between the States. Featuring rusticated granite, the church was completed shortly after the war and features diagonal buttresses, steep gabled roofs and a Louis Tiffany stained glass chancel triplet window.

There is even a good-sized bell in its tower that can be rung from the ground by pulling on the old-fashioned rope that extends to the ground.

The church’s characteristics – its small size and “intimate relationship between the building and surrounding landscape, in particular – are said to derive from English parish-church architecture of the 1300s, which was a model for small churches built in the US in 1840s and 1850s, according to National Register records.

Stained glass window, Episcopal Church of the Nativity, Union, SC.

The English influence isn’t surprising given that two of the key individuals behind the construction of the Church of the Nativity were sisters Charlotte Poulton and Mary Poulton Dawkins, recently arrived in antebellum South Carolina from England.

The Tiffany triple window is behind the altar and features shades of green, gold, crimson, blue and purple. In the central bay of the window is the Good Shepherd, while Sts. John and Peter are shown in the right and left windows.

The church’s white Carrara marble font was carved by noted sculptor Hiram Powers and ordered by Mary Cantey Hampton, the wife of Revolutionary War hero Wade Hampton I, for Columbia’s Trinity Church. It proved too small and was given to the Church of the Nativity, according to National Register records.

Powers divided the font into three design units – the base, column shaft and font itself. All are octagonal and each is filled with carved sacred motifs.

The church cemetery contains the graves of many veterans, including one from the War of 1812, several Confederate soldiers, and some from World War I, World War II and the Korean War.

Among Confederates in the graveyard is William Munro, an infantry and artillery officer who was wounded at least four times but survived to go on to serve as a bank president and several terms in the state legislature following Reconstruction.

Also buried at the church is Pvt. Alpheus Cushman, a New Yorker who served with Co. B of the 7th US Cavalry Regiment. The 7th US Cavalry was among military units sent to Upstate South Carolina during Reconstruction following the declaration of martial law in response to Ku Klux Klan violence in the late 1860s and early 1870s.

Cushman, a farrier, was said to have fallen in love with a Union County girl, but grew ill, and his illness prevented him from marrying her, though it could also have been possible that the girl’s parents weren’t keen on their daughter being betrothed to a Yankee so soon after the war.

Whatever the case, Cushman is said to have taken his own life out of despair, on May 20, 1871.

After his death, the members of his company asked that they be allowed to give their compatriot a Christian burial. Locals agreed, but stipulated that they would choose the plot.

Cushman was not only buried in the far corner of the cemetery, but his grave was placed north-south, unlike typical Christian burials, and every other one at the Episcopal Church of the Nativity, which is east-west.

Of course, the 7th US Cavalry would gain notoriety a little more than five years later, when more than 260 members of the unit were wiped out at Little Bighorn.

Family finds gold in piano; government looks to muscle in

The recent discovery of a UK gold cache raises the specter of every-hungry leviathan ruthlessly employing the law to gobble up assets for its own benefit.

Late last year a hoard of gold coins, English sovereigns minted between 1847 and 1915, was found in old upright piano in Shropshire, in the United Kingdom, after the piano’s new owners had it retuned and repaired.

Under the UK’s Treasure Act of 1996, such discoveries are legally obligated to be reported to the local coroner within 14 days, which was done.

The piano was made by a London firm and initially sold in Essex, near London, in 1906. But its ownership from then until 1983 – when it was purchased by a family in the area who later moved to Shropshire – is unknown, according to the BBC. The new owners were recently given the instrument.

The Shrewsbury Coroner’s Court is currently seeking information about the piano’s whereabouts between 1906 and 1983.

There is a great deal at stake as the objects will qualify as “treasure” and be the property of the Crown if the coroner finds they have been hidden with the intent of future recovery, according to the BBC.

However, if the original owner or their heirs can establish their title to the find, the Crown’s claim will be void.

Under the Treasure Act of 1996, ‘Treasure’ is defined as:

  • All coins from the same hoard, with a hoard is defined as two or more coins, as long as they are at least 300 years old when found;
  • Two or more prehistoric base metal objects in association with one another;
  • Any individual (non-coin) find that is at least 300 years old and contains at least 10% gold or silver;
  • Associated finds: any object of any material found in the same place as (or which had previously been together with) another object which is deemed treasure; and
  • Objects substantially made from gold or silver but are less than 300 years old, that have been deliberately hidden with the intention of recovery and whose owners or heirs are unknown.

The government has not detailed just how many coins were uncovered in the piano or their value, but Peter Reavill, Finds Liaison Officer for the British Museum’s Portable Antiquities Scheme at Shropshire Museums said, “It is a lifetime of savings and it’s beyond most people.”

I’d be curious to hear what British citizens think about this law. I understand the government’s interest in unique treasures such as the Irish Crown Jewels, spectacular Viking hoards or Anglo-Saxon gold and silver metalwork, when and if they are uncovered.

But what we have here are simple gold coins – even if in a very substantial quantity.

It would be nice to find the individuals or their heirs who secreted the money away inside the piano; the government, meanwhile is threatening, per usual, to overstep its original purpose and strong-arm the family who, through a bit of blind luck, managed to come into possession of the coins.

Government, which already pockets a considerable sum of the average individual’s wages, has no business confiscating a collection of gold coins simply because it’s forever on the lookout for additional ways to line its coffers.

(Top: Some of the gold coins found inside an old upright piano in the United Kingdom late last year.)