Category Archives: Monastery/convent

Carte-de-visite of the week #18. The Trappists of Staouëli and the Basilica of Our Lady of Africa, Algiers

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Although most of my carte-de-visites are portraits, a number of them show landscapes, usually views of famous buildings or picturesque sites. Among these is the card below:

The Basilica of Notre Dame d’Afrique (Our Lady of Africa) in Algiers

On the reverse of the card is this:

This cdv shows the Neo-Byzantine Basilica of Notre Dame d’Afrique (Our Lady of Africa) in Algiers, designed by architect Jean-Eugène Fromageauand built between 1858 and 1872. The cdv seems to have been issued (and perhaps sold) by the Cistercian abbey at Staouéli, some seventeen miles away, which was founded in 1843 by French monks from the abbey of Aiguebelle. Although the Cistercians had a reputation for asceticism and austerity, the motives behind the foundation were not entirely spiritual, and were in fact closely associated with the French colonization of the country, which lasted from 1830 until Algerian independence in 1962.

The Coming of the French

The French invasion of Algiers was undertaken for a number of reasons, including a wish to end the attacks by Barbary pirates who operated out of Algiers and the need to distract the French population from their dissatisfaction with King Charles X. The immediate catalyst for the invasion was an altercation between Hussein Dey, the Ottoman ruler of Algiers, and the French consul Pierre Deval, during which Dey was alleged to have struck Deval with his fan. An armada of 600 ships sailed from Toulon and around 34,000 troops under General de Bourmont landed at Sidi Ferruch, about seventeen miles west of Algiers, on 14 June 1830.

The landing at Sidi Ferruch

Hussein Dey sent an army of around 24,000 soldiers to meet the French forces, who had encamped at the edge of the plain of Staouéli, which stretched between the Atlas mountains and the coast. The two sides clashed on 19 June and, despite having a few advantages, the Algerian forces were defeated at the ‘Battle of Staouéli’ due to French superiority in artillery power and military discipline. Further skirmishes followed on the 24 June but the French were soon able to begin marching to Algiers, where the city was taken on 5 July. Hussein Dey surrendered and went into exile, leaving Algeria to remain under French occupation for over 130 years.

The Battle of Staouéli, 19 June 1830

The Coming of the Monks

At first the French administered Algeria as a military colony with the focus on the regions around the coast, but over time this policy changed to one of colonial expansion and total control across the whole country. Land was seized and offered to French settlers, factories and businesses were set up, and those in the French army and administration were encouraged to make private investments into land speculation and agricultural production. The Algerians continued to resist throughout the 1830s and 1840s, however, particularly under the leadership of Abd Al-Qādir. After a decade of costly fighting, a French delegation was set up to review the future of a colony in Algeria, and their report concluded that the country ‘…would cease to be French if she was not Christian.’ It was thought that the presence of a religious community in the colony would help to establish Christianity in the region, encourage a more positive view of the French settlers, and bring about some peace and stability. The Cistercians were the ideal choice, given their agricultural expertise and reputation for austere holiness.

After a preliminary visit in September 1842 by Abbot Orsise Carayo of Aiguebelle and Abbot Hercelin of La Trappe, a plot of land was chosen on the Staouéli plain. The site occupied 1000 hectares of rough ground between Wadi Bridja to the east and Wadi Boukara to the west, covered in dwarf palms, mastic trees and wild myrtles. The first monks arrived here on 13 September 1843 and the foundation stone for the monastery, dedicated to Notre Dame de la Trappe de Staouéli, was laid the following day, the feast of the Exaltation of the Holy Cross, by Dom François-Régis and blessed by the bishop of Algiers, Mgr Dupuch in the presence of General Bugeaud. The relationship between the monastery and the military remained close, with General Marengo using his personal wealth to stave off financial crisis in 1847 as the abbey farm had a disastrous year

The monastery church was consecrated on 30 August 1845 and raised to the status of an abbey the following year, as the community grew from 67 monks to around 120, bolstered by the addition of monks from the abbes of Bellefontaine and Melleray. One of the monks had actually been a soldier who had fought during the Battle of Staouéli. These early years were hard, however; the land was poor and unsanitary, with malaria claiming the lives of many of the monks. Over time, they gradually succeeded in establishing olive groves and mulberry trees, draining the marshes and planting hedges of cypress and bamboo to shelter their fragile crops from the strong sea winds. In 1853 the monks won first prize at the Agricultural Exhibition in Algiers, and when Napoleon III and the Empress Eugenie visited Staouéli on 4 May 1865 they marvelled at what had been achieved.

The Abbey

The main monastic buildings were built on two storeys around a cloistered courtyard garden, with the chapel occupying one wing, the kitchen and refectory on the ground floor, and the dormitories and infirmary up above. on the first floor. The farm lay on one side of the abbey, and on the other side a complex of workshops and other outbuildings, including a bakery, laundry, dairy and forge. It was a far simpler building than the magnificent basilica that was being constructed in Algiers. There is no mention of a photographic darkroom among the workshops in descriptions of Staouéli that I can find, and it is not clear if these cartes-des-visites were bought in commercially for resale as souvenirs at the abbey, or if they were in fact taken by a Trappist monk. There is no doubt that other such images were in circulation, as I have another cdv:




Dom Marie-Augustin Charignon OCSO (1818-93)
2nd Abbot of Staouëli 1856-1893

This cdv also has the abbey’s name printed on the back, but in a different font, and with some decorative work around the letters. Someone has helpfully added a pencil note to identify the portrait as that of Dom Marie-Augustin Charignon.

A merchant’s son, he was born Flavien Charignon on 21 February 1818 in Peyrus (Drôme), and entered the novitiate at the Cistercian abbey of Aiguebelle in 1845. After ordination, he rose to become the monastery’s prior, after which he was sent to Staouëli where he served in the same role.


 When Abbot François-Régis de Martrin-Donos was transferred to Rome as Procurator-General in 1854, Dom Augustin took over the running of the abbey. He was consecrated as Abbot of Staouëli in December 1856 by the Bishop of Algiers, Louis Pavy, who was the man responsible for the construction of Basilica of Notre Dame d’Afrique. Work began on the cathedral, which was designed by architect Jean-Eugène Fromageau, two years after Abbot Augustin’s consecration. Louis-Antoine-Augustin Pavy (1805–1866) was the second bishop of Algiers, but he died without seeing the cathedral completed.

Dom Augustin, on the other hand, remained Abbot of Staouëli for almost four decades, until his death at the abbey on 29 December 1893, just a few months after celebrating the abbey’s golden anniversary on 21 July 1893. He was succeeded by Abbot Louis de Gonzague Martin (1893-1898), who was the superior when Charles de Foucauld (then a Trappist novice at Akbés ) stayed at Staouëli for a few weeks between 25 September and 27 October 1896. The abbot had been one of the co-founders in 1882 of the Syrian monastery of Notre-Dame-du-Sacré-Cœur (La Trappe de Cheïkhlé) in Akbés near Aleppo, which became a dependent house of Staouëli in 1894. After his death in 1899 he was succeeded by Dom Louis de Gonzague André (1898-1904), the fourth and final abbot of Staouëli. By the early 1900s the abbey’s prospects were not looking good: there were no local vocations and the French government was enforcing strict separation of Church and State that threatened the confiscation of church property and the expulsion of religious orders from France. It was in sharp contrast to the close relationship between the monks and the French authorities that had flourished at the time of Staouëli’s foundation. To pre-empt the possible seizure of the abbey, Abbot Louis sold Staouëli in 1904 and transferred the entire community (apart from one monk) to Maguzzano on the shores of Lake Garda in Northern Italy.

Postscript: Staouëli and the Atlas martyrs

The monks remained at Maguzzano for over thirty years before the monastery closed in 1936. Their last abbot had been another monk of Aiguebelle, Bernard Barbaroux, who had been appointed Abbot of Maguzzano in 1930. The buildings were sold off in 1938, around the same time as another group of Trappist monks were starting a new foundation in Algeria. Our Lady of Atlas was situated at Tibhirine, some 20 km from Médéa and 100 km south of Algiers. In 1947 it was granted abbatial status, and Dom Bernard Barbaroux was consecrated as the first abbot on 26 September 1947, using Abbot Augustin Charignon’s old crozier from Staouëli. Several monks from Staouëli were members of this community, which continued its quiet life of work and prayer throughout the Algerian War of Independence (1954-62), although numbers decreased over the decades and in 1984 Our Lady of Atlas was demoted from abbey to priory status. That same year, Dom Christian de Chergé OCSO was elected prior.

Ever since independence in 1961, Algeria had been governed by the National Liberation Front (FLN) and was a one-party state until the mass riots of October 1988 forced a reform of the constitution. The new democratic system was tested by local elections in June 1990 when the FLN lost heavily to the Islamic Salvation Front (FIS). When it became clear that the FIS were going to win the parliamentary elections following the first round of votes in December 1991, the army moved in to halt the electoral process and declare a state of emergency, precipitating a civil war that would last for over ten years. There were two main Islamist groups that took up arms to fight the government, the Islamic Armed Movement (MIA) and the Armed Islamic Group (GIA). On 27 March 1996 members of the GIA arrived at Our Lady of Atlas and kidnapped Dom Christian and six other monks. They were held for two months with the offer that they would be released in exchange for a captured GIA leader. Negotiations failed, and the seven monks were executed on 21 May. A funeral Mass was said for the monks on Sunday 2 June at the Basilica of Notre Dame d’Afrique.

These two cdvs thus represent scenes from the long, complex and troubled history of French monastic involvement in Algeria. I have some other old photographs and postcards that can add to this story, but will keep them for another time. 








															

		
		
	





	
		



	
	


		
		

			
			
Carte-de-visite of the week #15


							

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This week’s carte-de-visite is actually a cabinet card, the larger format version (typically ​4 1⁄4 by ​6 1⁄2 inches) which gradually displaced the smaller cards during the 1870s and 1880s. Over the following decade or so, the popularity of both forms declined as Kodak and others made amateur photography more accessible, thus reducing the reliance on studio portraiture.


This portrait follows on naturally from the previous carte-de-visite image of Canon Vavasour, as it also depicts a scene from Catholic religious life. The back of the card is blank and there is no information to provide any details about the location or the date. A few observations can be made nonetheless.


The portrait shows a young nun sitting with – presumably – her parents, and it is therefore likely that this was taken on one of two special days – either her admission to the novitiate, or the occasion of her simple profession.  There are various stages in religious life, the length and name of which varies between the different religious orders and congregations, but the normal sequence runs along the lines of:


    

  1. Postulancy (from the Latin postulare, to ask or seek.) Lasts a few months, in which the postulant lives in the community and learns the basics of religious life. This period not only gives them the opportunity to decide if they feel a genuine commitment to such a life, but it also lets the community observe them and decide if they are suitable. When the period of postulancy ends, the community vote on whether or not the postulant should stay, if that is what they wish.
    2. 

  2. Novitiate. This period usually lasts a year, sometimes too. In female communities, entrance to the novitiate is usually marked by the ‘taking of the veil’ and often a change of name, i.e. the adoption of a religious name, usually that of a saint.
    3. 

  3. Simple or temporary vows (obedience, poverty and chastity) – this period may last three years or so, sometimes more. Nuns in simple vows are sometimes called ‘juniors.’
    4. 

  4. Solemn vows. These are lifelong and irrevocable.
    5. 



The nun in the portrait is wearing a Carmelite habit and the white veil indicates that she is either a novice or in temporary vows. Those in solemn vows wore black veils. There is no difference, I think, between the habits worn by Carmelite novices and those in simple vows, which makes it hard to determine what the occasion was. In the 19th century Carmelites were strictly cloistered and contact with family was extremely rare. When visits were allowed, these would take place in the parlour with conversation conducted through a wooden grille. The fact that this nun is sitting with her family underscores the special nature of the event.


The backdrop is clearly artificial, and at the bottom of the photograph it can be seen that they are actually seated outside, on grass. They were likely photographed in the convent garden, although whether or not the family were actually allowed inside the enclosure is hard to judge.


One interesting feature of this image, however, is that none of the sitters are looking at the camera. This might have been deliberate – an attempt by the photographer to make the scene look natural, as if they were captured in conversation rather than staring fixedly at the lens – or it may have been accidental, the sitters being momentarily distracted by a chance remark just before the shutter clicked.


With regard to the location, there is something about the parents’ dress that suggests they are European, perhaps French. The man appears to be wearing a military jacket, with heavy horizontal braiding reminiscent of the uniform of a hussar. The significance of the white (?) sash and the pinned badge are unclear, so any comments on this would be most welcome.


 




Close-up of the uniform

															

		
		
	





	
		



	
	


		
		

			
			
Carte-de-visite of the week #14 Philip Vavasour, Canon of Leeds


							

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Canon Philip Joseph Vavasour (1826-87)





As a change from most of the cartes-de-visite featured previously in this series, this week’s CDV is not a studio portrait but rather a nicely-composed photograph that has been taken outside. It shows a clergyman in cassock and biretta, standing by an open door, possibly of a church building. A pencilled scrawl on the back records the name of ‘Revd. Philip Vavasour’ but no other details. However, I am not short of books on Victorian church history, and a little bit of digging soon unearthed some more information about the subject of this portrait.





Philip Joseph Vavasour (1826-87) was actually born Philip Joseph Stourton, but only had this surname for one day! Philip was born on 26 February 1826, the eighth child, and fifth and youngest son of Hon. Sir Edward Marmaduke Joseph Stourton and his wife, Marcia Bridget Lane-Fox.  The following day his father changed his surname to Vavasour by royal license, in line with a testamentary injunction from his late cousin, Sir Thomas Vavasour, 7th Baronet, who had died the previous month. Although the baronetcy became extinct with the death of Sir Thomas, his estate of Hazelwood in the West Riding of Yorkshire, passed to Sir Edward, who was created 1st Baronet Vavasour of Hazelwood in 1828. Sadly, his wife did not live to see this, as she died in June 1826, possibly from complications following the birth of her eight child.





They were a deeply pious family, spending much time in religious devotion and acts of charity. Two of Philip’s sisters became nuns. Tragedy struck again when Sir Edward died while making a pilgrimage to Rome, collapsing on 16 March 1847 at the village of Chanceau in France, where he was buried.





Philip at this time was studying for the priesthood at Ushaw College, and was ordained in 1850. The same year he travelled over to France and spent a week at Chanceau, a journey he made several times to visit his father’s grave. In 1876 he made one final trip, and brought his father’s remains back to be reinterred at Hazelwood. 





Philip was chaplain of St Leonard’s, the medieval chapel at Hazelwood, but held another posts around the diocese and was instrumental in raising funds for the construction of St Wilfrid’s Catholic Church in Ripon, where he became the first parish priest in 1862. He would hold this position until his death. 





He also helped raised funds to construct a new Catholic church at Tadcaster  – near Hazelwood – on land donated by the Vavasour family. A temporary chapel opened there in 1865 with Cardinal Manning presiding at the opening of St Joseph’s Catholic Church four years later.  a more permanent structure opening. There is a memorial to Fr. Philip Vavasour  there in the form of a stained glass window by the altar.





St Anne’s Catholic Cathedral in Leeds had been established in 1838 on a site in Park Terrace, at the junction of Cookridge Street and Guildford Street. Fr. Vavasour was made a canon of the cathedral sometime in either the late 1860s or early 1870s. 





He was elected a member of the Leicestershire Archaeological and Historical Society in 1862, and was possibly also a member of the Royal Archaeological Institute, as he exhibited an embroidered medieval chasuble at one of their meetings in 1874. In addition to these scholarly interests, he was well-known in the area for his charitable work, and was prominent among the social events of the local Catholic gentry and aristocracy, including the Marquis of Ripon. He was of course related to many of the well-known Catholic families. 





Canon Vavasour travelled down to London in the company of Lord Ripon on Monday 18 April to attend a meeting of the Catholic Poor Schools Committee and also a reception with Cardinal Manning. To everyone’s shock, he collapsed and died the next day while visiting his relative, Miss Langdale, at 52 South Street, Park Lane.  He was 61 years old. His body was interred at Hazelwood, where the funeral was carried out by the Bishop of Clifton. A memorial window was installed at St Wilfrid’s, Ripon, the following year. 





Where was the photograph taken? The two most probable places would seem to be either a side door at the cathedral, or – more likely – St Wilfrid’s Church, Ripon. Verifying the first option is difficult, as the old cathedral was demolished and replaced by the present building in 1904. I stayed overnight in Ripon some years ago and went to Mass at St Wilfrid’s, but cannot recall this doorway. If anyone can confirm the location, I’d be interested to hear from them. One of the things that struck me about the portrait was the way Canon Vavasour is standing on the step, one foot crossed over the other, leaning back against the pillar of the door. The casual self-assurance, and disinterest in adhering to the stiff formalities of ecclesiastical portraiture, possibly reveal a little of the character of the man. 






															

		
		
	





	
		



	
	


		
		

			
			
Caldey Postcard – New Order for an Old Postcard


							

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Caldey Abbey by Joseph Pike


Readers of this blog will already be familiar with my biography of the artist Joseph Pike and my original post about his 1913 set of twelve postcards showing the monastic buildings and other scenes on Caldey Island.  He did those drawings while staying on the island with Bede Camm, who had assisted the Anglican monks in their mass reception into the Catholic Church in March of that year. For various reasons, not least of which were the effects of World War One and the withdrawal of support from High Anglican donors, the community struggled in the years after the ‘Caldey Conversions’. Although Aelred Carlyle was blessed as Abbot of Caldey in 1914, he resigned in 1922 and was replaced by Dom Wilfrid Upson as Prior. I have written elsewhere – in A Monk and His Movies – about Dom Wilfrid’s time in Hollywood. Eventually the monks left Caldey in December 1928 and moved to Prinknash in the Cotswolds. Caldey then passed from the Benedictines to the Cistercian Order, as it became the home of Cistercian monks from Scourmont Abbey in Belgium. This monastery is home to the Chimay brewery, where the monks produce three ales: Chimay Rouge, Chimay Bleue, and Chimay Blanche. While staying in Brittany last summer I was able to pick up a few bottles of Chimay ale in the local supermarket, but a new venue has opened up in Exeter – the South Street Standard – that serves Chimay on draught, which I would definitely recommend. Anyway, I digress – the point of this post was that I recently picked up the postcard above, which is obviously been printed for French-speakers interested in the abbey, and reveals that the Trappist monks of Caldey re-used Joseph Pike’s postcards after 1929. They have printed additional French text in the border space at the bottom and appear to have given the card a deeper sepia tone than the original. I wonder if the artist continued to receive payment for the reproduction of his artwork on the same terms as he had arranged with the Benedictines?

															

		
		
	





	
		



	
	


		
		

			
			
Joseph Pike: the ‘happy Catholic artist’


							

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Joseph Pike: The Happy Catholic Artist 


My latest book, Joseph Pike: The Happy Catholic Artist (Kibworth: Matador, 2018) is a detailed biography of a master of the art of pencil drawing. Joseph Pike (1883-1956) produced evocative sketches and illustrations that were commissioned by authors, architects and publishers, reproduced in books and on postcards, sold as prints and exhibited on the walls of the Royal Academy.


It was due to his postcards of Caldey Island – drawn in 1913 – that I became interested in Joseph Pike, and you can read all about this on my original blogpost here. After reading this, one of the artist’s grandsons contacted me, and we began discussing the idea of my writing a short memoir about the artist. What began as a fairly modest project ended up being rather larger than originally intended, but the Joseph Pike’s friendship and collaboration with Benedictine monk Bede Camm meant that I was able to incorporate some of my PhD research on visual culture and monastic life. With access to family papers and photographs, augmented with my own collection of Joseph Pike artwork and knowledge of the Catholic literary revival, there was ample material for a detailed and illuminating biography.


Further research in various archives uncovered more little-known details and rare illustrations, and I was able to show how developments in the publishing world and printing technology impacted upon his work, as well as exploring the importance of the Catholic faith side in his personal and professional life – his acquaintance with Bede Camm and other leading figures in Catholic cultural life, such as Ronald Knox, played a key role in shaping his career as an illustrator.


Joseph Pike: The Happy Catholic Artist (Kibworth: Matador, 2018) – ISBN 9781788037778 – is available from various outlets, including direct from the publisher here 


An e-book is also available, ISBN 9781788034746


I would love to hear comments and feedback from anyone who has read the book or wishes to share their thoughts on Joseph Pike and his art.