Journalists From Boston

"Among the unexpected revelations of human nature that suddenly astonish historians, one of the least reasonable was the passionate outburst of religious devotion to the ideal of feminine grace, charity and love that took place here in Normandy while it was still a part of the English kingdom, and flamed up into almost fanatical frenzy among the most hard-hearted and hard-headed race in Europe."

"The complaint of the French artist against the Norman, is the "mesquin" treatment of dividing his tower into stories of equal height. Even in the twelfth century and in religious architecture, artists already struggled over the best solution to this peculiarly American problem of the twentieth century, and when tourists return to New York, they may look at the twenty-story towers which decorate the city, to see whether the Norman or the French plan has won; but this at least will be sure in advance:— the Norman will be the practical scheme which states the facts, and stops; while the French will be the graceful one, which states the beauties and more or less fits the facts to suit them."

"Even theologians — even the great theologians of the thirteenth century,— even Saint Thomas Aquinas himself — did not trust to faith alone, or assume the existence of God."

"For a first visit to Chartres, choose some pleasant morning when the lights are soft, for one wants to be welcome, and the Cathedral has moods, at times severe. At best, the Beauce is a country none too gay."

"The spire is the simplest part of the romanesque or gothic architecture, and needs least study in order to be felt. It is a bit of sentiment almost pure of practical purpose. It tells the whole of its story at a glance, and its story is the best that architecture had to tell, for it typified the aspirations of man at the moment when man's aspirations were highest."

"First comes the central door-way, and above it is the glory of Christ, as the church at Chartres understood Christ in the year 1150; for the glories of Christ were many, and the Chartres Christ is one. Whatever Christ may have been at other churches, here, on this portal, he offers himself to his flock as the herald of salvation alone. Among all the imagery of these three door-ways, there is no hint of fear, punishment or damnation, and this is the note of the whole time. Before 1200, the Church seems not to have felt the need of appealing habitually to terror; the promise of hope and happiness was enough."

"At Chartres Christ is identified with his Mother, the spirit of love and grace, and his Church is the Church Triumphant.Not only is Fear absent; there is not even a suggestion of pain; there is not a martyr with the symbol of his martyrdom; and what is still more striking, in the sculptured life of Christ, from the Nativity to the Ascension, which adorns the capitals of the columns, the single scene that has been omitted is the Crucifixion. There, as everywhere in this Portal, the artists seem actually to have gone out of their way to avoid a suggestion of suffering."

"In the center sits Mary, with her crown on her head and her son in her lap, enthroned, receiving the homage of heaven and earth; of all time, ancient and modern; of all thought, Christian and Pagan; of all men, and all women; including if you please, your homage and mine, which she receives without question, as her due; which she cannot be said to claim, because she is above making claims; she is empress. Her left hand bore a sceptre; her right supported the child, who looks directly forward, repeating the mother's attitude, and raises his right hand to bless, while his left rests on the orb of empire. She and her child are one."

"True artists, turned critics, think also less of rules than of values."

"The artists and donors and priests forgot nothing which, in their judgment could set off the authority, elegance and refinement of the Queen of Heaven; even the young ladies-in-waiting are there, figured by the twelve Virtues and the fourteen Beatitudes; and indeed, though men are plenty and some of them are handsome, women give the tone, the charm, and mostly the intelligence. The court of Mary is feminine, and its charms are Grace and Love; perhaps even more grace than love, in a social sense, if you look at Beauty and Friendship among Beatitudes."

"If you are to get the full enjoyment of Chartres, you must, for the time, believe in Mary as Bernard and Adam did, and feel her presence as the architects did, in every stone they placed, and in every touch they chiseled. You must try first to rid your mind of the traditional idea that the gothic is an intentional expression of religious gloom. The necessity for light was the motive of the gothic architects. They needed light and always more light, until they sacrificed safety and common-sense in trying to get it. They converted their walls into windows, raised their vaults, diminished their piers, until their churches could no longer stand. You will see the limit at Beauvais; at Chartres we have not got so far, but even here in places where the Virgin wanted it — as above the high altar — the architect has taken all the light there was to take."

"Every day, as the work went on, the Virgin was present, directing the architects, and it is this direction that we are going to study, if you have now got a realising sense of what it meant. Without this sense, the church is dead. Most persons of a deeply religious nature would tell you emphatically that nine churches out of ten actually were dead-born, after the thirteenth century, and that church architecture became a pure matter of mechanism or mathematics; but that is a question for you to decide when you come to it; and the pleasure consists not in seeing the death, but in feeling the life."

"Like all great churches, that are not mere store-houses of theology, Chartres expressed, besides whatever else it meant, an emotion, the deepest man ever felt,— the struggle of his own littleness to grasp the infinite. You may, if you like, figure in it a mathematic formula of infinity,— the broken arch, our finite idea of space; the spire, pointing, with its converging lines, to Unity beyond space; the sleepless, restless thrust of the vaults, telling the unsatisfied, incomplete, overstrained effort of man to rival the energy, intelligence and purpose of God. Thomas Aquinas and the schoolmen tried to put it in words, but their church is another chapter. In act, all man's work ends there;— mathematics, physics, chemistry, dynamics, optics, every sort of machinery science may invent,— to this favor come at last, as religion and philosophy did before science was born."

"The wood-carving, the glass windows, the sculpture, inside and out, were done mostly in workshops on the spot, but besides these fixed objects, precious works of the highest perfection filled the church treasuries. Their money-value was great then; it is greater now. No world's-fair is likely to do better today. After five hundred years of spoliation, these objects fill museums still, and are bought with avidity at every auction [....] Royalty and feudality spent their money rather on arms and clothes. The Church alone was universal patron, and the Virgin was the dictator of taste."

"If you want to know what Churches were made for, come down here on some great festival of the Virgin; but come alone! That kind of knowledge cannot be taught and can seldom be shared. We are not now seeking religion; indeed, true religion generally comes unsought. We are trying only to feel gothic art. For us the world is not a schoolroom or a pulpit, but a stage, and the stage is the highest yet seen on earth. In this church the old romanesque leaps into the gothic under our eyes; of a sudden, between the portal and the shrine, the infinite rises into a new expression, always a rare and excellent miracle in thought."

"True ignorance approaches the infinite more nearly than any amount of knowledge can do, and, in our case, ignorance is fortified by a certain element of nineteenth-century indifference which refuses to be interested in what it cannot understand; a violent reaction from the thirteenth century which cared little to comprehend anything except the incomprehensible."

"Any woman would see at once the secret of all this ingenuity and effort. The Chartres apse, enormous in size and width, is exquisitely lighted. Here, as everywhere throughout the church, the windows give the law, but here they actually take place of law."

"The Chartres apse is as entertaining as all the other Gothic apses together, because it overrides the architect. You may, if you really have no imagination whatever, reject the idea that the Virgin herself made the plan; the feebleness of our fancy is now congenital, organic, beyond stimulant or strychnine, and we shrink like sensitive plants from the touch of a vision or spirit; but at least one can still sometimes feel a woman's taste, and in the apse of Chartres one feels nothing else."

"Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath."

"I would like to say we're at a point where global warming is impossible to deny. Let's just say that global warming deniers are now on a par with Holocaust deniers, though one denies the past and the other denies the present and future."

"You can fire your secretary, divorce your spouse, abandon your children. But they remain your co-authors forever."

"When we describe what the other person is really like, I suppose we often picture what we want. We look through the prism of our need."

"What do I want to take home from my summer vacation? Time. The wonderful luxury of being at rest. The days when you shut down the mental machinery that keeps life on track and let life simply wander. The days when you stop planning, analyzing, thinking and just are. Summer is my period of grace."

"We spend January 1 walking through our lives, room by room, drawing up a list of work to be done, cracks to be patched. Maybe this year, to balance the list, we ought to walk through the rooms of our lives . . ., not looking for flaws, but for potential."

"We owned what we learned back there; the experience and the growth are grafted into our lives."

"We criticize mothers for closeness. We criticize fathers for distance. How many of us have expected less from our fathers and appreciated what they gave us more? How many of us always let them off the hook?"

"We are told that people stay in love because of chemistry, or because they remain intrigued with each other, because of many kindnesses, because of luck . . . But part of it has got to be forgiveness and gratefulness."

"Values are not trendy items that are casually traded in."

"Traditions are the guideposts driven deep in our subconscious minds. The most powerful ones are those we can't even describe and aren't even aware of."

"Things keep changing and things keep happening. I never really run out of ideas. I guess as long as I'm interested, I'll be interesting."

"The things we hate about ourselves aren't more real than things we like about ourselves."

"Once upon a time we were just plain people. But that was before we began having relationships with mechanical systems. Get involved with a machine and sooner or later you are reduced to a factor."

"Normal is getting dressed in clothes that you buy for work, driving through traffic in a car that you are still paying for, in order to get to a job that you need so you can pay for the clothes, car and the house that you leave empty all day in order to afford to live in it."

"Most people do not consider dawn to be an attractive experience— unless they are still up."

"In the biotech revolution, it is the human body, not iron or steel or plastic, that's at the source. Are the biocapitalists going to be allowed to dig without consent into our genetic codes, then market them?"

"In journalism, there has always been a tension between getting it first and getting it right."

"I regard this novel as a work without redeeming social value, unless it can be recycled as a cardboard box."

"I have never been especially impressed by the heroics of people convinced that they are about to change the world. I am more awed by those who struggle to make one small difference after another."

"I began to realize that life is a growth stage I'm going through."

"Americans once expected parents to raise their children in accordance with the dominant cultural messages. Today they are expected to raise their children in opposition to them. Once the chorus of cultural values was full of ministers, teachers, neighbors, leaders. They demanded more conformity, but offered more support. Now the messengers are violent cartoon characters, rappers and celebrities selling sneakers. Parents are considered "responsible" only if they are successful in their resistance. That's what makes child-raising harder. It's not just that American families have less time with their kids; it's that we have to spend more of this time doing battle with our own culture."