T hematic dossier | Dossier thématique

H umouring the humours An Introduction to the Comedic Gothic of Cram and Goodhue in the United States and Canada

CmonMa er acdonell is a doctoral candidate > Cameron in the history and theory of architecture at Macdonell McGill University’s School of Architecture. He is preparing to defend his dissertation on the interdisciplinarity of modern and Gothic literature. Most recently, he (with his hen Kenneth Clark summarized doctoral supervisor, Martin Bressani) published an Whis landmark study of The Gothic article on the speculative diagnosis of Augustus Revival (1928), he argued that “Gothic depends on detail, and the individual Welby Northmore Pugin’s syphilis and its effect architect, however gifted, is powerless on Pugin’s conceptualization of architectural health without a body of good craftsmen.”1 and illness. He is also preparing articles on the Clark admitted, of course, that there Anglo-Catholicism of ’s Gothic were some technically skilled artisans in literature, and a deconstruction of the gifts of the the Gothic Revival; but they could not, in magi as a Christian economy of salvation. his estimation, capture the “irrecoverable moods” of authentic Gothic ornaments that sprang “spontaneously from senti- ment.”2 Clark concluded of the Gothic Revival thusly:

their detail never ceased to be tame and self-conscious. Their madonnas were always genteel, their saints always venerable, but- ter would not melt in their angels’ mouths; and the awful events of the Apocalypse were conducted with the decorum of a gar- den party.3

In other words, the tepid and all-too-sin- cere piety of the Gothic Revival doomed its architecture to lack the requisite moods of medieval sentiment: a sense of awe, on the one hand, and a sense of humour on the other—the same sense of humour, ironically, that Clark used to mock the “garden party” decorum of a modern Gothic Apocalypse.

Perhaps, in an age of scientific enlight- enment and reasonable doubt, it is fair to say that modern Gothic architects and artisans could not hope to achieve the awful fear of hell that Clark deemed essential to apocalyptic medieval carv- ings. But, were Gothic Revival churches really so humourless? To be sure, there remains a posthumous perception that F TIG. 1.  he new St. Mary’s Anglican Church, Walkerville, ON. | Cameron Macdonell.

JSSAC | JSÉAC 37 > No 2 > 2012 > 13-29 13 Cameron Macdonell > T hematic dossier | Dossier thématique

medieval Christians took their religion too because Cram and Goodhue’s Gothic was a day when wives gave birth to babes seriously to allow comedy to sully their international, they designed and lectured / And nurtured them for heroes: not to churches.4 And thus, under the influence in both the United States and Canada, rats / That waxed to bloated vermin. Fat of that perception, some modern Gothic their sense of humour transcended the with spleen, / Yellow with jealousy, ye artists may have striven to revive the sin- national border. And, through the study barter life, / England and honour for your cerity of medieval faith at the expense of of ornaments from various American belching pride.”10 Implicitly, Cram was its comedy; but certainly not all of them. commissions, I shall contextualize the referring to the yellow bile of the chol- In a 1930 preface to a book on Gothic gar- comedic details in a Canadian church eric humour, originating in the spleen goyles, American architect Ralph Adams Cram and Goodhue designed: the new and causing jealousy and the indiges- Cram (1863-1942) specifically fought St. Mary’s Anglican Church (1902-1904) tion of “belching pride.” Furthermore, against that sombre perception: in Walkerville, Ontario (fig. 1).8 when Arthur accused the controlling Merlin of having an “o’erriding spleen,” Just because [the medieval faithful] were Long before his 1930 preface, Cram was Merlin retorted: “No wanton humour a sincerely religious people and involved in already celebrating the mirth of medieval leads me.”11 Likewise, when trying to the sacraments, services and practises of artisans. Concerning the construction of a stimulate the passions of his audience, their religion from the day of birth to that of medieval church, he wrote: “All over the Cram revelled in the chivalry of Arthurian death—and after—it is [wrongly] assumed exterior the stone masons, not unthink- romance, stating that Arthur and his that this must have knocked all the gaiety ing mechanics at so many dollars a day, knights “still stir our blood... still rouse out of life and that they must have been sad, wrought out their fancies, their ideals, in us answering humours.”12 Finally, con- terror-struck and morose.5 even their merry humors, through the cerning his comprehension of the med- stubborn but enduring medium of sand- ical humours and Gothic architecture, On the contrary, Cram insisted that, stone and marble.”9 This essay pursues Cram stated that English Gothic was a the pun implicit to Cram’s plural desig- “splendid record of the hopes and visions I n the Middle Ages religion was a natural nation of the humours. Cram was not and wholesome humours of a race of and a companionable and a familiar thing, being redundant when he celebrated active, enthusiastic, healthy Christian laughter was not averse from it, nor was the “merry humors” of medieval masons. men.”13 The wholesome humours of the joking, even sometimes of rather a broad Rather, he was calling attention to the Anglo-Gothic body were healthy. sort, out of the question in relation to what fact that our sense of the word humour we should consider “serious matters.” (meaning merriment) comes from the old As Cram’s references to the spleen, fat Hence churches... broke out into delight- medical conceptualization of the human with choler, and the rousing humours of ful gaiety here and there under the hands body as a vessel for the four humours. the blood indicate, it was also believed of high-spirited or waggish workmen, and For Cram, humour and the humours were that a disproportionate amount of one they, and the religion they expressed, were interconnected. or more of the humours affected one’s the better for the wholesome sense of life.6 temperament. Hence, an excess of blood Stemming from a Latin designation for meant a passionate personality, an excess This essay consequently explores Cram’s wetness, the humours were categor- of phlegm meant an indolent personality, effort to bring a wholesome sense of ized in ancient, medieval, and early an excess of choler meant an irascible per- life to the décor of his Gothic Revival modern medical discourses as fluids in sonality, and an excess of black bile meant architecture via the use of comedy. He the human body. Accordingly, the four a melancholic personality. For instance, and his sometime architectural partner, humours were sanguine (blood), phleg- in William Shakespeare’s play Hamlet, (1869-1924), were matic (phlegm), choleric (yellow bile or the titular protagonist wore the antic founding members of the Society of Arts choler), and melancholic (black bile). As disposition of someone who had gone and Crafts in ; and thus, they had such, when Cram wrote his Arthurian mad with melancholy, and the king sum- aligned themselves with some of the most epic, Excalibur, he demonstrated his com- moned Hamlet’s friends, Rosencrantz and technically skilled artisans of the day to prehension of humoral medical theor- Guildenstern, who were “so neighboured create modern Gothic ornaments that ies. His protagonist, Merlin, lamented to [Hamlet’s] youth and humour” that were not tepidly pious, but playful and, at the English barons who quibbled over they might “draw him on to pleasures.”14 times, playfully irreverent.7 Furthermore, Arthur’s royal coronation: “There was In other words, the king had hoped that

14 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F PIG. 2.  ulpit at Concordia Lutheran Church, F RIG. 3.  elief carvings of animals from the frieze (above) and plinth (below) of the pulpit at Concordia Louisville, KY. | Cameron Macdonell. Lutheran Church, Louisville, KY. | Crystal Macdonell.

Hamlet’s melancholic temperament would humour. If the choleric humour is iras- necessity of the plinth. However, on closer be corrected if Hamlet kept company with cible, then it is sated with the vitriol of inspection, one such relief (a bounty of friends from his prior “humour,” from the satire. And, if the bilious humour is mel- oak leaves and acorns) includes a mouse days before he went mad. Indeed, when ancholic, then it dwells on the brink of that is found pausing on the branch Hamlet reunited with Rosencrantz and dark comedy. These humours, however, (fig. 3). Exploiting the rigidity of sculp- Guildenstern, they shared a bawdy joke are not to be treated as rigid categories. ture, the artisan depicted the mouse fro- that seemed to change Hamlet’s mood— I would rather suggest that we humour zen in animal caution, staring out at us albeit momentarily. And so, by that theory the humours by treating them as a series for all time, waiting to finish the acorn of the humours (though not to be limited of complexions that frequently flow from it plucked from the now visibly empty to Shakespeare), the modern use of the one to another. shell. Likewise, at the top of the pulpit, word humour arose—the idea that the the sculptor carved a continual frieze of “pleasures” of comedy could affect the S anguine Humour vegetation (grapevines, this time) with a humour or mood of an individual or, by bird picking the vineyard clean of a cater- that same token, that a person’s humour Of all the different complexions avail- pillar. But the sanguineous humour of or mood could be receptive to particular able to modern Gothic architecture, the the frieze develops through a contextual kinds of comedy.15 It is the fluidity in the light-hearted silliness of children, animals, juxtaposition. A snail is slithering farther meaning of the word humour that colours or slapstick physicality is the most preva- down the grapevine, and another bird is the complexion of Cram and Goodhue’s lent for Cram and Goodhue. One example in pursuit, pondering how to divide the Gothic. I propose, therefore, that an of purely sanguineous silliness occurs morsel from its intervening shell. Like the investigation of their comedic décor can among the pulpit carvings for Concordia mouse that plucked the acorn, the bird’s be organized through Cram’s pun on the Lutheran Church (1928-1930) in Louisville, potential meal comes as the fruit of its various “merry humors.” If the sanguine Kentucky (fig. 2). Along the polygonal labour. It is a moral lesson punctuated humour is passionate, then it is soothed plinth of the pulpit, the woodcarver with the inclusion of another snail, slither- by the silliness of light-hearted comedy. If (perhaps Johannes Kirchmayer, though as ing on the lower left-hand corner of the the phlegmatic humour is indolent, then yet unknown) depicted a series of vege- very same branch on which the sculpted it is roused by the wit of contemplative tal reliefs that embellish the structural mouse divides the acorn from its shell.

JSSAC | JSÉAC 37 > No 2 > 2012 15 Cameron Macdonell > T hematic dossier | Dossier thématique

F SIG. 4.  outh dining hall, Notre Dame University, South Bend, IN. | Cameron Macdonell. F DIG. 5.  oorway with hood-moulding, south dining hall, Notre Dame University, South Bend, IN. | Cameron Macdonell.

Another example of Cram’s sanguineous architecture relevant to modern viewers.17 pair of label-stops at the ends of the arch- silliness occurs with a collegiate com- And, in the circumstances of the dining way, was modernized through the play mission. In 1927, Cram designed a din- hall at Notre Dame, that subject matter of baseball. Likewise, the label-stops on ing hall at Notre Dame University near was the active vitality of modern sports, another doorway depict, on one side, the South Bend, Indiana (fig. 4). One thing like baseball and American football. running back of American football, ball in that Cram liked about the American edu- hand, rushing to the end zone, and, on cational system was the inclusion and With the hood-mouldings that arch above the other, a defensive tackler guarding emphasis on “competitive athletics” as a the dining hall doorways, Cram included the goal (fig. 7). The same playful ten- decorative label-stops depicting various sion is created; only now it is the poten- coordination of training and life; it is in a athletes (fig. 5). But the humour is not tial energy of colliding bodies (not the sense an école d’application, and through strictly limited to the caricatured propor- hurling and the batting of a ball) that it the student, for once in a way, tries tions, costumes, and expressions of the plays across the gap of the open door- out his acquired mental equipment and athletic body; the humour is enhanced by way. Furthermore, the ornamental condi- his expanding character—as well as his the way in which those bodies play across tion of the label-stop, with the symbolic physical prowess—against the circum- the very structure of the hall (fig. 6).18 For weight of the hood-mould pressing down stances of active vitality.16 instance, the most competitive dynamic in upon it, accentuates the golden rule of the game of baseball is the duel between American football. In a game where tack- Competitive athletics push students to the pitcher and the batter, the tension ling is simplified to the rule that the low- coordinate their training with the active of that dynamic extending across the dis- est shoulder wins, the crouching bodies vitality of life in the same way that Cram tance from home plate to the pitcher’s of the label-stops stoop to conquer one was interested in artisans who could mound. As such, the distance between another from beneath the weight of their coordinate their technical training with the plate and the mound is replicated in decorative purpose. the active vitality of modern life. Cram the width of the doorway so that the ten- would, at times, embrace modern sub- sion of their duel might play across the In addition to being purely sanguineous, ject matter in his decorative flourishes opening. Thus, the medieval tradition of a Cram and Goodhue offered comedic as a means to make his Gothic Revival hood-mould spanning the doorway, and a ornaments that seem, at first blush, to

16 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F BIG. 6.  aseball label-stops, south dining hall, Notre Dame University, F IG. 7.  ootball label-stops, south dining hall, Notre Dame University, South Bend, IN. | Cameron Macdonell. South Bend, IN. | Cameron Macdonell.

F PIG. 8.  ulpit at St. Mark’s Episcopal Church, Mt. F RIG. 9.  elief carvings of foxes from the corners of the pulpit, St. Mark’s Episcopal Church, Kisco, NY. | Cameron Macdonell. Mt. Kisco, NY. | Crystal Macdonell.

be light-hearted silliness only to shade Cram’s church in Louisville, Kentucky, the into the looping perch of a vine. These into a darker complexion. For instance, in pulpit of St. Mark’s flourishes with grape- are not the fabled foxes of Aesop’s sour St. Mark’s Episcopal Church (begun 1909), vine reliefs; only here the carvings tendril grapes. These cunning devils can eas- Mount Kisco, New York, Bertram Goodhue up the edges of the polygonal structure ily sate their hunger.19 And, if foxes are commissioned Johannes Kirchmayer (the with foxes clambering up and down the indeed symbols of demonic cunning, then firm’s favourite woodcarver) to sculpt the vines (fig. 9). One fox has stopped to taste they are present in the church to shake the relief imagery of the pulpit (fig. 8). As with a vineyard cluster; another has snuggled faithful from their complacency. Time and

JSSAC | JSÉAC 37 > No 2 > 2012 17 Cameron Macdonell > T hematic dossier | Dossier thématique

F IG. 10. Chancel of St. Mark’s Episcopal Church, Mt. Kisco, NY. | Cameron Macdonell. F SIG. 11.  aint Dunstan and the devil from the chancel parapet, St. Mark’s Episcopal Church, Mt. Kisco, NY. | Cameron Macdonell.

again, Cram and Goodhue undermined (fig. 11). This depiction of the Devil might progression in sanctity from the porch the assumption that a modern church is possess a laughable body and ridiculous to the altar-stone, and this progression simply a space of Christian victory over proboscis; but here, again, satanic evil should be expressed in the fabric and the agents of evil. As Cram once wrote: is not so easily discarded, even in the the enrichment of the church.”21 As such, face of saintly goodness. Saint Dunstan Cram stated that the ritual path from Paynim and infidel roll up in surging ranks, does not simply uproot the Devil with porch to altar-stone is one that moves break, ebb, and are sucked back into their all the tame venerability that Kenneth the faithful (emotionally and liturgically) night, or, as happens now and again, sweep Clark assigned to the Gothic Revival. “from secular things to spiritual, that on in victory over fields won from them once Rather, the Devil is so well entrenched in their souls may be brought into harmony by the Knights of the Gothic Quest, and all is the framing botany of the parapet that with God.”22 In Walkerville, therefore, to do again. There is neither rest nor pause, Dunstan has to pull the Devil’s nose with Cram insisted that Johannes Kirchmayer’s neither final defeat nor definite victory.20 all his might, losing any sense of saintly choir-stall finials, depicting the four composure. He grimaces and contorts his evangelists (fig. 13), were “almost And so, the foxes constantly remind the body at the risk of a slapstick tumble. imperatively necessary to the [church’s] Christian faithful that the fight for one’s Thus, the physical comedy of the battle design.”23 This imperative necessity is soul has not come to an end by seeking is inevitably mixed with thoughts of our reflected in the position of the choir sanctuary in St. Mark’s Episcopal Church. own spiritual insecurity. If Saint Dunstan stalls at the mid-point in the progression The Devil would deny them the grapes of cannot uproot the Devil, what chance from nave to sanctuary. Consequently, Eucharistic transubstantiation. have we? the two evangelists on the nave side of the choir are less spiritually focused This darker complexion to Cram and Finally, this slightly irreverent view of than the other two on the sanctuary Goodhue’s sanguineous humour Christian sainthood (playful and pensive) side. From secular things to spiritual, spreads to the chancel of St. Mark’s continues in the new St. Mary’s Anglican the evangelistic finials create a comedic (fig. 10). There is a continuous parapet Church in Walkerville, Ontario (fig. 12). point about spiritual progress and its of Kirchmayer carvings on the woodwork Because Cram believed that the plan of effect on the young boys in the choir framing the chancel. The parapet is a his- a Christian church must reflect the rituals of a Cram and Goodhue church. Saints tory of English Christianity, and, in the to be performed therein, and because he Matthew and Luke, on the sanctuary medieval section of that history, we find believed that a Christian church is not side, are, like disciplined chorister, dili- the legend of Saint Dunstan pulling the simply a monolith of Christian sanctu- gent at their writing desks—heads down, Devil by the nose with a pair of tongs ary, he argued that “there is a steady pens in hands. Saint John, however, on

18 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F IG. 12. Chancel of St. Mary’s Anglican Church, Walkerville, ON. | Vern and Kyle Harvey. F SMIG. 14.  t. ark’s choir-stall finial, St. Mary’s Anglican Church, Walkerville, ON. | Vern and Kyle Harvey.

F IG. 13.  our evangelist choir-stall finials, St. Mary’s Anglican Church, Walkerville, ON. | Vern and Kyle Harvey.

the nave side, turns to gaze into the con- on his work, but his eyes look across the Phlegmatic Humour gregation.24 He is like a young chorister choir from beneath his brow (fig. 14). whose attention has drifted elsewhere. Thus, Cram and Goodhue were willing to The essence of phlegmatic humour is wit; And Saint Mark, try as he might, can- poke fun even at the evangelistic saints and Cram and Goodhue expressed their not help but be distracted by the pass- if it meant articulating the purpose of wit through the visualization of word play, ing congregants as they progress toward churches designed to move the faithful vis-à-vis the namesake of their patrons the altar. His head is down, as if focused toward the sanctity of the altar. and colleagues. In Duluth, Minnesota,

JSSAC | JSÉAC 37 > No 2 > 2012 19 Cameron Macdonell > T hematic dossier | Dossier thématique

F SPIG. 15.  t. aul’s Episcopal Church, Duluth, MN. | Cameron Macdonell. F AIG. 16.  perture in liturgically northwest buttress, St. Paul’s Episcopal Church, Duluth, MN. | Cameron MacdonelL.

F IG. 17. Liturgically western window, St. Paul’s F BIG. 18.  ishop’s chair with throne-like canopy, F SIG. 19.  hields emblazoned with the gridiron, Episcopal Church, Duluth, MN. | Cameron The Episcopal Church of Our Saviour, The Episcopal Church of Our Saviour, Macdonell. Middleboro, MA. | Cameron Macdonell. Middleboro, MA. | Cameron Macdonell.

for instance, Bertram Goodhue designed aperture with a stone sword (in honour of (fig. 16). And the same is true of the great St. Paul’s Episcopal Church (1910-1915) for Saint Paul) bifurcating the space; and, to western window of the church, where the the commissioning Hartley family (fig. 15). either side of the sword, the tracery has predominantly rectilinear tracery gives As such, in the buttressing stonework for been trained into the shape of a heart way, on the left and right, to the shape the western façade, Goodhue included an in honour of the commissioning family of the Hartley heart (fig. 17).

20 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F IG. 21. “The seven words” by Fred Holland Day. | Louiseo Im gen Guiney Collection, , Prints and Photographs Division.

F IG. 20. Liturgically eastern Crucifixion window, F IG. 22. Comparison of Day’s Christ (reversed and tilted); and Harry Goodhue’s Christ from the Crucifixion, St. Mary’s Anglican Church, Walkerville, ON. St. Mary’s Anglican Church, Walkerville, ON. | Louise Imogen Guiney Collection, Library of Congress, | Vern and Kyle Harvey. Prints and Photographs Division. (left); Vern and Kyle Harvey (right).

Cram and Goodhue would also shade have approved the transformation of his face and strenuous neck of Christ on a the witticisms of their phlegmatic name- bishop’s chair into a throne and “would contemporary source—the photography play with a darker sense of humour. In not, in the 1890s, have been caught dead of Fred Holland Day. The latter, a pion- the chancel of The Episcopal Church of in a mitre.”25 Thus, the Anglo-Catholic eer of American art photography, was a Our Saviour (begun 1897) in Middleboro, Cram was putting Bishop Lawrence on close friend of Cram’s and the Goodhues’s , Cram and Goodhue the hot seat, as it were, by challenging when they all lived in Boston during the designed a platform for the bishop’s chair, the bishop’s Low-Church purview with 1890s. In 1898, Day created a series of which, because it included a decorative a parish church rich in Anglo-Catholic photographic self-portraits in the guise of canopy, took on the implications of a bish- aspirations. Christ crucified, which included a septet op’s throne (fig. 18). On that canopy we of headshots entitled “The Seven Words” find not only a bishop’s mitre at the centre Cram and Goodhue’s name-play took an (fig. 21). Day’s depiction of himself gaz- of the structure but also several smaller even darker turn in the new St. Mary’s ing heavenward is thus the inspiration for mitres on the forward corners, each with Church of Walkerville. The stained-glass the Walkerville Crucifixion window, hav- a shield emblazoned with an image of window that dominates the church’s ing been reversed and tilted on an angle the gridiron (fig. 19). This is important altar wall is an image of the Crucifixion (fig. 22).27 And the joke is that, when the because Bishop William Lawrence (1850- designed by Bertram Goodhue’s younger Walkerville Christ gazes heavenward, his 1941) was the prelate overseeing the par- brother, Harry Goodhue (fig. 20). Harry eyes lead beyond the dove to the image ish at the time of construction, and Saint Goodhue’s biographer, Albert Tannler, of a lamb holding the banner of Agnus Laurence (the bishop’s namesake) suffered rightly admitted that Harry’s draughts- Dei (fig. 23). Fred Holland Day and his his martyrdom on a burning gridiron. Yet, manship was “variable,” at best; and yet friends, who constantly played with the as Douglass Shand-Tucci noted, the witti- the Walkerville body of Christ is surpris- photographer’s cognomen, extended that cism of the name-play takes a darker turn ingly detailed.26 This is because Harry play into the Walkerville church, where when we realize that Bishop Lawrence was Goodhue had precise models to study. In Day, in the guise of Christ, became the a Low-Church Episcopalian who would not particular, he based the foreshortened Agnus Dei.28

JSSAC | JSÉAC 37 > No 2 > 2012 21 Cameron Macdonell > T hematic dossier | Dossier thématique

F PIG. 24.  ulpit (left) and lectern (right), All Saints’ Episcopal Church, Brookline, MA. | Cameron Macdonell.

F IG. 17. Liturgically western window, St. Paul’s Episcopal Church, Duluth, MN. | Photo: Cameron Macdonell.

F DIG. 23.  etail of Crucifixion, St. Mary’s Anglican F AIG. 25.  ngry monk newel post on the pulpit stairs, F BIG. 26.  efuddled monk newel post on the lectern Church, Walkerville, ON. | Vern and Kyle Harvey. All Saints’ Episcopal Church, Brookline, MA. stairs, All Saints’ Episcopal Church, | Cameron Macdonell. Brookline, MA. | Cameron Macdonell.

The darkness of this inside joke between really interested in Christ as a religious Incarnate. He specifically mentioned Bostonian friends (lost, no doubt, on the figure.29 He was rather taken with the Dürer in his 1898 defence of “Sacred Art Walkerville congregation) emerges when idea of Christ as the creative artist, fol- and the Camera.”30 More precisely, Day we consider the contextual impetus for lowing on such examples as Albrecht was interested in Christ as a paradigm Day’s photographic series. Day was not Dürer’s self-portrait in the guise of God of artists who die young. His fascination

22 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F BIG. 27.  ishop’s throne canopy bosses (above) organ casing bosses (below), St. Mary’s Anglican Church, F I IG. 28. nterior of All Saints’ Episcopal Church, Walkerville, ON. | Vern and Kyle Harvey. Ashmont, MA. | Cameron Macdonell. with the short lives of extraordinary Goodhue extended that projection into The Walkerville church was thus the swan- people began with John Keats, dead at the Walkerville church because, by 1903, song of their Bohemian youth, articulated twenty-six, and he became a leading col- they had witnessed the demise of their through the bitter witticism of Day’s lector of Keats memorabilia.31 Thus, when first artistic circle of friends, the young appropriation of the sacrificial Agnus Dei. Day produced a photograph of himself as Bohemians of fin-de-siècle Boston. Christ entombed, he connected the tra- Several were literally dead. As Louise C holeric Humour gedy of Christ’s death with Keats, inscrib- Imogen Guiney, a leader of the Boston ing a Keats text with the image.32 But, Bohemians, lamented in 1901: “May Cram and Goodhue founded their choleric ultimately, Day’s choice to photograph all these broken brothers of ours find humour on medieval precedence, where himself as Christ in the summer of 1898 peace.”33 And Guiney herself would flee Gothic craftsmen satirized “the very was in response to the tragic death of yet to England that year. Day would soon lose common foibles of fellowmen, whether another young artist, Aubrey Beardsley, his studio to fire (November 11, 1904) and clerical or secular.”34 The key, here, is the illustrator of several texts published retire to the coast of Maine. Even Cram that Cram and Goodhue satirized both in America under his direction. Beardsley and Goodhue’s architectural partner- the lay and clerical members that con- died in March of 1898, at age twenty-five, ship was drifting apart. Having won the gregate in a Cram and Goodhue church. providing the immediate catalyst for Day commission to redesign the West Point As such, the newel posts that mark the to pursue his sacred photographs in the Military Academy in 1903, Goodhue staircases to the pulpit and the lectern summer of that year, projecting the tra- established a second office for the firm in of All Saints’ Episcopal Church (begun gedy of his own mortality onto Christ , and eventually Goodhue’s 1894) in Brookline, Massachusetts, have via Beardsley and Keats. And Cram and office would break from the firm entirely. finials that gently mock the use of such

JSSAC | JSÉAC 37 > No 2 > 2012 23 Cameron Macdonell > T hematic dossier | Dossier thématique

F BIG. 29.  racket carving from the rood beam, All Saints’ Episcopal Church, Ashmont, MA. | Cameron Macdonell. F I IG. 30. nterior of The House of Hope Presbyterian Church, Saint Paul, MN. | Cameron MacdonelL.

oratorical platforms (fig. 24). On the post of wizened age, a beard flowing from his both the ordained presence of the bishop leading to the Brookline pulpit, Johannes chin, and the metacarpals stark beneath and the laymen volunteers of the choir Kirchmayer carved a monk filled with all the thinning skin of his hands. More (fig. 27). Yet, unlike the Brookline newel the fire and brimstone of the most pas- importantly, while the left hand of the posts, where Cram and Goodhue poked sionate sermons (fig. 25). His brow fur- monk holds the book of his concluded lec- fun at specific foibles, in St. Mary’s, rowed, his mouth distorted in anger, the ture, his right hand reaches up to scratch Walkerville, the joke is that our own foi- monk shakes his fist at a world that is far his befuddled brow. The absent-minded bles are on display to the knowing eyes from ideal. Yet, apparently, the original lector is as confused by his reading as of the faces looking down from the organ plaster model for this finial included an must, by implication, be the audience of and the throne. And, judging from their open bottle of wine, the neck of which the Brookline church. In the end, Cram expressions of leering laughter, shock, could be seen rising from the hood of may have held the monastic ideal as the dismay, and stern disapproval, some of his monastic cowl.35 Cram and Goodhue, highest standard of Christian civilization, our foibles are scandalous, indeed. knowing well that medieval monks were but he was also pragmatic enough to real- master vintners and brewers, were willing ize that not everyone could live up to that Conversely, in All Saints’ Episcopal Church to undercut the monk’s indignation with standard, including the carven monks of (begun 1891) in Ashmont, Massachusetts, the suggestion that alcohol, more than the Brookline newels.36 Cram and Goodhue undercut the hier- virtue, fuelled his outrage. Significantly, archical expectations of church architec- the building committee nixed the wine Cram and Goodhue’s satire of the laity ture with a satiric jab at Boston snobbery. bottle, while the monk’s anger, righteous and clergy also played with the relation- A key feature of the Ashmont church, or not, continues to mime the sermons ship of height and hierarchy. With the dividing the lay and clerical sides of the of the pulpit. Likewise, on the opposing verticality of Gothic architecture, a hier- building, is a massive rood beam loom- lectern, the newel post includes the finial archy could be organized within a church, ing over the chancel steps (fig. 28). Upon of a monastic lector descending from the where the higher figures perch closer to closer inspection, though, the brackets for reading desk (fig. 26). No changes were heaven. Thus, on the projecting canopy the rood beam present pairs of laymen made to this figure because the satire is of the Walkerville bishop’s throne and (carved by Kirchmayer) bearing witness gentler than the pulpit. Here, the lector the looming organ casement of the choir, to the sculpted Crucifixion (fig. 29). These stands with the sunken eyes and cheeks we find sculpted faces looking down on haughty churchmen turn up their shrill

24 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F MIG. 31.  artyrdom of Saint Matthew corbel, F PIG. 32.  ulpit canopy at All Saints’ Episcopal Church, Brookline, MA. | Cameron Macdonell. The House of Hope Presbyterian Church, Saint Paul, MN. | Cameron MacdonelL. and pointed noses at the rest of us on Paul, Minnesota, Cram included carvings humour that turned dark with an under- the ground, below, only so that we might of the Apostles on corbels that catch standing of vulpine Satanism, then their ridicule them in the same way that Cram the bracing weight of the roof (fig. 30). purely melancholic sense of humour was and Goodhue ridiculed the Low-Church One such apostolic corbel is the depic- the presentation of the demonic without argument they heard, time and again, in tion of Saint Matthew, bent low in the metaphorical guises. Cram, for instance, Boston—namely the “custom of refusing final prayer of his mortal life, the angel was an avid reader of Dante Alighieri, to consider any [church] plan that shows (his protome) praying by his side (fig. 31). whose Divine Comedy culminated in a a single seat behind a column,” as if Saint Matthew, having departed from the vision of heaven in the form of a blos- blocking one’s view of the sanctuary was Feast of Pentecost and having written his soming rose, as the saintly souls of the a denial of communion.37 Devotion, for gospel, was martyred in Ethiopia at the redeemed were revealed to Dante and Cram and Goodhue, was not measured hands of an axe-man. Thus, we see the his readers, petal upon petal.38 As such, in the proximity of one’s pew to the lit- killer primed to murder a saint, turning the canopy overhanging the pulpit in All urgy, a point that is lost on the gawking to gaze at us with a smug grin on his Saints’, Brookline, has blossoming roses laymen of the brackets who pride them- face, gleefully defiant of Christian mor- suspended between the canopy cusps selves on being at the forefront of the ality. And, because his act of “hagiocide” (fig. 32). These roses, reminding us of congregation. occurs on an elevated corbel, far above the multitudes of saints that are forever our heads, his smugness compounds with thriving in Dante’s vision, are to inspire M elancholic Humour our inability to reach out and stop him. poetry from the sermons of the pulpit, as This is a dark humour so bilious that the preacher after preacher glance heaven- Though Cram and Goodhue usually let comedy is lost, perhaps, on all save the ward to the canopy and its hanging their dark comedy emerge from beneath murderer himself. blossoms. Yet, a clutch of therianthropic the symptoms of another humour, they demons have literally come out of the did occasionally bring the darkness to More often, though, Cram and Goodhue’s woodwork, reaching out to block the the forefront. One aspect of their dark sense of dark comedy derived from the roses. They seek to disrupt the preacher’s humour derived from the grim condi- morbid admission of demons in their divine inspiration and, by extension, the tions of violence. In The House of Hope liturgical spaces. If Cram and Goodhue preacher’s ability to inspire faith among Presbyterian Church (begun 1912) in Saint used foxes to create a sanguine sense of the congregated laity.

JSSAC | JSÉAC 37 > No 2 > 2012 25 Cameron Macdonell > T hematic dossier | Dossier thématique

F RIG. 33.  eredos screen at The Episcopal Church of Our Saviour, Middleboro, MA. | Cameron Macdonell. F DIG. 34.  emonic grotesque on the reredos screen, The Episcopal Church of Our Saviour, Middleboro, MA. | Cameron MacdonelL.

A similar example of demonic dark Finally, there are decorative flourishes centre (fig. 36). Only here, because the comedy is found in The Episcopal in Cram and Goodhue’s Canadian and demon has been relegated to a tile on Church of Our Saviour in Middleboro, American churches that are, at first the steps to the altar, satanic power is to Massachusetts, where Cram and glance, un-amusing bits of dark subject be trampled in the footfall of generation Goodhue already created a phlegmatic- matter that suddenly become funny after generation of Cranbrook Christians, cum-melancholic joke at the expense of when discovered for their sanguine silli- stomping their demonic nemesis every Bishop Lawrence and his chair sizzling ness. For instance, there is, on the exter- time they make their way to commune with the gridirons of Catholic hagiog- ior of the new St. Mary’s, Walkerville, a with God. raphy. Nevertheless, that particular joke single gargoyle projecting from the shed- becomes even darker when we turn to ding edge of the aisle roof (fig. 35). As D iagnosis the reredos screen of the Middleboro with medieval gargoyles, this monstros- chancel, with the bishop’s throne flank- ity, with wild eyes, gaping mouth, and As is perhaps clearest in their use of ing to the left (fig. 33). The front of gruesome teeth, is a reminder of the demonic dark comedy, Cram and Goodhue the reredos, directed at the congre- reality of evil. And yet, unlike medieval were interested in humouring the humours gated mass, is an encyclopaedic glory of gargoyles, where water typically sheds precisely because they felt that the mod- Christian sainthood, ever affirming the through an open orifice in the mon- ern world was sick with sin. Cram was par- Christian faithful. But, on the left side of ster’s body, in Walkerville the gargoyle ticularly adamant on this point: the reredos, facing the bishop’s throne, becomes ridiculous as it gorges itself we find a single demonic presence grin- on the downspout of a modern eaves- We do not possess a genuine, vital civiliza- ning wickedly at the bishop (fig. 34). As trough. It has bitten off more than it can tion... There have always been dazzling per- with the demons reaching through the chew. Likewise, in Christ Episcopal Church sonalities that flashed out of the surrounding Brookline canopy, this grinning fiend (begun 1924) in Cranbrook, Michigan, gloom like the writing on the wall at the great seeks to disrupt the bishop’s commun- the floors are paved with Pewabic tiles, king’s feast; but they are not manifestations ion with God, reminding the prelate that the local work of ’s Mary Chase of healthy art... The sanest, most wholesome mortal faith is in constant conflict with Stratton. Specifically, on the steps lead- art is that which is the heritage of all the the forces of evil. ing to Cranbrook’s high-altar sanctuary, people, the natural language through which we find the tile of a demon, front and they express their joy of life...39

26 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

F IG. 35. Gargoyle at St. Mary’s Anglican Church, F DIG. 36.  emon tile at Christ Episcopal Church, Cranbrook, MI. | Cameron Macdonell. Walkerville, ON. | Vern and Kyle Harvey.

With Cram’s reference to the “joy of life,” anyone else in this day and generation, and Cram, incorporated with the humoral it is clear that his sense of wholesome- so he must be accepted and his authority health of one’s body (not to mention the ness was based in John Ruskin’s theory of recognized.41 body politic), he and Bertram Goodhue joyous labour. More to the point, Ruskin believed that the use of comedy helped argued that humour and playfulness were Cram considered himself to be a neces- to heal the sickness of the modern world. essential to that joyousness: “for a healthy sary evil of the modern world—necessary Laughter, for them, may not have been manner of play is necessary in order to a inasmuch as his “authority” equipped the best medicine (beauty was best), but healthy manner of work.”40 But, insofar as him to build better churches than most it was medicine, indeed. architecture is concerned, Ruskin’s theory architects of his day and generation, but of joyous labour emerged from the phys- evil inasmuch as his day and generation notes icality of working with the materials of were symptomatic of an unhealthy civil- construction. This is why, whenever Cram ization in which the people did not build 1. Clark, Kenneth, 1928, The Gothic Revival: An Essay in the History of Taste, London, spoke of the wholesome art of medieval their own churches. Yet, even though Constable, p. 286. masons as an expression of their “merry Cram was “inclined to think that the pro- 2. Id. : 287. humors,” he was referring to a healthy fessional architect or artist of any kind is civilization in which the architect, per se, a sign of disease in the body politic,” he 3. Ibid. did not exist: also believed that the professional archi- 4. After all, Augustus Welby Pugin condem- tect was not the disease in itself: “indeed ned images of “indecent buffoonery” that he saw in medieval churches because “these We ought to be able to build a church with- he may be, in fact is, a saving prophylac- monstrous and ludicrous representations 42 out the intervention of an architect, but we tic.” By nurturing creative relationships that are found in our great churches are can’t. He is a product of the new condition with architectural artisans, especially derived from a most objectionable source, a Pagan custom, revived among Christians, of life wherein art is an exotic, no longer through the Society of Arts and Crafts and only among Christians, through a licen- inalienable right of the people; and, so long in Boston, Cram and Goodhue could recu- tious and disobedient spirit. They should be as these conditions continue, he is a neces- perate at least one aspect of the whole- indeed rather regarded as the evidence of a sary evil. No single architect can build as some sense of life found in medieval degraded taste, than selected for our present imitation.” (See Pugin, A.W.N., 1846 [2nd ed. perfectly as the old priests and abbots and architecture—a sense of humour. And rev.], Glossary of Ecclesiastical Ornament and stone masons; but he can build better than because one’s sense of humour was, for

JSSAC | JSÉAC 37 > No 2 > 2012 27 Cameron Macdonell > T hematic dossier | Dossier thématique

Costume, Complied from Ancient Authorities 15. For the latter point, see, for instance, Johnson, doomed.” (Cram, Ralph Adams, 1919, The Sins and Examples, London, Henry Bohn, p. 128.) Ben, 1616, Every Man in His Humour: A of the Father, Boston, Marshall Jones, p. 2-3.) Nevertheless, Pugin further distinguished Comedy (1598), London, William Stansby. As Cram’s mocking reference to Germanic between “those burlesque figures” and supermen makes clear, he also believed that 16. Cram, Towards the Great Peace, op. cit. : 167 other symbolic representations of vice, which, World War I began under the influence of [emphasis original]. through the ridiculousness of their folly, ser- Friedrich Nietzsche’s “antichrist philosophy.” ved a moral purpose for the Christian faithful. 17. For instance, when Cram created a list of his (Cram, Ralph Adams, 1915, The Heart of (Id. : 129; [emphasis original].) It was Pugin’s chivalric heroes, in addition to the fictional Europe, New York, Scribners, p. 5.) Thus, for need for a moral undercurrent that made him Galahad and actual Chevalier Bayard of the Cram, the nativity of the Great War, which the such a brilliant satirist, as evident in the come- Middle Ages, he included George Washington “old fox,” Cromwell, helped in its gestation, dic vitriol of his illustrated Contrasts (1836; as a modern representative (id. : 175). Thus, was indeed the birth of the Antichrist. 1841). Thus, it was not that Pugin’s art lacked when Cram designed St. George’s Chapel 20. Cram, The Gothic Quest, op. cit. : 9. a sense of humour, just a sense of humour (begun 1916) at the Mercersburg Academy of that Kenneth Clark could appreciably see in Mercersburg, Pennsylvania, he included not 21. Cram, Church Building: A Study of the his architecture. only a window depicting the Arthurian Grail Principles of Architecture, op. cit. : 89. Quest to inspire the academy’s young men to Concerning the importance of liturgy, Cram 5. Cram, Ralph Adams, 1930, “Introduction,” in aspire to the chivalric ideal, but also a two- insisted that Catholic ritual was an art form Lester Burbank Bridaham, Gargoyles, Chimères light window with the Chevalier Bayard on that demanded “every adjunct of perfect and the Grotesque in French Gothic , the right and George Washington on the left, beauty that can be brought to its environ- New York, Architectural Book Publishing Co., reminding the students that the chivalric ideal ment.” (Cram, The Gothic Quest, op. cit. : p. vii. did not end with the Middle Ages. 292.) Likewise, concerning the importance of 6. Id. : viii. a church’s plan to facilitate the art of liturgy, 18. Inasmuch as the purpose of a hood-moulding Cram advised: “first let us consider the plan, 7. Anecdotal evidence of Cram’s slight irre- is to shed rainwater away from the doors for all hangs on this: if the plan is not right, verence can be found in a prank he pulled beneath, the label-stops would drip with rain. and if the whole structure does not follow at the consecration service of a church he As such, the absurdly long brim of the batter’s inevitably from it, then the whole thing is designed. The congregation of that church baseball cap plays with the hood-moulding’s wrong.” (Cram, Ralph Adams, 1899, “Good was decidedly Low-Episcopalian, and Cram, purpose: the brim sheds the rainwater away and Bad Modern Gothic,” Architectural an Anglo-Catholic, “secreted incense into from the batter’s watchful eyes. Review, vol. 6, p. 115.) the hot-air furnace” to give the staunchly 19. Concerning the evil of foxes, Cram, the Protestant congregation a whiff of what a 22. Cram, Church Building: A Study of the Jacobite-monarchist, wrote a poem to com- High-Church service was like in a church of Principles of Architecture, op. cit. : 8. memorate the royal battle-standard of King his design. (See Shand-Tucci, Douglass, 1995, Charles I, raised in Nottingham on August 22, 23. Cram, Goodhue and Ferguson, Boston, Boston Bohemia, 1881-1900, Ralph Adams 1642, starting the English Civil War. The MA, to the Messrs. Walker, Walkerville, Cram: Life and Architecture, vol. 1, Amherst, poem is called “Nottingham Hunting,” and ON, June 10, 1903, TSL, Leddy Library, the University of Massachusetts Press, p. 270.) Cram described the parliamentarian oppo- University of Windsor, Ontario: Acc. #07-011, 8. For further details on the Walkerville church, sition to the king thusly: “Count the rascals File #278 (“Cram, Goodhue and Ferguson see Macdonell, Cameron, 2006, “‘If You Want as they scamper! If there’s one, there’s one- Correspondence”), Box #24. To, You Can Cure Me’: Duplicity and the and-twenty; / There’s the gray old fox Noll 24. Granted, one might argue that John is caught Edwardian Patron,” Journal of the Society for Cromwell, crafty Pym, and coward Byng, / in the rapture of revelatory vision, instead, the Study of Architecture in Canada, vol. 31, Hampden, Hollis, Vane, and Essex—Lord! and thus still quite focused on the Lord’s work. no. 2, p. 23-36. there’s sport enough in plenty; / ‘T is a gal- lant day for hunting in the name of Charles 25. Shand-Tucci, 1995 : 270. Shand-Tucci conse- 9. Cram, Ralph Adams, 1901, Church Building: the King.” (Cram, Ralph Adams, 1895, quently argued that such a combination of A Study of the Principles of Architecture in “Nottingham Hunting,” The Century, vol. 27, wit and dark comedy was demonstrative of Their Relation to the Church, Boston, Small, p. 557.) The rebellious forces of Cromwell and camp humour and thus the distinctly “Gay Maynard and Co., p. 34. the other parliamentary foxes were evils of a Gothic” of Cram and Goodhue’s supposed 10. Cram, Ralph Adams, 1908, Excalibur: An modern world that broke Catholic faith with homosexuality. Yet, wit and dark humour are Arthurian Drama, Boston, R.G. Badger, p. 28. God and King. Furthermore, in the aftermath not the privileged combination of homosexual campiness. One need only look to Augustus 11. Id. : 81. of World War I, Cram would go on to explain the evil of Cromwell’s rebellion in the apoca- Welby Pugin’s witty and grim contrast of the 12. Cram, Ralph Adams, 1922, Towards the Great lyptic terms of a modern world giving birth poor in medieval and modern England (where Peace, Boston, Marshall Jones, p. 81. to the Antichrist. Cromwell helped prepare the modern poor are boxed up and sent for 13. Cram, Ralph Adams, 1907, The Gothic Quest, the modern world “for its [the Antichrist’s] dissection in the anatomy theatres) to realize New York, Baker and Taylor, p. 72. nativity, and when, on the first of August, that the Anglo-Gothic Revival made use of 1914, a group of ‘supermen’ in Berlin acted dark witticisms regardless of sexual orienta- 14. Shakespeare, William, 1997, The Tragedy as surgeons and midwife, it came to its birth, tion; and one would be hard pressed to “out” of Hamlet, Prince of Denmark (c.1600), in after long gestation... In the first months Pugin. Stephen Greenblatt (gen. ed.), The Norton of Apocalyptic revelation... it became dis- 26. Tannler, Albert, 2004, “Harry Eldredge Shakespeare: Based on the Oxford Edition, mally evident that modern civilization was New York, W.W. Norton and Co., p. 1691. Goodhue: Pioneer of American Stained Glass,”

28 JSSAC | JSÉAC 37 > No 2 > 2012 Cameron Macdonell > T hematic dossier | Dossier thématique

Stained Glass Quarterly [http://public.sqaaon- 33. Louise Imogen Guiney to Fred Holland Day, line.com/main_pages/sgq/harrygoodhue. February 15, 1901, as quoted in Parrish, 1987 html], last accessed June 10, 2005. : 332.

27. The reversal process is easy enough to fol- 34. Cram, “Introduction,” op. cit. : viii. low. Harry Goodhue placed a print of Day’s 35. See Montross, Richard Thomas, 2007, A Tour crucified Christ on an angle under the glass, of All Saints Parish, Brookline, Massachusetts, sketching the image on one side, and then Boston, Montross Graphics, p. 11. turning it over to paint the reversed image with the vitreous stains for the final window. 36. See Cram, Ralph Adams, 1905, The Ruined Abbeys of Great Britain, New York, James 28. As an example of that name-play in Boston, Potts, p. 5. Fred Holland Day kept a plaque over his door reading “This is the Day.” (See Harvinga, 37. Cram, Church Building: A Study of the Anne E., 2000, “Setting the Time of Day Principles of Architecture, op. cit. : 10. in Boston”, in Pam Roberts, Edwin Becker, 38. In 1893, for instance, Cram wrote a sonnet Verna Posever Curtis, Anne E. Harvinga (eds.), dedicated to “Dante in Exile,” New England F. Holland Day, Zwolle, Waanders, p. 31.) Magazine, vol. 8, p. 525. Likewise, his dearest friend, Louise Imogen Guiney, called Day “Sonney” in her letters 39. Cram, Church Building: A Study of the to him. (See Jussim, Estelle, 1981, Slave to Principles of Architecture, op. cit. : 1. Beauty: The Eccentric Life and Controversial 40. Ruskin, John, 1885, The Stones of Venice, Career of F. Holland Day, Boston, David vol. 3, New York, John B. Alden, p. 127. Godine, p. 35.) Day was a member (along with Incidentally, for Ruskin, the manifestation of Cram, Bertram Goodhue, and possibly Harry “healthy” playfulness came in the “noble” Goodhue) of an occult arts society in Boston forms of Gothic grotesques, which perfectly called the Visionists, where his club name was balanced the extremities of terror and ludi- the Latinization of his cognomen into “Dies” crousness (id. : 126); hence, the terrifying (id. : 47). gargoyle at Walkerville made ludicrous in its 29. When Day researched visual imagery of the service to the drainage of the church. Crucifixion, he turned to Guiney, a Roman 41. Cram, Church Building: A Study of the Catholic, for guidance. Guiney would, at Principles of Architecture, op. cit. : 48-49. times, argue with Day about his appropria- tion of religious imagery, using Cram, in 42. Cram, Ralph Adams, 1936, My Life in fact, to support her Catholic purview: “Seest Architecture, Boston, Little, Brown and Co., thou the parable? Cram sees it admirably.” p. 290. (Parrish, Stephen Maxfield, 1987, Currents of the Nineties in Boston and London, New York, Garland Publishing, p. 43.)

30. See Curtis, Verna Posever, and Jane van Nimmen (eds.), 1995, F. Holland Day: Select Texts and Bibliography, New York, G.K. Hall and Co., p. 62.

31. See especially Rollins, Hyder Edward, and Stephen Maxfield Parrish, 1951, Keats and the Bostonians, New York, Russell and Russell.

32. Fred Holland Day was an American publisher of Oscar Wilde, and Wilde specifically connec- ted the young deaths of Keats and Christ in a sonnet. (See Parrish, 1987 : 327.) Wilde was also interested in Christ as an artistic para- digm, and a vehicle for self-portraiture. (See especially Ellmann, Richard, 1988, Oscar Wilde, New York, Knopf, p. 328, 358-359, and 515.) Thus, it has been suggested that Oscar Wilde influenced Day’s decision to create self-por- traiture in the guise of Christ. (Crump, James, 1995, Suffering the Ideal: Fred Holland Day, Santa Fe, NM, Twin Palms Publishers, p. 17-18.)

JSSAC | JSÉAC 37 > No 2 > 2012 29