Saint-Mystère Remains Silent 08

Monsieur et Madamme Chiffon at Lake Como (Tribute to Ralph Eugene Meatyard).

No one saw them arrive.

One morning, they were simply there—standing by the shore of Lake Como, side by side, silent beneath their long-nosed masks. Strangers in their pressed shirts and quiet posture. Locals called them “les Chiffons,” though whether that was their name or just the way they moved—softly, like forgotten cloth—no one could say.

They never spoke. Not to each other, not to the curious tourists, not even when the children tossed pebbles at their feet and whispered dares. They just watched the lake, hour after hour, as if waiting for something to surface. A memory. A boat. A name.

Some said they came from Saint-Mystère, that cloistered village where silence isn’t a choice but a condition. Others claimed they were only passing through, looking for a reflection that once belonged to them.

At sunset, when the light grew soft and gold and the wind folded gently through the ivy, Monsieur Chiffon would shift ever so slightly closer. Madame never moved.

By morning, they were gone. Only footprints in the grass remained—two sets, side by side—facing the water.

And the lake, as always, kept their secret.

A Gateway to the Afterlife: The Hispano-Roman Sarcophagus of Córdoba

The front of the sarcophagus of the Alcázar de Córdoba.

With its imposing dimensions and intricate reliefs, this marble sarcophagus offers a fascinating glimpse into the funerary traditions of the Hispano-Roman elite. Discovered in 1958 during sewer construction in Córdoba, it had remained hidden for centuries in a necropolis in the Huerta de San Rafael del Brillante. Its iconography suggests it served as the final resting place for multiple members of a freed family, likely of Greek origin.

Carved between 220 and 240 AD from a single block of marble, its reliefs depict the journey to the afterlife. At the center stands the half-open gate of Hades, symbolizing the transition to the beyond, flanked by imposing ram and lion heads, representing strength and determination. On either side of this central scene, the soul guides of the deceased are portrayed: a magistrate holding a scroll, accompanied by a philosopher guiding him towards the afterlife, and his wife, depicted with a dove at her feet, a symbol of purity and domestic devotion.

Every carved detail showcases masterful craftsmanship—the flowing folds of the garments, the expressive gazes, and the rich symbolism all reflect a profound belief in life after death. The winged horse Pegasus and a panther on the shorter sides further reinforce this theme—symbols of swiftness and power needed to reach the underworld.

Today, this exceptional sarcophagus rests in the Alcázar de los Reyes Cristianos in Córdoba, where it continues to remind us of a civilization where art, faith, and the eternal journey were inextricably linked.

Based on: El sacófago romano del alcázar de Córdoba, published on www.arteiconografia.net.

Averroes

Averroes.

Averroes (1126–1198), also known as Ibn Rushd, was a renowned Andalusian philosopher, physician, jurist, and scholar who left a lasting impact on both the Islamic and Western intellectual traditions. He was born in Córdoba, a city that, during his time, was one of the most vibrant cultural and intellectual centers of the medieval world. Under the rule of the Almohad dynasty, Córdoba was a place where Islamic, Jewish, and Christian scholars exchanged ideas, contributing to a flourishing atmosphere of knowledge and debate. However, it was also a period of political and religious tensions, as the Almohads enforced stricter interpretations of Islam, which later led to the suppression of philosophical thought.

Averroes is best known for his commentaries on Aristotle, through which he sought to reconcile classical Greek philosophy with Islamic theology. He believed in the power of reason and argued that philosophy and religion were not in conflict but could coexist harmoniously. His works were instrumental in reintroducing Aristotelian thought to medieval Europe, profoundly influencing scholars such as Thomas Aquinas and shaping the course of Western philosophy.

Beyond philosophy, Averroes made significant contributions to medicine, law, and astronomy, authoring numerous texts that remained influential for centuries. Despite his intellectual achievements, his ideas eventually fell out of favor in the Islamic world due to growing religious orthodoxy, and he faced exile toward the end of his life. However, his works were preserved and translated into Latin, ensuring his legacy in the European Renaissance and the development of secular thought.

Jan Steen: Life, Laughter, and the Lessons of the Tavern

Tweeërlei spel, by Jan Havicksz. Steen, (1660 - 1679).

In the lively cities of the 17th-century Dutch Republic, no artist captured the spirited chaos of everyday life quite like Jan Steen. Born in Leiden in 1626 into a Catholic brewing family, Steen grew up amid taverns, markets, and domestic bustle—scenes that would later fill his paintings with warmth, wit, and mischief. Though briefly a university student, he chose instead to paint the human comedy in all its unruly brilliance.

Trained by prominent artists (possibly including Adriaen van Ostade or Nicolaus Knupfer), Steen developed a rich, theatrical style full of color, detail, and narrative flair. In the early 1670s, during financial hardship, he ran a tavern in Leiden—a life experience that clearly informed the authenticity and irony of his scenes.

Steen’s paintings overflow with humor and disorder. His interiors are cluttered with overturned mugs, sleeping dogs, flirtation, and chaos—but beneath the merriment lies a moral undertone. Like many Dutch genre painters, he used satire to comment on vice, vanity, and indulgence.

A striking example is “Tweeërlei spel” (Twofold Game, ca. 1660–1679), a tavern scene built around two kinds of “play”: a group of men focused on triktrak (backgammon), and an older man groping a serving woman in the foreground. All around are symbols of disorder—broken eggshells, the pipe and coals, mussel shells (signs of lust), a fallen stool, and a dog lying amid the chaos. A lute hangs overhead, evoking fleeting pleasure.

Here, Steen blends comedy with critique. The “game” is both literal and suggestive, drawing attention to power, gender, and temptation. Having run a tavern himself, Steen may well have painted from life—or at least from keen observation.

In a society that prized Calvinist restraint and bourgeois order, Jan Steen gave us something else: a mirror of the untidy, unguarded moments that reveal our shared humanity. When he died in 1679, he left behind a body of work that still speaks to the absurdity and beauty of everyday life. Through paintings like Twofold Game, Steen reminds us that even in chaos, there is laughter—and in folly, a truth.

Les Mousses, Étretat (France)

Les Mousses (deckhands), Étretat (France).

In early 1900s Étretat, fishing was a way of life, with children of fishermen beginning their training at twelve. They progressed from coursiers, who ran errands, to ship’s boys, who joined short fishing trips to learn essential maritime skills. By fourteen or fifteen, they became deckhands, working full-time on boats, handling nets, and preparing fish for market.

Historically, Étretat's fishing industry declined in the mid-19th century, shifting to coastal fishing with smaller boats. Traditional clinker-built boats sailed to Dieppe for herring fishing in autumn, while mackerel fishing remained a summer staple. This hands-on education ensured fishing traditions were passed down through generations, reflecting a broader maritime heritage in Normandy.

El Peromato and La Gobierna, Zamora (Spain)

El Peromato and La Gobierna of Zamora (Spain).

In Zamora, two weathervanes have transcended their decorative function to become true symbols of the city: El Peromato and La Gobierna. These figures have a historical origin closely linked to local architecture. El Peromato, a medieval knight figure carrying the Seña Bermeja, once stood atop the tower of the Church of San Juan de Puerta Nueva in the Plaza Mayor. La Gobierna, a personification of fame holding a trumpet and the keys to the city, was positioned on the southern tower of the Puente de Piedra (the Stone Bridge).

Both weathervanes reflect the cultural heritage of Zamora. Today, they are preserved in the Provincial Museum of Zamora, where their significance continues to live on in popular imagination. El Peromato has also given rise to the expression "ya está vuelto el Peromato", used to signify a change of opinion or decision. This deeply rooted phrase among the people of Zamora reinforces the symbolic importance of the figure in the city's daily life.

The significance of these figures is also captured in a well-known Zamoran saying, recorded in popular folklore:
"Zamora has three things that Madrid does not: El Peromato, La Gobierna, and the Paseo de San Martín."

Based on an article published in ‘Zamora News’ in 2024.

Joanna of Castile: Madness or Marginalization?

Based on “Johanna de Waanzinnige” by Johan Brouwer

Joanna of Castile

History has often remembered Joanna of Castile—better known by her posthumous moniker Juana la Loca, or Joanna the Mad—as a queen who lost her mind for love and lingered in madness until death. She is imagined wandering with her husband’s coffin, clutching it as if unwilling to release him to the realm of the dead. But is this image accurate, or merely a convenient fiction woven by those who profited from her silence?

The Dutch historian Johan Brouwer takes this well-worn tale and turns it on its head. In his thoughtful and evocative account, Brouwer offers not a sensationalized depiction of a madwoman, but a portrait of a tragic and complex figure whose alleged insanity may have been less a medical reality than a political strategy. Through his lens, Joanna becomes not only a grieving widow but a woman undone by the forces of dynastic ambition and patriarchal politics.

Born in 1479 to the powerful Catholic Monarchs Ferdinand of Aragon and Isabella of Castile, Joanna was educated in a rich intellectual tradition. She was fluent in Latin, trained in philosophy and theology, and exposed to the ideals of Renaissance humanism. This was not the upbringing of a passive or weak-minded woman, but one meant to prepare her for the responsibilities of rule. Yet from the outset, Joanna’s destiny was never truly hers to shape.

Her marriage to Philip the Handsome, son of the Holy Roman Emperor Maximilian I, was orchestrated for political gain. What began as a passionate union quickly deteriorated into a fraught relationship riddled with betrayal and manipulation. Joanna’s deep emotional bond to Philip—intensified by his infidelities and her own growing isolation at his court—set the stage for her later image as a woman “mad with love.”

When Philip died suddenly in 1506, Joanna was just twenty-seven years old and mother to six children. Her grief was profound, but it also became a weapon used against her. Her father Ferdinand soon claimed she was mentally unfit to govern, declaring himself regent of Castile. Her son Charles, later Charles V, would do the same. She spent nearly five decades confined in the Convent of Tordesillas, where she was visited rarely, ruled never, and gradually erased from public life.

Brouwer challenges us to reconsider the term “madness” as applied to Joanna. Were her behaviors truly pathological, or were they the natural reactions of a sensitive and bereaved woman in a political world that offered no space for emotional authenticity? Her supposed mental breakdowns often occurred in contexts where her authority was being questioned or usurped. Was her madness real—or constructed?

Importantly, Brouwer situates Joanna’s downfall within the broader context of gender and power. Early modern Europe was not kind to strong-willed women. A queen regnant like Joanna, who claimed her own authority and did not bend easily to the will of male advisors or relatives, was a threat to established norms. Declaring her insane was not only a means of control but a way to reinforce societal expectations about the roles women were meant to play—docile, devoted, dependent.

The tragedy of Joanna’s life lies not only in her suffering, but in the way that history has misunderstood and misrepresented her. By focusing on the supposed irrationality of her grief, traditional narratives have overlooked the rationality of her confinement. In silencing Joanna, her family secured their thrones—but in doing so, they condemned her to half a century of political and emotional imprisonment.

Brouwer’s work stands as a vital corrective to centuries of simplistic portrayals. It is both a historical inquiry and a philosophical meditation on how we define mental illness, especially in those who disrupt the status quo. His Johanna de Waanzinnige invites us to listen for the voice beneath the legend—the voice of a woman unjustly cast as mad, and long denied her place in the story of Europe.

Further Reading

·      Johan Brouwer, Johanna de Waanzinnige.

·      Bethany Aram, Juana the Mad: Sovereignty and Dynasty in Renaissance Europe

·      Manuel Fernández Álvarez, Juana la Loca: La cautiva de Tordesillas

Saint-Mystère Remains Silent 07

Monsieur et Madamme Discret wondering what will come next (Saint-Mystère, France; Tribute to Ralph Eugene Meatyard).

No one recalls when the Discrets first took their seats by the wagon. They’re simply there—every day, in the same chairs, beneath the same painted masks. Always watching. Always waiting. Unmoved.

No one knows their story.
And no one dares to ask.

The Aljafería Palace in Zaragoza (Spain)

The Aljafería Palace in Zaragoza (Spain).

The Aljafería Palace in Zaragoza is one of Spain’s most remarkable examples of Islamic architecture and a beautiful showcase of the splendor of Al-Andalus during the Taifa period. Built in the 11th century under the rule of Al-Muqtadir, the palace served as the residence of the Muslim kings of the Taifa of Zaragoza. Its elegant horseshoe arches, intricate geometric carvings, and lush courtyard showcase the refined artistry of Islamic Spain. The palace was not only a symbol of political power but also a cultural hub, where poets, scholars, and scientists thrived.

After the Christian reconquest of Zaragoza in 1118 by Alfonso I of Aragon, the Aljafería was repurposed as a royal residence. In the late 15th century, the Catholic Monarchs Ferdinand and Isabella commissioned significant modifications, adding elements of Gothic and Mudejar architecture. The palace later served as a military barracks, which led to structural damage over the centuries. Despite this, extensive restoration efforts have preserved its beauty, and today, it houses the Parliament of Aragón.

Visitors can explore its richly decorated halls, defensive towers, and serene gardens, witnessing the fascinating blend of Islamic, Gothic, and Renaissance influences that make the Aljafería a unique symbol of Spain’s multicultural past.

The Interior of the Aljaferia Palace.

The Case Against Excess: Ingrid Robeyns and the Idea of Limitarianism

Ingrid Robeyns.

In a world where billionaires race to space and wealth concentrates in ever-fewer hands, philosopher and economist Ingrid Robeyns offers a refreshingly bold idea: maybe there should be a limit to how much wealth one person can ethically or politically possess. She calls it Limitarianism, and it's a concept that speaks not only to modern anxieties about inequality and climate crisis, but also echoes the deeper moral traditions of European thought — from ancient Stoicism to Christian thinkers like Saint Augustine.

What is Limitarianism?

At its core, limitarianism is the view that no one should be extremely rich. While most political philosophy focuses on alleviating poverty, Robeyns asks the opposite question: how much is too much? Drawing on empirical data, ethical theory, and political reflection, she argues that there is a moral upper limit to personal wealth, and exceeding that limit is unjustifiable — especially in societies where essential needs remain unmet.

Robeyns distinguishes between two versions of the idea:

• Moral limitarianism: it is morally wrong for someone to have more wealth than they could reasonably need to lead a flourishing life (she tentatively places this at around €1 million).

• Political limitarianism: the state should adopt measures to prevent excessive wealth, not as punishment, but to ensure democracy and sustainability (with the upper threshold possibly around €10 million).

This is not about envy or punishing success. It's about redirecting surplus resources — the part of wealth far beyond what’s needed for a dignified life — toward collective well-being: education, healthcare, climate adaptation, public space.

An European Ethic?

Limitarianism may strike some as radical in a global capitalist culture that glorifies the ultra-rich. But for European audiences, especially, Robeyns’ message resonates deeply. It revives a long-standing continental tradition of questioning excess — moral, economic, and personal.

Saint Augustine, writing in the early 5th century, famously warned that “it is not poverty that is to be feared, but the love of riches.” For Augustine, the good life was not one of opulence, but of justice, humility, and service to the common good. Robeyns’ arguments mirror this spiritual logic: hoarding wealth is not just an economic error, but a moral failure that erodes community and distracts from higher goods.

From medieval Christendom’s suspicion of avarice to the welfare values embedded in post-war European social democracies, limiting extreme wealth is not a new idea — it's a forgotten one. Robeyns simply gives it new language and empirical grounding.

Why It Matters Now

We live in a time when extreme wealth poses direct threats:

• To democracy, as money buys political influence.

• To climate justice, as luxury lifestyles drive disproportionate emissions.

• To social cohesion, as inequality fuels mistrust and resentment.

Robeyns does not claim limitarianism solves everything. But it starts an urgently needed conversation: not just how to help the poor, but how to restrain the power of the hyper-rich. Her work encourages us to imagine economic systems that are fairer, freer, and more focused on human flourishing than personal accumulation.

And perhaps that is her most radical idea: that justice is not only about lifting the floor, but also lowering the ceiling.

Further Reading

• Ingrid Robeyns, Limitarianism: The Case Against Extreme Wealth (2024)

• Ingrid Robeyns (ed.), Having Too Much: Philosophical Essays on Limitarianism (Open Book Publishers, 2023)

• “Why Limitarianism?”, Journal of Political Philosophy (2022)

• Wellbeing, Freedom and Social Justice: The Capability Approach Re-examined (Open Book Publishers, 2017)

• Saint Augustine, City of God, Book XIX

• Thomas Piketty, Capital and Ideology (2020)

Olives, Oranges, and the Essence of Jaén

Tres morillas de Jaén, by María Pilar Morales.

Jaén, located in the heart of southern Spain, is a province that reflects the spirit of Mediterranean agriculture. Its landscape, with rugged mountains and fertile plains, is dominated by vast olive groves and thriving orange orchards. These two types of trees have shaped the region’s culture, economy, and identity for centuries.

The olive tree is the cornerstone of Jaén’s agricultural industry, as the province is one of the world’s leading producers of olive oil. Olive groves stretch across the hills, their silvery-green leaves shining in the sunlight. These ancient trees are not just crucial to the local economy, but they also carry the history of Jaén, reaching back to Roman times.

While olives dominate the region, orange groves add a vibrant contrast. In the lower-lying areas, the bright blossoms and sweet fruit of orange trees contribute to Jaén’s agricultural variety. The citrus groves, with their fragrant flowers and colorful fruit, bring a fresh burst of life to the landscape, complementing the more muted tones of the olive trees.

Together, these trees define Jaén’s countryside, creating a balanced landscape that is both beautiful and essential to the province’s economy. The close relationship between the land and its agricultural traditions is at the heart of Jaén’s identity, making it a place where nature and culture are deeply intertwined.

Moses and the Golden Calf, Vézelay (France).

The Basilica of Sainte-Madeleine in Vézelay, a masterpiece of Romanesque architecture, is home to some of the most stunning sculptures of the medieval period. Among its many remarkable features is the Nave Capital Salet Number 56, an intricately carved capital dating between 1120 and 1138. This particular sculpture depicts the dramatic Old Testament story of Moses and the Golden Calf, a powerful scene from the Book of Exodus (Exodus 32:15-19).

In the story, the Israelites, growing impatient during Moses’ prolonged absence on Mount Sinai, create a golden idol in the form of a calf and begin to worship it. When Moses returns with the Ten Commandments, he finds the people in the throes of idolatry. Furious, he smashes the tablets and condemns their sinful behavior. This pivotal moment is beautifully captured in the capital’s sculpture, where Moses is shown confronting the Golden Calf, a symbol of disobedience and moral corruption. The calf is depicted with a demon perched atop it, signifying the malevolent influence leading the Israelites astray.

Exodus 32: 15-19:

Moses turned and went down the mountain with the two tablets of the covenant law in his hands. They were inscribed on both sides, front and back. The tablets were the work of God; the writing was the writing of God, engraved on the tablets. When Joshua heard the noise of the people shouting, he said to Moses, “There is the sound of war in the camp.” Moses replied: “It is not the sound of victory, it is not the sound of defeat; it is the sound of singing that I hear.” When Moses approached the camp and saw the calf and the dancing, his anger burned and he threw the tablets out of his hands, breaking them to pieces at the foot of the mountain.

The First Council of Nicaea: A Turning Point in Christianity and the Roman World

Council of Nicaea 325. Fresco in Salone Sistino, Vatican.

In 325 AD, a gathering took place in the ancient city of Nicaea that would shape the trajectory of Christianity—and by extension, Western civilization—for centuries. The First Council of Nicaea, convened by Emperor Constantine, was far more than a theological summit. It was the moment when imperial power met religious doctrine, laying the foundation for what would become the Christian Roman Empire and, eventually, Christendom.

This blog post explores the Council of Nicaea in the broader context of the late Roman Empire—why it was convened, what it achieved, and how its impact continues to echo through history.

The Roman Empire in Transition

By the early 4th century, the Roman Empire was undergoing a profound transformation. The old pagan order, though still dominant in many areas, was gradually being displaced by a new force: Christianity. This once-marginal sect had grown substantially since the first century, fueled by missionary efforts and its appeal to both the oppressed and the elite.

Contrary to popular belief, Christian persecution in the Roman Empire had been sporadic rather than constant. Many Christians lived peacefully, some even holding high office. But tensions remained. When Emperor Constantine rose to power after years of civil war, he did something revolutionary: he embraced the Christian faith.

The Edict of Milan in 313 AD legalized Christian worship and returned confiscated Church property. For Constantine, Christianity was not just a matter of personal conviction—it was a political unifier. But to serve that function, the religion itself needed unity.

The Crisis That Sparked a Council

At the heart of the crisis was a theological dispute over the nature of Jesus Christ. A priest named Arius of Alexandria taught that Jesus was not co-eternal with God the Father, but a created being—divine, perhaps, but not equal to God.

Arianism, as it came to be known, quickly gained traction and sparked intense debate. For Constantine, religious disunity threatened political stability. He took the extraordinary step of calling an ecumenical council to resolve the matter.

The Council of Nicaea was unprecedented. Over 300 bishops were summoned from across the empire—some bearing the scars of earlier persecution. They came together not merely to debate theology, but to safeguard the unity of a now-imperial faith.

Defining Orthodoxy

The key issue was Christology: Was Jesus the same as God the Father, or was he distinct and subordinate?

Arius maintained that Jesus was created and therefore not divine in the same way as God. His opponents, led by Bishop Alexander of Alexandria and his deacon Athanasius, argued that Jesus was “begotten, not made,” and of the same divine essence—homoousios—as the Father.

After months of heated debate, the council rejected Arianism and endorsed the doctrine of Christ’s full divinity. This consensus was codified in the Nicene Creed, which affirmed belief in one God, in Jesus Christ as “God from God, Light from Light, true God from true God,” and in the Holy Spirit.

The creed marked a foundational moment in Christian theology. Though the debate would continue for centuries, the council had drawn a theological line in the sand.

Key Participants at the First Council of Nicaea (325 AD).

The Emperor’s Role

Constantine did not merely sponsor the council—he presided over it. Though not a bishop himself, his involvement reflected a new reality: the emperor as a central figure in Church affairs.

This was a turning point. Never before had a Roman emperor so directly influenced Christian doctrine. While some bishops welcomed the protection and resources imperial patronage provided, others were uneasy with the Church’s growing dependence on secular power.

Historians still debate whether Constantine’s motivations were spiritual, political, or a mix of both. But his actions undeniably changed the nature of Christianity. It was now not just a faith, but a state religion in the making.

Enduring Misconceptions

Popular myths, particularly those popularized by modern fiction, have clouded the facts about Nicaea. Contrary to some claims, the council did not decide which books would be included in the Bible, nor did it invent the idea of Jesus’ divinity.

The biblical canon developed over several centuries through widespread usage and theological consensus. Nicaea focused specifically on defining the nature of Christ’s relationship to God the Father—not on determining the contents of Scripture.

Legacy and Impact

The First Council of Nicaea was the first in a series of ecumenical councils that would shape Christian doctrine for centuries. It established precedent: when theology divided the Church, councils would be called to define orthodoxy.

It also laid the groundwork for the Christianization of the Roman Empire. Over time, emperors would not only support but legislate Christian doctrine. Church and state became intertwined in ways that would dominate European history for over a millennium.

Even today, the Nicene Creed is recited in churches around the world. The language may vary, but its core message remains: Jesus Christ is divine, eternal, and one with the Father.

Conclusion

The Council of Nicaea was not merely a theological event. It was a reflection of a rapidly changing empire, a sign of the Church’s evolving identity, and a foretaste of the complex relationship between faith and power in the centuries to come.

What happened in Nicaea continues to matter—not only for Christians, but for anyone interested in how belief systems shape societies. It was a moment when ideas met empire, and the result was the birth of a new world order.

Further Reading

• The History of the Church by Eusebius

• The Early Church by Henry Chadwick

• A Short History of the Early Church by Harry Boer

The Battle of Vigo Bay (1702)

Battle of Vigo Bay, October 23, 1702. Episode from the War of the Spanish Succession (anonymous, ca. 1705).

In the autumn of 1702, an important sea battle took place off the coast of northwestern Spain, in a quiet inlet called Vigo Bay. Known as the Battle of Vigo Bay, it became one of the most dramatic naval clashes of the early War of the Spanish Succession—a major European conflict over who would control the Spanish Empire after the death of its childless king (Charles II of Spain, 1661–1700).

At the time, a powerful fleet of Spanish treasure ships had just arrived from the Americas, carrying gold, silver, and valuable goods. They were being protected by French warships and hidden inside the bay. But the Allies—Britain and the Dutch Republic—had found out where the fleet was hiding.

Led by Admiral Sir George Rooke (British) and Vice Admiral Philips van Almonde (Dutch), the Allied fleet launched a surprise attack on 23 October 1702. The entrance to the harbor had been blocked with a heavy chain and guarded by forts and ships, but the Allies broke through. In the chaos that followed, most of the Franco-Spanish fleet was destroyed or captured.

Although much of the treasure had already been moved inland, the battle was still a major victory. It gave the Allies a badly needed morale boost after an earlier failed attempt to capture the port of Cádiz, and it showed their naval strength. The event also had diplomatic effects: soon after the battle, Portugal switched sides to join the Allies.

Today, the Battle of Vigo Bay is remembered not just for its daring naval tactics, but also for its impact on the larger war. It’s a reminder of how battles at sea could shape the course of European politics and global trade in the early 18th century.

Saint-Mystère Remains Silent 06

Last known photo of Les sœurs Moutarde in front of their caravan (1978, Saint-Mystère, France; Tribute to Ralph Eugene Meatyard).

At the far edge of Saint-Mystère, beyond the reach of regular paths, stood a white caravan. Since 1973, it had been the home of Églantine and Ursule Moutarde — two sisters who, after their house burned down, chose silence over rebuilding.

They kept to themselves. Always together. One wrapped in a coarse blanket, the other in a suit worn thin. They never spoke. Not to villagers, not even to each other. But in Saint-Mystère, that was not unusual. Not since the silence began.

Each morning they sat outside, side by side, unmoving — as if listening to something deep and old. No one disturbed them. Questions were considered dangerous. Presence was enough.

In 1978, a traveler passed through and took their photo. They did not smile. They did not blink. They simply allowed the moment.

Weeks later, they were gone. Chairs empty. Caravan locked. No farewell, no sign of where or why.

Only the silence remained. And in Saint-Mystère, that is explanation enough.

The Terrible 17th-Century Europe

Battle of Rocroi (1643), painted in 2011 by Augusto Ferrer-Dalmau.

The 17th century was a time of extraordinary hardship across Europe. War, famine, plague, and rebellion tore through kingdoms and empires. From the Thirty Years’ War in Central Europe to the English Civil War, revolts in Spain and France, and the collapse of the Polish-Lithuanian Commonwealth, the entire continent seemed engulfed in crisis.

Historians have long debated whether these events were isolated or interconnected. One compelling explanation is the General Crisis Theory, which sees the 17th century as a systemic upheaval across Europe—a convergence of economic, political, social, and environmental pressures that reshaped the continent.

Crisis Everywhere

The Thirty Years’ War (1618–1648) devastated large parts of the Holy Roman Empire, killing millions and leaving towns and fields in ruins. France faced civil conflict in the Fronde, Spain lost Portugal and faced revolts in Catalonia, and England executed its king after a bloody civil war. Poland was invaded repeatedly, while Russia dealt with uprisings and instability. Even relatively stable northern states like the Dutch Republic and Sweden saw food riots and unrest.

These weren’t isolated troubles. In many places, multiple crises overlapped—military conflict, religious division, famine, and economic collapse—making the century one of the most chaotic in European memory.

Explaining the Crisis

Historians Eric Hobsbawm and Hugh Trevor-Roper argued that the 17th-century crisis was driven by deep-rooted tensions: the decline of feudalism, the rise of capitalism, and struggles between monarchs and emerging bourgeois forces. Geoffrey Parker expanded the theory by emphasizing the role of climate: the Little Ice Age brought colder weather, failed harvests, and famine, which fueled popular discontent and revolt.

Examples abound:

• Drought contributed to revolts in Portugal (1637) and Catalonia (1640).

• Bread riots erupted in Naples and Palermo (1647–48).

• Failed harvests triggered unrest in Ireland, Sweden, and Central Europe.

These environmental shocks didn’t cause every war or rebellion, but they intensified existing tensions, tipping struggling societies into crisis.

Economic and Religious Shifts

Spain’s imperial decline, triggered by inflation, overreliance on American silver, and lost wars, marked a shift in European power. Economic leadership moved northward to England and the Dutch Republic, which embraced trade, finance, and capitalist enterprise.

Religious conflict also remained a driving force. The Thirty Years’ War began as a Catholic-Protestant conflict, and in Britain, tensions between Anglicans, Puritans, and Catholics fed into civil war. Witch hunts, particularly in Scotland and Germany, reflected a climate of fear and scapegoating.

Was There Really a “General Crisis”?

Some historians argue the “general crisis” idea stretches too far—local causes mattered, and not all regions suffered equally. Yet the sheer simultaneity of upheaval across Europe is striking. Even if causes varied, many societies were under extraordinary pressure from multiple directions.

Conclusion

The 17th century was more than just a century of disasters—it was a time of transformation. From its upheavals emerged modern Europe: stronger states, capitalist economies, and new political structures. The General Crisis Theory doesn’t offer a single cause, but a framework for understanding how a range of pressures combined to make the 1600s so uniquely destructive—and transformative.

Further Reading

1. Geoffrey Parker – Global Crisis: War, Climate Change & Catastrophe in the Seventeenth Century

2. Hugh Trevor-Roper – The General Crisis of the Seventeenth Century

3. Eric Hobsbawm – The Age of Revolution

4. John H. Elliott – The Count-Duke of Olivares

5. Peter H. Wilson – Europe’s Tragedy: A History of the Thirty Years War

From Convivencia to Catholic Rule

How Power and Identity Changed in Late Medieval Spain

The Capitulation of Granada, 1492, by Francisco Pradilla y Ortiz (1848 – 1921).

The word Convivencia often brings to mind an idealized vision of medieval Spain, where Christians, Jews, and Muslims lived together in harmony. While modern historians have challenged this romantic image, it remains a useful starting point for understanding one of Europe’s major historical shifts: the move from a diverse society to a centralized, Catholic monarchy under Ferdinand and Isabella in the late 1400s. This transformation wasn't sudden or inevitable—it was the product of long-standing tensions, political ambitions, and changing religious ideas.

Rethinking Convivencia

Between the 8th and 13th centuries, especially in Muslim-ruled Al-Andalus, people of different faiths often lived side by side. But as historian David Nirenberg has shown, this coexistence was fragile and marked by episodes of violence and exclusion. It was often a matter of practicality, not tolerance. Rather than seeing Convivencia as a golden age that abruptly ended, it's more accurate to view it as a delicate balance that slowly unraveled.

The Reconquista and Christian Identity

The centuries-long Christian reconquest of Iberia—the Reconquista—was more than just military. It helped shape a Christian identity that saw the land as rightfully Christian, reclaimed from Muslim rule. By 1492, with the fall of Granada, this idea had deeply taken root. Historian Joseph Pérez argues that Ferdinand and Isabella saw religious unity as essential to national unity. So, taking Granada was both a political and spiritual mission.

Building a Centralized Catholic State

To strengthen their rule, the Catholic Monarchs reduced the power of nobles and the Church, building a more centralized state. They created new institutions like a standing army, royal courts, and a uniform tax system. Religious conformity became part of this state-building. The Spanish Inquisition, founded in 1478, was less about Church control and more about royal authority. It targeted not just religious heresy, but political dissent as well.

Economic Pressures and Social Tensions

Religious persecution was also tied to social and economic tensions. Jewish communities often held key roles in finance and medicine, causing resentment. The anti-Jewish violence of 1391, and later forced conversions, reflected not only religious hostility but also economic rivalry. Many converted Jews, or conversos, were still viewed with suspicion. The idea of limpieza de sangre (purity of blood) emerged to justify discrimination based on ancestry.

These tensions set the stage for the expulsion of Jews in 1492 and, later, the forced conversions and persecution of Muslims. These acts weren’t just religious—they were also driven by efforts to consolidate power and control.

Religion and National Ambition

Ferdinand and Isabella’s vision wasn’t just inward-looking. Influenced by crusading ideas and apocalyptic hopes, they saw their reign as part of a divine mission. As Brian Catlos notes, 1492 wasn’t just the year Granada fell—it was also the year Columbus sailed west, launching Spain into global expansion. Religious intolerance, then, wasn’t only about purging Spain—it was also about projecting Spanish Catholicism onto the world stage.

Conclusion

The move from religious coexistence to Catholic authoritarianism in Spain was the result of many intertwined forces: war, politics, economic pressure, and religious ideology. The Catholic Monarchs didn’t invent intolerance, but they institutionalized it on a massive scale. By seeing this transformation as part of a long historical arc, we better understand how faith, power, and identity shaped modern Spain.

Further Reading:

• Brian A. Catlos, Kingdoms of Faith: A New History of Islamic Spain (2018)

• David Nirenberg, Communities of Violence: Persecution of Minorities in the Middle Ages (1996)

• Joseph Pérez, The Spanish Inquisition: A History (2005)

• Henry Kamen, Spain, 1469–1714: A Society of Conflict (1983)

• Benzion Netanyahu, The Origins of the Inquisition in Fifteenth Century Spain (1995)

• Angus Mackay, Spain in the Middle Ages: From Frontier to Empire, 1000–1500 (1977)

The Lingering Shadows of Spain’s Civil War

Though Spain’s Civil War ended in 1939, its echoes still resonate through the country’s streets, politics, and family histories. Unlike other European nations that confronted their past through trials or truth commissions, Spain adopted a pact of forgetting (Pacto del Olvido) during its transition to democracy. This silence allowed wounds to remain unhealed, with mass graves still being uncovered and historical memory laws stirring controversy. The legacy of Franco’s dictatorship lingers in political debates, street names, and even in family conversations where loyalties remain divided. As Spain grapples with how to remember its past, the war remains not just history but a presence—just below the surface.

Santa Comba de Bande, Spain

Santa Comba de Bande.

The Santa Comba de Bande church is one of the oldest and most significant examples of Visigothic architecture in Spain, located in the small village of Bande in the province of Ourense, Galicia. Dating back to the 7th century, it represents a key period in early medieval Christian architecture on the Iberian Peninsula, before the Islamic conquest. The church’s structure follows a traditional Greek cross plan, notable for its use of horseshoe arches, and its simplicity reflects the aesthetic and religious values of the Visigothic era.

Despite its modest size, the church holds immense historical and cultural significance due to its connection to early Christian art and Visigothic traditions. The Santa Comba de Bande church is also known for its beautifully preserved mosaics and carvings, which provide insight into the art and religious practices of the time. The church has been declared a national monument and remains a testament to the continuity of Christian worship in the region for over a millennium.

“Italian Brainrot”, what the Heck

Ballerina Cappuccina, Bombardiro Crocodilo, and Tralalero Tralala dancing on the beach.

Let me be clear: I don’t have children, so I also don’t have grandchildren to mediate the cultural confusion between myself and Generation Z. What I do have is a phone, a bit of curiosity, and a stubborn refusal to believe the world has entirely lost its mind — though after encountering something called Italian Brainrot, I’m no longer so sure.

I was born in the 1960s. Occasionally, I hear younger people speak about things like cassette tapes, typewriters, rotary phones, and fluorescent toys as if they were part of some surreal vintage wonderland. To me — and to most boomers I know — those things weren’t strange or ironic. They were just life. Ordinary. Functional. Familiar.

What does feel surreal is what I’ve recently stumbled across on TikTok, Instagram, and YouTube Shorts — the natural habitats of today’s cultural experiments. That’s where I first encountered this bizarre phenomenon known as Italian Brainrot.

At first I thought it was some ironic meme about food culture, or maybe a YouTube parody. But no — it’s a genre in its own right. A stream of AI-generated videos, each under a minute, filled with manic, intentionally absurd characters screaming in bad Italian accents while doing the digital equivalent of banging pots and pans together.

There’s Tralalero Tralala — a sneaker-wearing shark-thing with the energy of an espresso-powered toddler.
There’s Bombardiro Crocodilo — a winged crocodile who seems to specialize in aerial pasta-related violence.
And Ballerina Cappuccina — a ballerina with a cappuccino cup for a head, who pirouettes like she’s auditioning for an opera written by a malfunctioning coffee machine.

The kids love it. They laugh uncontrollably. It’s not satire, exactly. And it’s definitely not parody in the way we understood it. It’s something stranger: a form of digital nonsense. It is content that functions as a coping mechanism for overstimulation, anxiety, or a fractured attention span — it is not a source of insight or meaning.

They call it brainrot. They mean that affectionately.

To me, it’s disorienting. I tried to approach it with some cultural generosity. Maybe it’s this generation’s version of Dadaism — a chaotic, comic response to a world that feels increasingly unfixable. In that light, it makes a certain kind of sense.

But I won’t lie: I still find it mostly annoying. Loud, repetitive, empty. Yet undeniably watchable — in the same way a snow globe full of glitter and frogs might be. I even caught myself laughing once or twice. Which annoyed me even more.

No, I won’t become a fan. I won’t follow Brr Brr Patapim or remix my own spaghetti-themed soundbite. But I see now that this isn’t just noise. It’s ritual. It’s play. It’s a strange and sometimes beautiful kind of escape.

And while I may not understand it, I remember the faces we made when our parents first heard punk. Or saw Monty Python. Or read Kurt Vonnegut.

These kids are strange.
But then again — weren’t we?