Sherlock Holmes is the overall title given to the series of Sherlock Holmes adaptations produced by the British television company Granada Television between 1984 and 1994. The first two series were shown under the title The Adventures Of Sherlock Holmes and were followed by subsequent series with the titles of other short story collections by Arthur Conan Doyle.
The series was broadcast on the ITV network in the UK and starred Jeremy Brett (who had earlier portrayed Dr Watson on stage in the Los Angeles production of The Crucifer of Blood) as the famous detective. His portrayal remains very popular and is accepted by some as the definitive on-screen version of Sherlock Holmes.
Of the sixty Holmes stories written by Sir Arthur Conan Doyle, forty-two were adapted in the series spanning thirty-six one-hour episodes and five feature-length specials. (Episode 40 incorporates the plot lines of both "The Adventure of the Mazarin Stone" and “The Adventure of the Three Garridebs”).
Set in the Late-Victorian era, Sherlock Holmes is the World’s only Consulting Detective. His practice is largely with private clients, but he is also known to assist the Police, often in the shape of Inspector Lestrade, when their cases overlap.
His clients range from private citizens of modest means to members of Royalty. His ability to spot clues overlooked by others, bring certain specialist knowledge - for example chemistry, botany, anatomy - and deductive reasoning to bear on problems, enable him solve the most complex cases.
He is assisted in his work by Military Veteran Dr John Watson, with whom he shares a Flat at 221B Baker Street. He craves mental stimulation, and is known to relapse into depression when there are insufficiently complex cases to engage him.
The Church, having just Celebrated The Feast of The Assumption, Venerates on this day a Saint who had a special Devotion to Our Lady.
Saint Joseph Calasanctius was born in Aragon, Spain, of a noble family, and, from his youth, showed his Charity towards children. While studying Theology at Valencia, he had to defend himself against the enticements of a powerful and noble lady, and made a Vow to enter into Holy Orders.
Having become a Priest, he was apprised by Divine Revelation that he was destined to teach and to train children, especially those of The Poor (Offertory).
He Founded, in consequence, The Order of The Poor Clerks Regular of The Pious Schools of The Mother of God (Collect) [Editor: Latin: Ordo Clericorum Regularium pauperum Matris Dei Scholarum Piarum, Sch. P. or S. P., or, in short, Piarists].
English: The Logo of The Order of The Poor Clerks Regular
of The Pious Schools of The Mother of God. Or, The Piarists.
Like Jesus, he let little children come to him (Communion) and taught them to fear God (Introit). Wherefore, the Gospel repeats the consoling words of The Master: "Whosoever shall receive one of these little ones in My name, receiveth Me."
"What is there greater," writes Saint John Chrysostom, "than to discipline minds, than to form tender youths to good habits ? God has shown us that their Souls are worthy of such zeal and of such solicitude that, for them, He did not spare His Son." [Lessons of The Third Nocturn at Matins.]
Saint Joseph Calasanctius died in 1648 at the age of ninety-two.
Mass: Veníte, fílii.
English: Saint David depicted in a Stained-Glass Window
in the Chapel of Saint Joseph Calasanctius, Kyjov, Czech Republic.
Čeština: Svatý David. Vitráž v kapli sv. Josefa Kalasanského v Kyjově. Zhotovila firma Veselý a Verner, malba oken chrámových, Praha - Karlín.
Deutsch: Elisabeth Schwarzkopf an den Musikfestwochen in Luzern.
Date: Circa 1948 -1958.
Source: Stiftung Fotodokumentation Kanton Luzern.
Author: Max Albert Wyss.
(Wikimedia Commons)
A rare and practically unknown recording by Elisabeth Schwarzkopf,
that is not widely available on records, from an obscure 1952 radio broadcast.
She sings the celebrated Aria “Glück das mir verblieb'”, from the Opera “Die tote Stadt”, by Erich Wolfgang Korngold, with The Hamburg Rundfunkorchester, conducted by Wilhelm Schüchter. Schwarzkopf never sang this Opera, nor indeed any other work by Korngold, not even his Lieder, as far as I am aware - a great pity, given the rapt quality she brings to this much recorded Aria, that few can match. The photos of Schwarzkopf (circa 1950) and that of Korngold (1922) are from my private collection.
The following Text is from Wikipedia - the free encyclopaedia, unless stated otherwise.
Dame Olga Maria Elisabeth Friederike Schwarzkopf, DBE (9 December 1915 – 3 August 2006) was a German-born Austro-British Soprano. She was among the foremost singers of Lieder, and was renowned for her performances of Viennese Operetta, as well as the Operas of Mozart, Wagner and Richard Strauss.
After retiring from the Stage, she was a Voice Teacher, internationally. She is considered one of the greatest Sopranos of the 20th-Century.
Elisabeth Friederike Schwarzkopf was born on 9 December 1915 in Jarotschin in the Province of Posen, in Prussia, Germany (now Poland) to Friedrich Schwarzkopf and his wife, Elisabeth (née Fröhlich).
In 1933, shortly after The Nazis came to power, Elisabeth Schwarzkopf's father, a local school headmaster, was dismissed from his position by the new ruling authorities for having refused to allow a Nazi Party meeting at his school.
He was also banned from taking any new teaching post. Until Friedrich Schwarzkopf's dismissal, the probability was that the 17-year-old Elisabeth would have studied Medicine after passing her Abitur; but now, as the daughter of a banned schoolteacher, she was not allowed to enter University and she commenced Music Studies at The Berlin Hochschule für Musik.
Schwarzkopf made her professional debut at The Deutsche Oper Berlin (then called Deutsches Opernhaus) on 15 April 1938, as the Second Flower Maiden (First Group) in Act 2 of Richard Wagner's Parsifal. In 1940, Schwarzkopf was awarded a full contract with The Deutsches Opernhaus, a condition of which was that she had to join The Nazi Party.
Since the theme was brought up in the dissertation of the Austrian Historian, Oliver Rathkolb, in 1982, the question of Schwarzkopf's relationship with The Nazi Party has been discussed repeatedly in the Media and in Literature.
Elisabeth Schwarzkopf sings in “Der Rosenkavalier”.
There was criticism that Schwarzkopf, not only in the years immediately after the War, but also in confrontation with revelations made in the 1980s and 1990s, made contradictory statements, including in regard to her Membership in The NSDAP (Member No. 7,548,960).
At first, she denied this and then, with varying explanations, defended it. In one version, for example, she claimed that she joined The Party only at the insistence of her father, who, himself, had earlier lost his position as School Principal after forbidding a Nazi Programme in the school.
Further Publications discussed her Musical Performances during the War before Nazi Party Conferences and for Units of The Waffen-SS. Her defenders argue in favour of her claim that she always strictly separated Art from Politics and that she was a non-Political person.
Schwarzkopf starred in five Feature Films for Reich Minister of Propaganda, Joseph Goebbels, in which she acted, sang and played the Piano.
In 1945, Schwarzkopf was granted Austrian citizenship to enable her to sing in The Vienna State Opera (Wiener Staatsoper). In 1947 and 1948, Schwarzkopf appeared on tour with The Vienna State Opera at London's Royal Opera House at Covent Garden, on 16 September 1947, as Donna Elvira in Mozart's “Don Giovanni” and at La Scala on 28 December 1948, as the Countess in Mozart's “The Marriage of Figaro”, which became one of her signature roles.
Schwarzkopf later made her official debut at The Royal Opera House, London, on 16 January 1948, as Pamina in Mozart's “The Magic Flute”, in performances sung in English, and at La Scala on 29 June 1950 singing Beethoven's “Missa Solemnis”.
Schwarzkopf's association with The Milanese House in the Early-1950s gave her the opportunity to sing certain roles on Stage for the only time in her career: Mélisande in Debussy's “Pelléas et Mélisande”, Iole in Handel's “Hercules”, Marguerite in Gounod's “Faust”, Elsa in Wagner's “Lohengrin”, as well as her first “Marschallin” in Richard Strauss's “Der Rosenkavalier” and her first “Fiordiligi” in Mozart's “Così fan tutte” at The Piccola Scala.
On 11 September 1951, she appeared as Anne Trulove in the World Premiere of Stravinsky's “The Rake's Progress”. Schwarzkopf made her American debut with The Chicago Symphony Orchestra on 28 October 1054 and 29 October 1954, in Strauss's "Four Last Songs" and the closing scene from “Capriccio”, with Fritz Reiner Conducting; her Carnegie Hall debut was a Lieder Recital on 25 November 1956;[ her American Opera debut was with The San Francisco Opera on 20 September 1955 as the “Marschallin”, and her debut at The Metropolitan Opera on 13 October 1964, also as the “Marschallin”.
In the 1960s, Schwarzkopf concentrated nearly exclusively on five Operatic roles: Donna Elvira in “Don Giovanni”, Countess Almaviva in “The Marriage of Figaro”, Fiordiligi in “Così fan tutte”, Countess Madeleine in Strauss's “Capriccio”, and the “Marschallin”. She was also well received as Alice Ford in Verdi's “Falstaff”. However, on the EMI label, she made several "Champagne Operetta" recordings, like Franz Lehár's “The Merry Widow” and Johann Strauss II's “The Gypsy Baron”.
Schwarzkopf's last Operatic performance was as the “Marschallin” on 31 December 1971, in the Theatre of La Monnaie, in Brussels, Belgium. For the next several years, she devoted herself exclusively to Lieder Recitals.
On 17 March 1979, Walter Legge suffered a severe heart attack. He disregarded doctor's orders to rest and attended Schwarzkopf's final Recital two days later in Zurich. Three days later, he died.
After retiring (almost immediately after her husband's death), Schwarzkopf taught and gave Master Classes around the World, notably at The Juilliard School in New York City. After living in Switzerland for many years, she took up residence in Austria. She was made a Doctor of Music by The University of Cambridge in 1976, and became a Dame Commander of The Order of The British Empire (DBE) in 1992.
Schwarzkopf died in her sleep during the night of 2–3 August 2006 at her home in Schruns, Vorarlberg, Austria, aged 90. Her ashes, and those of Walter Legge, were buried next to her parents in Zumikon, near Zürich, where she had lived from 1982 to 2003.
She left a discography that is considerable, both in quality and in quantity, and will be mostly remembered for her Mozart and Richard Strauss Operatic portrayals, her two commercial recordings of Strauss's “Four Last Songs”, and her countless recordings of Lieder, especially those of Wolf.
Schwarzkopf is considered by many to be the greatest German Lyric Soprano of the 20th-Century and one of the finest Mozart singers of all time, with an "indescribably beautiful" voice.
By: Clem Labine. 17 April 2019. (Originally written in 2015)
A visionary new Plan, to rebuild Penn Station, rectifies an act of architectural vandalism, and improves passenger circulation at a critical transit hub in New York City.
Though demolition occurred more than fifty years ago, citizens of New York City – and lovers of beautiful architecture everywhere – still mourn the loss of Charles Follen McKim’s majestic Pennsylvania Station.
The demolition of that magnificent building is still remembered as one of the greatest civic blunders ever committed. That’s why there are cries of startled disbelief – commingled with hope and jubilation – when people hear details of the new plan that would bring McKim’s Beaux-Arts masterpiece back from the ash heap of history – and solve two other major urban problems in the bargain.
“The Plan to Rebuild Penn Station” is the brainchild of Richard W. Cameron, principal designer at Atelier and Co., Brooklyn, New York, and one of the original founders of The Institute of Classical Architecture And Art. The Rebuild Penn Station Plan has three major elements:
(1) Reconstruct the grand spaces of the original Penn Station;
(2) Create a modern transit hub that connects two subway lines, two commuter railroads, and Amtrak;
(3) Redevelop the area in and around Penn Station to create a world-class urban destination – like Rockefeller Center. McKim had envisioned his splendid rail terminal as the centrepiece of a spectacular City Beautiful project – but he died before his full dream could be realised.
“The time is right,” Cameron declares, “to complete McKim’s glorious urban vision.”
Rebuilding: It's Technically And Economically Feasible.
Cameron makes a convincing case that rebuilding Penn Station is both technically and economically feasible. For starters, architectural design development costs would be dramatically less than for a “blank slate” Modernist exercise in abstract geometry that is the current fashion.
Archives at The New York Historical Society contain 353 original McKim Mead and White drawings of Penn Station that can be digitised and used to jump-start the design process.
Unlike so many of today’s new sculpture-buildings, there would be no complex engineering issues to be resolved, because the building is based on time-tested principles. Additional construction savings would be realised, since the original excavations and foundations are already in place.
Preliminary cost estimates for the rebuilt Penn Station and transit hub, which serves close to 600,000 passengers per day, would be around $2.5 billion – much of which can be covered by air-rights transfers and municipal bond sales. By contrast, the elaborate new World Trade Center Transit Hub, by Santiago Calatrava, cost around $4 billion – and serves fewer than 50,000 train commuters, daily.
A rebuilt Penn Station would give back to New York its monumental gateway, of which it was robbed in 1963. Today’s train passengers are required to navigate a depressing warren of gloomy passages, instead of passing through McKim’s sequence of inspiring vaulted spaces.
In Vincent Scully’s oft-quoted comment about Penn Station: Formerly “one entered the City like a god.” Now, “one scuttles in like a rat.”
The original Penn Station was built between 1901 and 1910, inspired by The Baths of Caracalla, in Rome. The Classical edifice was a stunning achievement of both engineering and aesthetics: Its steel frame, sheathed in pink granite and travertine, with eighty-four Doric Columns and lofty halls, with 150-ft. coffered ceilings, created one of the largest covered public spaces in the World.
Built totally with funds from The Pennsylvania Railroad under the guidance of its visionary President, Alexander Cassatt, the privately-owned building was more than a train terminal: It was also a gift to the entire City of New York. Rich in Classical architectural detail and built of high-quality materials, the monumental building set a standard for excellence in civic spaces. It was an awe-inspiring public realm where the poorest citizen could feel like nobility.
Penn Station’s facilities, today, handle nearly 600,000 passengers, daily, making it the busiest transit hub in North America – and probably the most bewildering. The second element of The Rebuild Plan will streamline what currently is a confusing jumble of passenger connections between two subway lines, The Long Island Railroad (LIRR), New Jersey Transit commuter lines, and Amtrak.
The original Penn Station was designed primarily for the intercity passengers of The Pennsylvania Railroad – traffic that is today handled by Amtrak. But today’s intercity traffic accounts for less than 10% of Penn Station’s passenger flow; the balance being daily commuters from The LIRR and New Jersey Transit. Currently, these commuters have to pick their way through an underground maze that rivals the Minotaur’s Labyrinth. To make a truly efficient transit hub, service areas for these daily commuters must take top priority.
Like all Beaux-Arts buildings, the logical layout of McKim’s original vast floor plan permits many adaptations for modern uses without compromising the basic architectural beauty of the structure. With Amtrak operations moved to the other side of Eighth Avenue, ample room is created for highly-improved services and passenger amenities for the 500,000 daily riders on The LIRR and New Jersey Transit – along with improved connections to the Seventh and Eighth Avenue subways.
The third component of The Rebuild Plan is completion of McKim’s vision of the great train station as the centrepiece of a beautiful urban ensemble. The Rebuild Plan accomplishes this by:
(a) Re-purposing some of the interior spaces of the massive building, and;
(b) Creating a great urban outdoor room on the North Side of the station.
Besides its function as a passenger terminal, the colossal dimensions of the station building also provide enormous possibilities for creating a dining, shopping and entertainment Mecca. For example, the two huge Light Wells behind the Seventh Avenue façade could be fitted with glass canopies that would provide prodigious amounts of additional sunlit interior space.
In addition, McKim’s Floor Plan presents multiple opportunities for contemporary adaptations.
Originally, visitors entering from the Seventh Avenue portico encountered a long arcade lined with shops. Travellers then came upon a Loggia that functioned as a transition space to dining facilities; on one side, was a lunchroom, with a more formal dining room, opposite. Large office spaces were available above the dining level. Straight ahead from the Loggia was The Grand Stairway leading down to the main Waiting Room.
The immense Waiting Room of Travertine Marble – running almost the entire two-block width of the building – was Penn Station’s showpiece. The vaulted and coffered plaster ceiling floated 150 feet above the Marble floor, visually supported by eight colossal, sixty-feet high, Corinthian Columns.
Natural light flooded the great room through eight, thirty-three-feet high, Diocletian windows. Containing ticketing and baggage checking services, the vast Waiting Room never failed to impress and uplift anyone who entered.
From the main Waiting Room, passengers processed to the second major area – the Passenger Concourse on the Eighth Avenue side that provided easy access to all the intercity railroad platforms.
The immense concourse floor was studded with slender steel columns supporting an overhead glass canopy – creating the effect of a crystal palace. Glass blocks embedded in the floor allowed light to filter down to the track level.
But, beyond re-purposing spaces contained within the station, itself, The Rebuild Plan also realises McKim’s vision of transforming the area North of Penn Station into an urban plaza that could become one of New York’s most inviting locations.
Besides Rockefeller Center, New York City does not have any great urban gathering places in the manner of Europe’s famous plazas, such as the Piazza Navona. Cafés, shopping, theatres, open space, public seating, fountains and plantings, envisioned in The Rebuild Plan, would be sure to turn the area into a veritable people-magnet.
The success of The High Line Park on Manhattan’s West Side – with its subsequent spectacular increase in real estate values – has demonstrated how beautiful public spaces can trigger economic development. And The High Line Park has virtually no convenient public transit access, as compared with the vast transportation network at The Penn Station transit hub.
The Inevitable Objections.
A programme as visionary as The Plan to Rebuild Penn Station will draw instant criticism. The Modernist establishment will surely argue that a new Penn Station should be “innovative and contemporary” – meaning that it should be an exercise in abstract geometry.
But, in fact, The Rebuild Plan is the most radical and innovative idea that has been put forward – and will attract a lot more public attention. Manhattan is already jammed with Modernist glass-and-steel abstractions, so a great new classical Penn Station would not only be big news, but also an act of civic redemption.
There are also a number of contemporary precedents for rebuilding lost architectural landmarks, such as The Cathedral of Christ the Saviour in Moscow, and the historic centres of Warsaw, Dresden, and Echternach, Luxembourg. And, of course, restoration of major train stations has also proved economically successful in cities like Washington and Denver.
Another objection will be that plans for the new Moynihan Station on Eighth Avenue, proposed for the former Farley Post Office building, pre-empts The Rebuild Penn Station Plan. But, even if it is built, the Moynihan Station (now estimated to cost $1.5 billion) will only serve 40,000 Amtrak passengers – leaving the other 500,000 daily LIRR and New Jersey Transit passengers still suffering in their dismal underground tunnels.
The last major objection to The Rebuild Plan is that it will require the relocation of Madison Square Garden . . . and the current Garden owners have declared they have no intention to move. However, the owners of Madison Square Garden have only eight more years left on their location’s ten-year lease. New York City has given the owners a tax abatement incentive (said to be up to $16 million per year) to keep the “Knicks” and “Rangers” in Madison Square Garden. In the opinion of inside observers, if that tax abatement were made transferable to a new location, moving Madison Square Garden would suddenly seem much more feasible to its owners.
The Rebuild Penn Station Plan will return to New York City its magnificent gateway that will offer a dignified welcome to commuters, tourists, and business people from across the City, suburbs, and the entire East Coast.
Even more important, the rebuilt Penn Station will be an economic engine that draws visitors and New Yorkers, alike, to what can become one of the most vibrant parts of New York City. We owe it to future generations to fill the hole in the physical and spiritual fabric of the City created by the barbaric acts of 1963.
The plans are in place; all that’s needed is Political will.
This year (2015) marks the Centennial of the birth of Henry Hope Reed (born 25 September 1915), father of the present-day Classical Revival. In 1968—at the height of Modernist supremacy – Henry founded Classical America, an organisation that subsequently became part of The Institute of Classical Architecture and Art. Henry spent his lifetime fighting to reverse the tide of Modernist ideology that was stripping our Cities of beauty, harmony and order.
Of Henry’s many quotable quotes, this is quite typical: “If we once accept the consequence of the present fashion as a form of nihilism, then the Modern can no longer be termed ‘progress’.”
This quote can surely stand as Henry’s comment on the proposal to replace the banal Modernist pastiche, that is the current Madison Square Garden, with a majestic Classical masterpiece. Energetic advocacy for The Rebuild Penn Station Plan is certainly a most appropriate way to mark the Centennial of Henry’s birth.
Pope Saint Zephyrinus succeeded Pope Saint Victor on The Pontifical Throne and, like him, was Martyred (Gospel). He abolished the use of Wooden Chalices, in The Celebration of The Holy Sacrifice, and ordered them to be replaced by Glass Chalices. He prescribed that all The Faithful should receive Holy Communion on Easter Day.
He had to defend The Dogma of The Unity of God and The Trinity of Persons against The Sabellians. Besides this strife, he had to suffer persecution. God always supported him in his trials, in order to enable him to support The Flock of Christ (Epistle).
He died in 217 A.D., after a Pontificate of seventeen years.
Mass: Sacerdótes Dei.
English: The Church of Saint Zephyrinus of Stadacona
(Saint-Zéphirin-de-Stadacona) (built in 1890), Quebec City, Canada.
Français: Église Saint-Zéphirin-de-Stadacona à Québec en 1986.
Construite en 1890 sur les plans de l'architecte Joseph-Ferdinand Peachy,
rénovée en 1918 par l'architecte Adalbert Trudel.
Date: Photographed in 1986 and Uploaded on 24 January 2014.
Pope Zephyrinus (+ 20 December 217 A.D.), was Bishop of Rome, or Pope, from 199 A.D., to his death in 217 A.D. He was born in Rome. His predecessor was Pope Victor I. Pope Zephyrinus was succeeded by his principal Advisor, who became Pope Callixtus I.
During the seventeen-year Pontificate of Zephyrinus, the young Church endured severe Persecution under Emperor Severus, until his death in the year 211 A.D. To quote Alban Butler, "this holy Pastor was the support and comfort of the distressed flock". According to Saint Optatus, Zephyrinus also combated new Heresies and Apostases, chief of which were Marcion, Praxeas, Valentine and the Montanists.
Eusebius insists that Zephyrinus fought vigorously against the blasphemies of the two Theodotuses, who, in response, treated him with contempt, but later called him the greatest defender of The Divinity of Christ. Although he was not physically Martyred for The Faith, his suffering – both mental and Spiritual – during his Pontificate has earned him the Title of Martyr.
During the reign of Emperor Severus (193 A.D. – 211 A.D.), relations with the young Christian Church deteriorated, and, in 202 A.D., or 203 A.D., the edict of persecution appeared, which forbade Conversion to Christianity under the severest penalties.
Zephyrinus's predecessor, Pope Victor I, had Excommunicated Theodotus the Tanner, for reviving a Heresy that Christ, while a Prophet, was only a mere man. Theodotus' followers formed a separate Heretical community at Rome, ruled by another Theodotus, the Money Changer, and Asclepiodotus. Natalis, who was tortured for his Faith during the Persecution, was persuaded by Asclepiodotus to become a Bishop in their sect, in exchange for a monthly stipend of 150 denarii.
Natalis then reportedly experienced several visions warning him to abandon these Heretics. According to an anonymous work, entitled "The Little Labyrinth", and quoted by Eusebius, Natalis was whipped a whole night by an Angel; the next day, he donned sackcloth and ashes and, weeping bitterly, threw himself at the feet of Zephyrinus.
Louis IX, born in 1215, became King of France at the age of twelve. He was very piously brought up by his mother, Queen Blanche, who taught him to wish rather to die than to commit a Mortal Sin. He liked to be called Louis of Poissy, the place where he had been Baptised, to show that his Title of Christian was his most glorious Title of Nobility.
"Despising the pleasures of The World, he only strove to please Jesus Christ, The True King" (Collect), "and was," says Bossuet, "the Holiest and most Just King who has ever worn the Crown."
Assiduous in attending The Offices of The Church, he ordered them to be Solemnly Celebrated in his Palace, where, every day, he heard two Masses. At Midnight, he rose for Matins and began his Royal Day with The Office of Prime. He introduced into his Chapel the custom of genuflecting at the words in the Creed “Et homo factus est”, and of bowing down humbly at the passage in The Passion when Jesus expires.
Statue of King Saint Louis IX, Basilique du Sacré-Cœur de Montmartre, Paris, France.
Both these pious practices were adopted by The Church. "They impute to me as a crime my assiduity at Prayer," he would say, "but not a word would be said if I gave to play or to the hunt the hours I give to Prayer." But never did his piety hinder him from devoting to the affairs of the Kingdom the greater part of his time.
Having recovered from a serious illness, he made a Vow to undertake a Crusade to reconquer Jerusalem. At first victorious, he fell at last into the hands of the Saracens. Restored to freedom, he remained five years in The East helping the Christians. On his return to France, he made many pious Foundations and built "Sainte Chapelle", as a precious Reliquary for The Holy Crown of Thorns and the important particle of The True Cross, which Baldwin II, Emperor of Constantinople, had presented to him.
King Saint Louis IX meeting Pope Innocent IV at Cluny Abbey, France.
Most austere, himself, he was most charitable to others, and used to say: "It is more meet for a King to ruin himself in Alms, for God's sake, than in pomp and vain glory." "Often," says Joinville, "I have seen the good King, after Mass, go to the wood at Vincennes, sit down at the foot of an Oak Tree and there listen to all who who had to speak to him."
A Servant of Christ, he continually wore The Cross to show that his Vow remained unaccomplished. He undertook, in 1270, another Crusade, but an epidemic decimated his army, near Tunis, and struck him down.
With his arms crossed, and lying on a bed of ashes, he gave up his Soul to God in 1270, at the same hour that Christ died on The Cross. He was heard to repeat the day before his death: "We shall go to Jerusalem." It was, in reality, to Heavenly Jerusalem, conquered by his patience in the midst of his adversities, where he was to reign with The King of Kings (Collect).
