An art lover's must read

If you love anything about art, this is a fascinating excursion into the wild world of art.

The Devil in the Gallery: How Scandal, Shock, And Rivalry Shaped The Art World (2021) by Noah Charney is full of outrageous art, with detailed descriptions and reproductions in black and white and color, most from Wikipedia.

Nothing is sacred here. All art's scandals and controversies are included which build more traffic. (Natch)

And the more controversial, the better: “It is difficult to think of any artist who was involved in a scandal that proved their absolute ruin both in the short and long term.” (P. 45)

The book spans about five centuries, from Caravaggio in the 16th century to contemporary artists (Jeff Koons, Damien Hirst, Ai Weiwei and more).

Caravaggio was a murderer which has not affected his long-term following:

“Being a bad person, even a murderer, does not seem to negatively impact an artist’s legacy.” (P. 44) 

And he wasn't the only one. 

Performance and body art which desecrates the body to shock and draw attention is nothing new. Hang yourself with nails, float in human waste. Invite onlookers to use tools to hurt the artist. It’s all been tried before.

Many of the depictions are too extreme to describe here.

What’s new?

“Shock has become the new norm.” (P. 87)

Washington's Museum of the Bible is included on page 127 about stolen art.

Charney, the author of The Art Thief and other books, founded the Association for Research into Crimes against Art, and has been a nominee for the Pulitzer Prize. He has taught at Yale, Brown, and American universities. 

It's a must read, must see book! How I wish an institution would mount an exhibition! Enough of the exclamation marks, but I can't resist.

patricialesli@gmail.com

 

Tom Stoppard's stunning 'Leopoldstadt' at Shakespeare Theatre

Shakespeare Theatre Company's Leopoldstadt opens with a happy Christmas scene/Teresa Castracane, photo

Leopoldstadt is the name of a district outside Vienna which was the most cosmopolitan of cities in the late 19th century, with celebrated music, theatre, and the arts. Many of Leopoldstadt's residents were Jewish, and notable residents have included Billy Wilder and Johann Strauss and his son.

The play, Leopoldstadt won the Tony Award for Best Play in 2023, making Sir Tom Stoppard, the playwright, the winner of five Tonys for Best Play, more than anyone else, he, the author of more than 35 stage plays.

Stoppard is famous for his comedic, realistic portrayals of society and the issues of the day, but Leopoldstadt is no comedy.

The cover of Shakespeare Theatre Company's program is a photograph of a young Stoppard (now 87) when he was a toddler, although he says Leopoldstadt is not an autobiographical play.

The production opens upon a luxurious set at the home of a wealthy Jewish family amidst ostensibly happy times in 1899 with a holiday celebration and a Christmas tree.

Critical family members are introduced and we follow them along as they grow up and mature with stops in 1924, 1938, and 1955. Due to Adolf Hitler and the Nazis, the family disintegrates.

Hermann (Nael Nacer) becomes the new "papist" in the group, so tabbed by Grandma Emilia, (Phyllis Kay) the family's strong matriarch. Hermann realizes he'll never be successful in Vienna as a Jew and he marries a Catholic.

Over time, scenes grow darker, more somber. Books disappear from shelves; the increasingly bleak chambers match the dull clothing.

The cast of Shakespeare Theatre Company's Leopoldstadt/ Teresa Castracane, photo

Even with the big family tree included in the program, it is not easy keeping up with the large cast (22) and who's who, but that remains secondary to the message.

STC's production is outstanding and certain to linger: the costumes (Victorian for a while), the sets, the acting, the sounds. The sounds! They’re excruciating as the play develops. The Nazi noises; the explosions, the sirens, the pounding at the door (by Jane Shaw).

You know the ending but getting to it with the Merz family and their slow recognition over the years of the harsh realities of their futures; their avoidance of what they knew was likely to be.

And who can blame them?

Stoppard was an adult before he learned of his Jewish background, that all his grandparents and three of his mother's sisters who were Jewish died in the Holocaust. Stoppard was born in Czechoslovakia whose father died when he was 4. His mother married a British officer whose surname Stoppard adopted.

According to program notes, Stoppard did not write Leopoldstadt until after his mother’s death.

Three generations celebrate their existence until there is no more. A theatre classic which reminds us it can happen again. And it is.

Six young local actors are the delightful children who perform at alternate shows: Harrison Morford, William Morford, Teddy Schechter, Adrianna Weir, Mila Weir, and Audrey Ella Wolff.

Everything about the performance is stunning, from the lighting (by Robert Wierzel) to costumes (by Alex Jaeger), and acting (director, Carey Perloff).

Other production designers are Ken McDonald, scenics; Tom Watson, wigs and hair; Yuki Izumihara, projections.

Director Perloff's family also was affected by the Nazis: Her mother had to flee Vienna in 1938.


What: Leopoldstadt

When: Now through Dec. 29, 2024

Where: Shakespeare Theatre Company, Harman Hall, 610 F St., NW, Washington, D.C. 20004

Duration: Approximately 2 hours and 40 minutes with one 15-minute intermission (but it seems much shorter).

Single tickets start at $35. Call the box office at 202-547-1122. Visit ShakespeareTheatre.org.

patricialesli@gmail.com

The maestro would not approve: 'My Name is Alfred Hitchcock'

Cohen Media Group's film, My Name is Alfred Hitchcock is for Hitchcock (1899-1980) connoisseurs only. Unless moviegoers like looking at the maestro’s face in the same photograph repeatedly which consumes about a third of the film. 

It's as if writer/producer Mark Cousins couldn't think of anything or anybody else to fill the space.

Alistair McGowan does an excellent job mimicking Hitchcock's voice. Film credits let viewers know the monologue is not Hitchcock speaking although you'd swear the voice was Hitch's.

 

The film is too long and could be shortened probably by a third (eliminating his face), however it lacks adequate biographical information about Hitch and his wife, Alma (1899-1982) with whom he appeared to have a  close relationship. 

Reading Hitch's bio on Wikipedia, it seems I Am Alfred Hitchcock did not give Alma enough credit for contributions to her husband's success.  (Calling Zelda Fitzgerald!) 

What happened to their daughter, Patricia (1928-2021)?

Notwithstanding (!), there are few movies like this which make me want to “take action” and see every film the subject ever made, many which are clipped here and screened for only a few seconds, to whet my appetite.  It reminds me of holding a piece of steak in front of a German Shepherd and not letting him or her eat. 

All the big stars are here:  Paul Newman, Janet Leigh, Cary Grant, James Mason, Peter Lorre, Albert Einstein (!), and many more.

Half of the movie titles were new ones for me. Please, take me to the Hitchcock Festival.  I wouldn't be surprised to find a cruise for Hitchcock lovers.  Please, take me to it.

Reviewers at Rotten Tomatoes gave I Am a 93% but since there were fewer than 50 reviews submitted by members of the audience, the "people's rating" (the one that is more important) is absent.  The few reviews by "the people" may be explained by its British origination, however, it was released in 2022 but only released in the U.S. in October. 

The music by Donna McKevitt far exceeds the quality of the film.

patricialesli@gmail.com

 

Shakespeare Theatre's 'Babbitt,' a great escape

Mara Davi and Matthew Broderick dance in Shakespeare Theatre Company's Babbitt/Teresa Castracane, photo

ZOWIE!!  It’s a great one!  (Or, would that be "zounds"?) 

That would be sounds from Shakespeare Theatre Company's Babbitt with celebrity Matthew Broderick, known throughout the world for Ferris Bueller's Day Off...and many more productions.

The place is Zenith, Middle America and the time and plot closely follow the 1922 novel of the same name by Sinclair Lewis who pokes fun at Middle America and its cheerless, hypocritical ways, with focus on its main character, George Babbitt. The book helped earn Lewis the Nobel Prize for Literature in 1930, but surprisingly, only two films have been made of the book, in 1924 and 1934.

Nehal Joshi and Matthew Broderick take time for a camping trip in Shakespeare Theatre Company's Babbitt/Teresa Castracane, photo

Babbitt's modern day rendition by writer Joe DiPietro is a magnificent experience with hilarious lines Broderick delivers in deadpan fashion and enrich the show.

He's practically perfect for the role. And that goes for his fellow "storytellers" who perform multiple roles and assist in disclosing Babbitt's existence in this tale of mediocrity.

Ann Harada is his wife, a natural complement to the homebody until she goes all independent and starts strutting around, as if she desired something more than just being a spouse.

Judy Kaye's Broadway experience is instrumental in her Babbitt success as secretary, woman of the rich, and more. Ali Stroker is the annoying, cloying but effective daughter.  Other actors, Nehal Joshi, Matt McGrath, and Chris Myers as the energetic son advance the show and help birth a Babbitt who discovers life is more than humdrum and repetition when he lets his mind (and body) go exploring and pick up steam, so to speak.

The woman of Babbitt's dreams is Mara Davi, the play's dance captain.

The stage is a work of art (by Walt Spangler with lighting by Cha See): A modern, minimalist library on two floors, crisp and cool, rather like peering inside a Chinese refrigerator, but requiring little time to warm up the cast.

But, oh my! There's a somewhat of a hellish "merry-go-round" requiring fancy, quick moves by the cast to hop on and off the inner circulating stage, but precision timing and maneuvering made it appear, of course, "easy to do" when a quick costume addition or subtraction made a fast dash off-stage  necessary to begin a new scene.

From a serious novel, DiPietro has spun a fun yet superficial yarn, to pause for self-reflection and ponder existence:  Are we slaves to conformity? Could we benefit from "more spice"? From change? 

Yes! I'll buy that! Bring it on and infuse my life with more laughs, too, while you're at it.

When Babbitt “gets down,” he gets down. 

The play premiered in La Jolla, CA one year ago. 

Other members of the artistic team: Christopher Ashley, director; Stephen Buescher, choreographer; Linda Cho, costumes;  Leon Rothenberg, sound; Mark Bennett and Wayne Barker, original music; Charles G. LaPointe, wigs and hair.

Also, Rosie Glen-Lambert, associate director; Martha Donaldson, production stage manager; Tyler Larson and Stephen Bubniak, assistant stage managers. 

What: Babbitt

When:  Now through Nov. 3, 2024 at 2 p.m.

Where: Shakespeare Theatre Company’s Harman Hall, 610 F St., Washington, D.C. 20004

Tickets:  Box office: 202-547-1122, 12–6 p.m. every day or buy online or STCbox@ShakespeareTheatre.org

Duration: Approximately 2 hrs. and ten minutes with one 15-minute intermission

Ages:  For mature teens and up

patricialesli@gmail.com

Two for one for GALA's "Weddings"!

 Carlos Castillo (Hugo) and Giselle Gonzalez in GALA's 22+Weddings of Hugo/Stan Weinstein, photo

Get your tickets while they’re hot!  Two for the price of one through Sunday when the show closes at 2 p.m.

The play is 22+ Weddings of Hugo by Gustavo Ott, GALA’s producing artistic director, and it's based on a true story about a man who married more than 22 times because he ... ?

It's the world premiere in Spanish (with English surtitles) and celebrates Hispanic Heritage Month.

But, not to fear, playgoers: You are not sitting through 22 weddings!  Nor even one!  

"Only" three of Hugo's marital partners participate at GALA in a clever flashback style, and a lively bunch they are! They "discuss" amidst the incredible home set by Grisele Gonzales and Ilyana Rose-Dávila.

Yaiza Figueroa (Irene) and Carlos Castillo (Hugo) in GALA's 22+Weddings of Hugo/Stan Weinstein, photo
  

Hugo is a genuinely good guy, a postal worker, who wants to help his friends gain citizenship, family, respectability, and feel "at home."

The first mate we see is Irene (Yaiza Figueroa), spouse #18. She's likeable enough, even if her boyfriend is somewhere near (!) and she's carrying his? child.  What's going on here?

Spouse #17 is the dogmatic and fearless Wafa (Giselle Gonzalez) with whom Huge maybe meets his match. Wafa seems to enjoy criticizing others.

Next up is Hugo's gay mate, #16 Elmar (Victor Gonzalez) who leaps from a curtain leading to the bedroom to a gasp and giggle from the audience, rather surprised by his getup. Elmar wears a big smile and a gorgeous apron which covers his royal blue underwear.

He's a right jolly old self. 

As usual at GALA, the acting is splendid, and the set is homey (for an understatement), filled with plants in the kitchen, appliances, a living area and, hanging haphazardly from the ceiling, windows and doors.

Hugo's mates all have families and grandchildren and extended families.

The characters' stories lay out their relationships and the importance of taking care of each other. The lights go on and off and in a visiting prison scene, a mysterious voice echoes in the room, reminding the prisoner and his visitors that "touching" which they do in more ways than one, is not allowed.

Hugo's 22 weddings is a nice counterbalance to all the venom we encounter on what's the stage of the United States.  Plus, it's got humor, lots and lots of humor!  With 22+ spouses, it's gotta have humor!

GALA'S creative team for Hugo includes the director, José Zayas; lighting designer, Hailey LaRoe; costumes by Rukiya Henry-Fields; and sound, Koki Lortkipanidze.

Also, hair and makeup, Andre Hopfer; technicals, Jon Townson; assistant director, Esteban Marmolejo-Suarez; stage manager, Cat Moreschi; assistant stage manager, Mel Mader; 

house manager, Joel Galvaz; and company manager, Camilo Montoya.

What: 22+ Weddings of Hugo

When: Now - Sunday, Sept. 29, 2024

Where: Gala Theatre, 3333 14th St NW, Washington, DC 20010.

Tickets: $48, or seniors (ages 65+), students, teachers, military, and groups (10+), $35. Ages 25 and under, $25. To purchase, visit galatheatre.org or call 202-234-7174.

Handicapped accessible: GALA has four wheelchair accessible spaces and an elevator to transport people from the entrance to the lobby and to the house.

Duration: About two hours plus one intermission

Metro stations: Columbia Heights is one block from GALA on the Green and Yellow lines. Or, get off Metro at McPherson Square, take bus #52 or #54 up 14th, or, walk the two miles from McPherson Square and save money and expend calories! Lots of places to eat along the way.

Parking: Discounted parking for $4 at Giant's garage around the corner on Park Road with ticket validation in GALA's lobby. Additional parking is available at the Target garage also on Park Road NW, between 14th and 16th Street NW.

For more information: Call (202) 234-7174 and/or email info@galatheatre.org

A Nancy Pelosi interview last week

Kadia Goba interviews Nancy Pelosi at Semafor Sept 18, 2024/By Patricia Leslie

Wednesday Nancy Pelosi was at Semafor to promote her new book, The Art of Power: My Story as America's First Woman Speaker of the House (free copies were distributed to attendees) and to answer questions from Semafor's politics reporter, Kadia Goba.

Pelosi said she had just come from a leadership meeting to discuss the Jimmy Lai sad situation in China.(Editor's note: On the news later, Lai's son said that the Chinese had held his dad in solitary confinement for more than three years. Jimmy Lai, 76, is a diabetic.)

At the beginning of her talk (to the swooning crowd), Pelosi said, "I think that’s it’s really important for us to show that most of this language that is provoking violence is coming from a very extreme place in our country." (Springfield did not come up during her talk.)

"We try to find common ground in a democracy which you do non-violently." She mentioned the assault on her husband, Paul, in their home in San Francisco in 2022, turning to the audience and asking to "imagine someone coming into your home, going into your bedroom" before an attack.

"How disrespectful they were about the assault on my husband," she said, speaking of opposition leaders. "What it does to your children."

She thought the Republican party would try to "lower the temperature" of violent talk and mentioned Charlottesville where one person was killed. "The president of the United States would not condemn those actions."

Goba said since "everybody" expects the Republicans to take the Senate, what does Pelosi think?

"Well," Pelosi smiled and turned to the audience who applauded:  "Not everybody," she said slowly.   

"I speak without any authority because I am not in the Senate," said Pelosi. "You’ll have to ask them about prospects.  I am more optimistic than 'everybody thinks we’re going to lose.' I don’t say that. No.”

January 6 was a topic Goba refused to abandon, bringing it up several times. Pelosi noted that more than 100 Capitol Hill police were injured. Trump did not seek National Guard help (despite his recent statements to the contrary).

California has 52 representatives in the U.S. House of Representatives of whom 40 are Democrats and Pelosi is working to elect more. She represents San Francisco.

"Whatever happens in this election, we must accept the results. It’s one reason why Hakeem Jeffries [present U.S. House minority leader] must have that gavel on January 6. If I didn’t have the gavel on January 6, who knows what would have happened? 

"Everything is at risk in this election," she said. People are concerned about jobs," and everyday issues. "What does your candidate mean to me?" voters ask.

For some reason, moderator Goba seemed stuck on Pelosi's relationship with Kamala Harris and asked the former speaker repeatedly about how close they are. (What does it matter?) 

Pelosi said she knew Harris officially, not personally, Pelosi praising Harris and Harris's "eloquence" conveying ideas and policy.

What happened to the open primary Pelosi promoted? Goba wanted to know.

"Yes, people could have jumped in," Pelosi said, "and some people were sort of preparing [to do that] but she [Harris] took off with it. Actually, it was a blessing because there's not that much time between then and the election. It wasn't that we didn't have an primary. It's just that [to loud applause] nobody else got in.

"The president endorsed her [Harris] and that’s a big deal because Joe Biden is the most consequential president of modern times. He’s accomplished so much more. Even Barack Obama in his eight years in service would admit [what Joe Biden has done] in this short period of time."

She said it was not only legislation Biden has achieved, but executive actions "and how you get things done."

Biden knows the job from being vice president, Pelosi said.

Back to January 6 again: "He [Trump] had the right to go to court. Every court turned him down. He just didn't have a case."

"Nobody," she emphasized the word, "ever expected that the president of the United States would incite an insurrection that would send people to do violence....It was not just any old day.

"We're talking serious stuff here. Elections are about the future."

Switching to a topic of eating preferences, who knew Peolosi was crazy about hot dogs? Yes, she is!

"I had one for lunch today. I have one almost every day and chocolate ice cream (very dark chocolate, she paused and whispered the words a few seconds later) for breakfast." 

But she does not want her grandchildren to practice what grandma does! Nor should anybody, for that matter, she cautioned.

"Growing up in Baltimore in an Italian neighborhood, food was very important to us." 

She was told she should not write a book now since it would exclude so much of what is happening (Trump and the attack on her husband) and the former speaker said she'll just have to write another book.

For those who disagree with her content : "Write your own book" (to audience laughter).

She emphasized that "recreate" and "recreate" are the same words, but we all need to "take a time off to re-create" which "I hardly ever do" but she recommends it to others.

Pelosi ended her talk with lines from the Star-Spangled Banner composed by Francis Scott Key in the Baltimore harbor in 1814. 

There was "proof through the night that our flag was still there," adding "with liberty and justice for all, whatever the results of the election are, we will be for a peaceful transfer." She left the stage to a standing ovation. About 150 attended.

patricialesli@gmail.com

A music lover's must-see in Brussels: The MIM!

Anonymous, Fretted Clavichord, Low Countries or Northern Germany, early 17th century/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Amidst the clavichords at the Musical Instruments Museum, Brussels/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Girolamo de Zenti, Wing Shaped Spinet,  Rome, 1637/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

There's a rich and historical musical instruments museum in Brussels, one of the most fascinating museums I found on my art history tour of Belgium and the Netherland this summer, and the more I think of it, the more it becomes my favorite museum and not even on our roster!

The museum is called the (surprise!) Musical Instruments Museum often known by its acronym, MIM.

I went to the MIM with two music aficionados from the tour, one whose family, the Ruckers are associated with the development of the harpsichord, dating from the 16th and 17th centuries.

Albrecht Hass Hieronymus, Harpsichord, Hamburg, 1734/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Gabriel Townsend, Virginal, London, 1641/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Louis Sternberg, Upright Piano, Brussels, c.1865; legacy of Queen Marie-Henriette of Belgium/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Herman Lichtenthal, 'Dog Kennel' Piano, Brussels, c. 1834. There were so many unusual pieces at the Musical Instruments Museum, I took this photo because of this name; the maker received a Belgian patent for it, called, in French, "piano 'a' niche de chien." At the bottom of the lower case, the player could put her feet. The pedals were at either side of the opening/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Mangeot Freres & Cie, Double Grand Piano with Mirrored Keyboard, Paris, 1879/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Rick Steves calls the MIM "one of Europe's best music museums," and once you've been fortunate enough to visit it, I think you will agree.

Later, I corresponded with the Royal Museums of Art and History's Marc Janssens who emailed me that 1,200 instruments are on display.

 Pedal harps/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Cousineau pere et fils, Pedal Harp, Paris, 1780-1795. From the MIM website: "This harp is one of the first instruments acquired by Victor-Charles Mahillon (1841-1924), the first curator of the Musée instrumental du Conservatoire (now MIM), which opened in 1877.

Georges Cousineau (1732-1800) and his son Jacques-Georges Cousineau (1760-1836) were harp makers based in Paris. They worked for Queen Marie-Antoinette (1755-1793), among others. Jacques-Georges was himself a harpist and published a harp method in the early 19th century/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Erard, Pedal Harp, 1879, Paris/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Charles-Joseph Sax, Ophicleide, Brussels, after 1841 (left) and Adolphe Sax, Bass Clarinet, Brussels, c. 1840. The label says Adolphe Sax wanted to create a new instrument with sounds similar to strings but with greater strength and intensity. He borrowed from the ophicleide and the bass clarinet to make a saxophone which he presented at the industrial exhibition in Brussels in 1841/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

 Adolphe Sax (1814-1894) and his invention/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Adolphe Sax, Soprano Saxophone in B Flat, Paris, 1864/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Adolphe-Edouard Sax, Sigurd Trumpet, Paris, 1907/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Ludwig Embach & Co., Keyed Serpent, Amsterdam, 1820-1844/By Patricia Leslie, June 16,2024 at the Musical Instruments Museum, Brussels

Sadly, my camera lost power when I happened upon this chandelier of serpents made from wood, brass, hide, and textiles, this picture from the Musical Instruments Museum. During the 17th century, the serpent chandelier was mainly used for singing in church and later, as a bass in bands until it was replaced by the ophicleide and tuba. Mouthpieces were placed at the top of the serpents, here removed to make room for candle holders.

  According to MIM, this chandelier belonged to the town band of Puurs – a municipality in the Province of Antwerp – prior to the MIM being able to acquire it around 1900. Originally, it comprised twelve serpents, but two were in a poor condition and are kept in the museum’s reserves.

Wikipedia could stand updating since the MIM has more than the 7,000 instruments Wikipedia claims but, according to Mr. Janssens, MIM has 10,000 (!), the oldest instrument (and on display) "without a doubt phalangeal whistles" just about 20,000 years old, dating from the late paleolithic age (18,000 - 12,000 BC).

But back to the number of instruments which Wikipedia says MIM's 7,000 pieces make it "one of the largest collections of musical instruments on the planet"! (Wait 'til Wikipedia learns it's only 3,000 short. Dear Wikipedia, does this make it the largest collection of musical instruments on the planet?)

The museum is around the corner, across the street from the Magritte Museum (more on that later) in a gorgeous Art Nouveau building with wooden floors which formerly was the Old England department store.

The MIM began in 1877 "when it was attached to the Brussels Royal Music Conservatory with the didactic purpose of showing early instruments to the students," according to its website.

During my wanderings on four floors, I discovered many new instruments (to me).

If you have an interest in music of any sort, you will not want to miss this enthralling collection where headphones play the sounds of the instruments you see. (They are simple to use.)

At 5 p.m. the MIM's closing hour forced my departure and I left on a ramble through Brussels in search for my far-flung hotel, but first, a stop at a cathedral on the way down the hill where service had just begun.

It was the Notre-Dame de la Chapelle (Our Lady of the Chapel Church) built between the 12th and 13th centuries above a chapel which was ordered in 1134 for monks, according to Wikipedia. Pieter Brueghel the Elder (c. 1525 - 1569) is buried at the church.

The Notre-Dame de la Chapelle, Brussels/Photo by Trougnouf (Benoit Brummer), Wikipedia

With cavernous insides and huge windows (30 feet?), the service language was not French nor English. Latin? Probably Dutch. Whatever it was I could not understand it, but the "church proper" promptly ushered me out of the outer aisleway where I stood at the rear admiring the windows. Although we had no common language with which to communicate, it only took me seconds to realize that "strangers" were not allowed in the outer aisleway, but in the center of the church seemed to be OK with him.

Since I planned to only spend a few moments at the church, I sat at the back and watched a man and a woman enter the church, find seats and immediately drop to their knees in the pew on the uneven tile (like concrete) floors. There was no kneel padding of any sort.

This was my vantage point from the rear of Notre-Dame de la Chapelle. Photo by Trougnouf (Benoit Brummer), Wikipedia

I can't wait to get back home and tell folks at my church how they kneel! I thought to myself.

But soon enough, I was doing the same, pushed by peer pressure to join the entire congregation which knelt on the cold floor.

In a few minutes, hanging on to the back of the chair in front of me, I was able to stand up and mosey along.

For when in Brussels, you do like the Brusseleers do! You kneel on concrete!

patricialesli@gmail.com