Aaah! Homemade Bread!

What is it about the smell and taste of homemade bread? Like fresh coffee and flowers, it fills the house with a delicious, homey aroma so that, whatever the current state of domestic chaos, a relaxing sense of coziness pervades the air.

This morning, fresh from my latest knitting successes and all fired up with the spirit of homespun enthusiasm, Bethany and I decided to try our hand at bread-making. I used the food processor, as my bread-maker has long-since started a new life as landfill and its weeny, little loaves used to annoy me, anyway. Unfortunately, the food processor is similarly size-restricted so I had to process the dough in three batches - but, besides taking a little bit longer, this didn't really cause much of an issue, as it kneaded quite well.

The recipe was a combination of several different ones (on the backs of the yeast, the flour and the bread improver packets - I'm nothing if not indecisive!) but it turned out delicious - though the bottom half of the loaf was a tad heavy. I think the oven may have been set too high for the loaf to cook through properly. Next time, I'll set it to a little under 200°C, to take account of the higher temperatures in my fan-forced oven.

I used strong bread-maker's flour and bread improver to give the bread a better texture. I, also, used a well-rounded tablespoon of sugar for a slightly sweet taste and a crusty top. I didn't want to use a bread mix as it seemed to defy the purpose of homemade goodness to resort to using a mix out of a box!

After making the dough so easily this way, I don't think I would bother to replace the bread maker - though, I am thinking that a bigger food processor might be a good investment. Ordinarily, I steer clear of too many kitchen appliances but the food processor is fantastic. I use it for everything from chopping vegetables to making cakes and pastries. Ours has a blender attachment which is, also, really useful.

Anyway, back to the bread - here's the recipe we used:

4 cups of strong flour
7g dried yeast
1 teaspoon of bread improver
1 teaspoon of salt
1 heaped tablespoon of sugar
1 1/2 teaspoons of butter
300ml lukewarm water

1. Dissolve the yeast in the water and set aside for 10 minutes, until frothy.
2. Put the rest of the ingredients into the food processor and mix with the blade attachment until combined.
3. Pour the yeast and water quickly through the feed tube and process for 2 or 3 minutes.
4. Dust with flour, cover with a clean tea towel and leave in a warm place for about 1/2 an hour, until doubled in size.
5. Return to the food processor and process for a further minute.
6. Shape the loaf as desired and placed in a greased baking dish.
7. Bake for about 25 minutes at 200°C (11 or 12 minutes for roll).
8. Remove from dish immediately, otherwise the bottom of the loaf will get soggy with condensation.

While She Naps has another recipe which sounds even easier. I might give that a go, next time.

Now, back to my knitting. I'm beginning to get the hang of Continental knitting - I can't believe how quick it is!

Continental Knitting or Confessions of a Knitting Numbskull

Since I started to blog, a few months ago, I've noticed that many fellow Catholics - and homeschoolers, in particular - share my love for home crafts and the arts. I've found that the blogging world is full of inspiring photos, ideas and directions for a wide array of different projects, and blogging, itself, is often a very creative and inspiring activity. Though I enjoy using modern technology, it is the old, traditional crafts and vintage styles which appeal to me the most. This is, probably, because of the deeply satisfying and relaxing nature of these highly skilled occupations, which, generally, result in practical objects of timeless beauty. Though I am far from being an expert, I enjoy smocking, knitting, gardening and cooking; and I am always excited to discover new crafts or techniques, and to learn new skills.

At the moment, I am working, rather laboriously, on a knitted jumper for my 5 year old son, Joel. It has taken me a whole month just to finish the back section of this garment because my knitting skills are primitive, to say the least. I used to watch my mother and grandmother knit, when I was a child, and I remember being amazed at the speed at which the wool passed through their needles. Their fingers would fly so quickly that they would seem as a blur to my eyes. Unfortunately, though I learnt how to knit, I didn't acquire the correct technique that they used to such great effect. As a result, whenever I knit, my arms swirl around in a big, circular motion and my fingers struggle to control the yarn in a tragic display of wasted energy. To a skilled and seasoned knitter, it would prove a most painful sight!

For years now, I have persevered with this unique and highly inefficient practice and, despite my snail-pace progress, I have managed to produce a few useful and attractive jumpers of which I am, more than justifiably, proud. I, probably, would have continued in this manner indefinitely, knitting only small-sized outfits which often grow more slowly than their intended recipient, and restricting my knitting ambitions to the limits of my feeble skills, if I hadn't discovered a new way of knitting. Yes, an easy and super-efficient method exists for hitherto knitting numbskulls! It's called Continental or left-handed knitting, and it used to be quite popular, before the Second World War.

The YouTube video above explains the differences between English knitting and this superior technique, which is preferred by most professional knitters. Basically, the biggest difference is that the yarn is held in the left hand and slipped over the needles, when using the Continental method. This makes for a much quicker and smoother motion as, instead of throwing the yarn, the yarn is simply caught up in the natural movement of the needles.

I have a long way to go before I perfect the method - my habits are long-ingrained and it takes time to become competent in a new skill - but, at least, I can see a future beyond baby bootees and doll's blankets, now. Who knows? Maybe, one day, I might surprise my husband with an oversized fishing jumper for his birthday!!

(This post can, also, be found on the Australian Catholic Families blog.)

Pierre-Auguste Renoir - Luncheon of the Boating Party

"To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them."

--Pierre-Auguste Renoir

Renoir's Luncheon of the Boating Party has a special place, in our home. For a number of years, a framed print of this picture sat over our dining table and, now, it hangs on a wall, in our rumpus room, which is a centre for family activity.

Our particular version is quite faded. Like the Old Masters' originals, the colours have become quite dulled, over time. However, unlike the originals, this has not added a mellowed kind of charm to the artwork. Rather, it has left the picture looking very blue and insipid, as the vibrant reds and greens have been bleached by the sun. Looking at images of the original, while I researched for our study, made me realise just how unobservant we have become of our surroundings and how beautiful the original picture is, with its clever use of colour and its depiction of dappled sunlight.

Renoir was about 40 years old when he painted Luncheon of the Boating Party, in 1880-81. At the time, he was anxious to gain acceptance by The Salon, in Paris. This institution held the annual state art exhibition and was the recognised arbitrator of quality art, at the time. It was because of his desire for official acceptance that Renoir began to distance himself somewhat from the more radical Impressionist movement, which was decidedly anti-establishment. He had, already, achieved notable success through painting family portraits of the Parisian aristocracy, and this picture was intended to be his masterpiece. It was painted on a grand, almost life-size scale and proved to be a costly venture, both in time and money. During the six months that he worked on it, Renoir was uncertain whether he would see the project to completion. However, he persevered through financial struggles and frustrating artistic challenges to finish the painting, in early 1881.

The setting for this painting is La Maison Fournaise, a restaurant on an island near the riverside town of Chatou, in the suburbs of Paris. This town had become a popular recreation spot for tourists, who used to hold weekend boating parties here, after the shortening of the working week had freed up their leisure time. Renoir had already painted several other scenes in this location, before he started on this more ambitious project.

Part of the appeal of Renoir's painting is, I think, the cheerful and sociable atmosphere, which is apparent in the picture, and had been enjoyed by Renoir and his friends since the 1870s. The group portrayed is classless, carefree and leisurely. It is represented by artists, writers, journalists, actors, sportsmen and other professionals, and it reflects the eclectic nature of Parisian society, of which Renoir's own circle of friends and colleagues were an important part, during that period.

The painting tells the story of the vibrant cultural life of Paris, despite the fact that Renoir would, later, state:

"What is important is ...to avoid being literary and therefore to choose something that everyone knows--better still, to have no story at all...Under Louis XV, I would have been obliged to paint subjects. What seems to me the most important thing about our movement is that we have freed painting from the subject. I can paint flowers and simply call them 'flowers' without their having a story."

Renoir painted idealised images of his friends and acquaintances, rather than true likenesses. He had painted many of them before and knew them all, personally. In fact, the young woman in the foreground to the left, is his future wife, Aline Charigot. In a clever compositional maneuver, the characters look at one another, leading the eye in a continuous line through the painting. Aline, alone, looks away from the rest of the group, as she gazes at her dog.

Aline replaced the figure of a woman who, along with the seated boatsman on the right, originally, looked directly towards the viewer. This composition would have completely changed the dynamics of the picture, from one where the viewer is a mere observer of the pleasant and leisurely scene to one where the viewer feel inclusion and is, thus, compelled to take a more active role in it's interpretation.

The composition is very balanced, within the scene, despite being complicated by the large number of people, who are each individually characterised and play a role in the 'story'. The two figures, on the left, balance the larger group on the right by means of a tilting floor. Ordinarily, only the tops of the hats would be seen from this angle, so Renoir has altered the perspective to accommodate his unusual and busy composition. Dazzling whites of tablecloth and singlets, also, balance each other by their arrangement in the composition and the triangle of boater hats, in addition to forming a balance, provides a further means of directing the eye around the scene. The awning was added, later in the painting process, to unify the group within its setting and create a more cosy atmosphere.

As in Renoir's other works, different artistic techniques are used which reveal his respect for the methods of the Old Masters, along with his more progressive and innovative experimentation with light and colour. Thick, impressionist dabs of colour were applied in the foreground, while delicate light touches were swept onto the canvas in the background. In another example of his impressionist methods, he has laid down complementary colours side by side to create an impression of unified colour rather than blending the pigments on his palette. This technique has been used to render the fur of the dog, with the result that the impression of reflected light is apparent in a more dynamic way than would be possible using single, static colours.

More traditional techniques were used to paint the people, in order to achieve a smoother blending of tones. This allows for a softer, more attractive depiction of the personalities and is in direct opposition to the dabs of white and red, which create the impression of sunlight, in a balanced pattern throughout the composition.

No preliminary studies or drawings exist for this painting, which is unusual for a work of this magnitude. It appears to be a spontaneous work - the result of continuous development and reworking throughout its execution. Renoir used his friends as models, when they were available, and he made many adjustments - mostly minor but a few major ones - to their poses, as the picture developed.

Despite his progressive, impressionist methods, he looked to the Old Masters for knowledge of technique, as is seen in his treatment of portraiture. He was, particularly, influenced by 18th century Rococo artists, such as Jean-Antoine Watteau, who painted lively scenes of outdoor life amongst the leisurely French aristocracy, in the early 1700s. Watteau's Embarkation for Cythera is a good example of his skilled working of group compositions and his clever depiction of the subtleties of gesture. These were techniques which influenced Renoir and can be seen to good effect, in this painting.

The Luncheon of the Boating Party contains the elements of landscape, portraiture and still life. It succeeds in capturing a snapshot of French life, both in a spontaneous and an historic sense, and I think this goes some way to explain its lasting appeal to the generations which have followed. Not only does the work give us a glimpse of life during a particularly interesting phase of French cultural progression, it also recreates a delightful scene of good humour, companionship and light-hearted discussion, and it appears interesting, stimulating and pleasurable to the viewer, who feels at ease with the charming image.

(Further information can be found here, here and here.)

Unschooling Swimming Lessons and Poetry

SWIMMING

I've been swimming in the sea
But didn't go out far
It really isn't safe, you see,
According to my ma
So I prefer to swim elsewhere
Now promise you won't laugh
Cos what i really, really like
Is swimming in the bath

Every night at half-past-five
I fill it to the brim
I then put on my bathing suit
And boldly I plunge in
I dive down to the bottom
Then swim up to the top
Then I start bobbing up and down
Which makes the water slop

I sometimes do the breast-stroke then
And sometimes it's the crawl
Sometimes I do doggy-paddle
Like my brother Paul
I like to do the backstroke too
But had a bad mishap
When I did backstroke very fast
And bashed into the tap

The other day I saw a shark
And had to swim quite fast
But luckily was rescued
By a ship without a mast
A pirate rowed me back to shore
And gave a hearty laugh
I have such great adventures when
I'm swimming in the bath

George Ansell

Finally, after a pretty ordinary start to Spring, it is swimming season, again!!

The cover is off, the heating is on and we are in for the swim!

I must admit that I am like a big kid when it comes to water. Maybe, it's because I learnt to swim as an adult, but, for me, the novelty of cool, crystal clear water has never worn off and, having our own pool has just turned our family into summer water babies. For us, the warmer months mean soggy towels, wet floors and the sounds of squeals and splashing coming from the garden.

I guess our approach to swimming has been quite consistent with our unschooling methods, in that our children have largely taught themselves how to swim, through play and self-discovery. Before our pool was installed, three years ago, our children attended formal swimming lessons and followed the instruction of a qualified teacher - but, with only limited success. However, within a week or so of playing in the pool, they were diving into the deep end and attempting to swim laps. Joel was our youngest, at that time, and he began to swim at age two - though it took him a while longer to learn to breathe properly. Now, at five, he swims like a fish.

With our natural concern for safety, it was a huge relief when Joel became competent in the water - we felt that we could relax and all have fun together, without the stress of having toddlers and water in such close proximity to each other. Now, with Jordy a few weeks under two, it's time to concentrate on his water skills, too.

We'll start his 'water initiation' with games - he's always enjoyed the water - and we'll teach him how to fall in and reach the edge of the pool. Then, he'll be able to monkey walk, on the safety ledge, to the steps. After he is happy and relaxed in the water, we'll show him how to dive to the bottom. We've found that this is a good way of demonstrating just how naturally the body floats to the surface. All the while, we'll be having fun, playing games, riding on backs in and on the water, and having races. As with unschooling, there'll be plenty of time to explore and learn about the properties of water, without being hindered by unnecessary adult direction. But, also like unschooling, we'll be there to catch him when he needs us and to guide him with our own experience and knowledge.

We'll, also, concentrate on being vigilant, always knowing where the little ones are when the safety cover is off, and checking the pool alarm and safety gate, to make certain that they are providing a sufficient barrier against childish temptation. But, hopefully, it won't be too long before we can begin to relax, again, knowing that all our children have the skills and confidence to play safely and happily, in the water.

In the meantime, I'll be saying a Hail Mary, each and every time the pool cover comes off, as I do each time one of the children leaves the house, and I'll trust in the Lord to provide us with whatever means are necessary to keep our young ones safe from harm, as we guide them towards a purposeful and competent adulthood.

***********************************************************************************************************

(I thought the poem above was cute and a bit Robert Louis Stevenson-ish. It comes from the site of a retired school teacher who wrote poetry for his students. The website can be found here.)

Sneaky, cheating photography - all is not what it seems...

Sometimes, it's fun to look at the photos of home and garden magazines, over a cup of coffee. I love browsing through the beautiful, glossy pictures of gorgeous houses and quaint artefacts, and being stirred by images of cultured beauty. There are, also, a number of lovely blogs on the Internet, which are similarly impressive and equally inspiring.

This got me thinking to how I could improve my wee, little corner of the planet. I thought about what I could do to achieve that picture-perfect look, within the unsophisticated walls of our own muddled home. After some pondering, I considered that 'country comfort' may be the style for us, and I mused on ways to achieve it. Perhaps, I could create a comfortable and cosy reading spot, or bake some hot, aromatic bread or, maybe, I could add a few diffused lamps and big, soft cushions, here and there. I could, even, buy some antique ornaments or light a few candles to create a bit of atmosphere. My mind's eye began to fill with the simple delights of 'beautiful' living.

Then, with a sigh, I floated back down to earth and back to reality. Even with all these nice things, there'd still be the pile of tools in the garage, the toys in the garden and the - well, what can I say about boys' bedrooms? The less said, the better.

But, then - a light-bulb moment! I remembered how easy it is to filter through the undesirable stuff on the Internet, and how blogging is just a glimpse of our often-complicated lives, and how the camera can most definitely lie - and, I decided to create my perfect blog of my perfect house, anyway. Only, being the sort of person who has never been able to keep a secret (ask Sue about that - I'm sure she could write a few good posts...), I thought I'd let you see the 'real' pics, too - just don't tell anyone else;-)

A yummy taste of home-baked goodness:D

A not-so-yummy mess to clean up:(

The rustic look always works well.

Too much of a good thing...

Eye-catching:D

Eyesore:-P

So, dear friends, the lesson learnt? All may not be what it seems. Except here, in my small piece of cyberspace, where the house is stunningly immaculate, the children are absolutely perfect and I, myself, have just created a three-course French supper, in between mowing the lawn, painting the guest bedroom, sewing an heirloom petticoat and reading some Plato, whilst, also, perfecting my knowledge of Mandarin, in my spare time;-D

Stylish Blogger Award

Sue, at Sue Elvis Writes and Stories of an Unschooling Family, has passed onto me a Stylish Bloggers Award for my portrait art blog, Victoria Leach - Portrait Art. Thank you, Sue:)

Now, you all know that Sue is my sister so, knowing me as she does, maybe, this award has more to with sisterly love than the quality of my artwork - and, knowing my loving sister as I do, perhaps there is some truth in that! However, I, also, know her well enough to know that she has pretty good taste, so I'll stick with that thought...

Anyway, the reason I'm blogging about this here, on our family blog as well as my art blog, is that some of the people I'd like to pass the award on to, probably, aren't visitors of my other blog, so it makes sense to mention it here.

First of all, I need to say seven things about myself - so, here goes:

1. It makes me cry to see people sad.
2. I tear up when I see people happy(!)
3. I'm a terrible disciplinarian.
4. My children are my friends.
5. I have annoying faults.
6. I love beauty in the arts and nature.
7. The name, Jesus, fills my heart with joy.

Now, The six people I'd like to pass the award to are:

1. Mary at The Beautiful Gate.
Mary is so wise and holy - and she's very funny, too! Not only have I appreciated her generous and kind support of my artwork, I have, also, enjoyed and benefitted from reading her blog.

2. Charleen at Every Bed of Roses.
Charleen has, also, been very kind about my art and she has a very interesting blog herself. Charleen knows a heap of great resources and does a lot of really interesting activities with her son.

3. Gae at Cherished Hearts for Home.
I loved Gae's beautiful, gentle blog, from my very first visit, and I knew the lady behind it must be very special. I was right.

4. Erin at Seven Little Australians and Counting.
Erin's blog is rich with ideas and experience. I love the fact that Erin's home is filled with a love of books and that her blog seems to radiate with the happiness of family life.

5. Willa at Quotidian Reader.
I love that Willa is a thinker. She inspires me to think, too, and I learn from her awesome intelligence. I, also, love the beautifully loving and humble soul which is so apparent from her writings.

6. Therese at Aussie Coffee Shop.
I feel that I can relate to Therese, a lot. We are the same age and have the same number of children of similar ages. I, also, feel a friendship with her and I feel like I'm 'catching up' with her, when I read the lovely posts about her family.

Oops, I've just checked and discovered that I'm only supposed to nominate five bloggers. Well, I love all these blogs so I'll have to break the rules (as Sue already did - number 8 thing about me - I come from a family with no respect for rules!).

Thank you to Sue for her kindness and to the above bloggers - I love being able to share with you all:)

The Heavens are Telling - Josef Haydn

Over the past week, as we have been listening to our collection of classical music, I have been trying to decide upon a favourite for our next study. This has proven to be practically impossible! While a number of pieces are notable for being particularly enjoyable, more often than not, the 'favourite' piece happens to be the one we are currently listening to. A chronological approach would, probably, be the most logical in helping us to understand both the emerging musical styles and the impact of social and political influences upon the development and course which classical music followed. However, Haydn's 'The Heavens are Telling the Glory of God', being a particular favourite, is a natural first choice in our attempt to understand the reasons for our love of music and the characteristics which lend their appeal to one piece over another.

Josef Haydn was born in 1732, in the Austrian village of Rohrau. Although his parents were not professional musicians, he regarded his family as musical and he spent a large proportion of his childhood as a student of singing and as a choirboy. Unfortunately, he lost his talent for singing, during adolescence, and so he worked as a freelance musician and tutor, in young adulthood. In 1761, Haydn was granted the patronage of the aristocratic Esterhazy family, for whom he worked for the next thirty years. This limited his freedom for his own creative expression and it was only towards the end of his life that he enjoyed the liberty of travel, fame, reasonable monetary reward and artistic self-expression.

Haydn was a devout Catholic, who was known for his kind, friendly and positive personality. He, also, had a distinct sense of humour and was fond of practical jokes. Being short in stature and bearing the ugly scars of smallpox, he was not an attractive man, but his expression conveyed his kindly and gentle nature. The portraits of him which survive usually depict a likeness with little consistency between them, as artists tried to draw upon a pleasing quality on which to focus his aesthetic appeal.

Like Mozart, Haydn lived at the end of the Baroque period, when music was developing into the simpler and more elegant Classical style. It was a time of experimentation and exploration, with close friends, Haydn and Mozart, leading the way. It is often very difficult to distinguish between the music of these two composers, but, one approach suggests that, if one can imagine the music as an opera, then it is probably a composition by Mozart. Haydn considered Mozart to be an unparalleled genius, yet he, himself, enjoys recognition as a master of his craft, also, being credited as the father of both classical symphony and the string quartet.

A central theme of Haydn's style is the formation of short, simple segments into larger arrangements. There is a formal order to his music and it can develop quite rapidly. He, also, set a trend of using creative transitions from one key to another, rather than use the standard schemes of previous eras. This technique was, later, adopted by Mozart, Beethoven and the composers who followed them. Haydn's later work was, particularly, influential in the music world, as freedom from dependency on the support of the aristocracy allowed him the full expression of his musical creativity.

'The Heavens are Telling' is a piece from Haydn's 'The Creation.' This was written between 1796 and 1798, and is based upon the Book of Genesis, the Psalms and John Milton's 'Paradise Lost.' Haydn drew directly from his faith for the inspiration for this composition, saying, "I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work." Being deeply religious, he used to write the words 'Praise to God', at the end of every finished work and his devotion to this composition was so intense that he became ill with exhaustion, after completing it.

Simple but effective, this particular piece has a dramatically unfolding introduction and is exuberant with joy. Each part of The Creation relates to a different verse of the Genesis account, from the initial chaos to the exaltation of the angels, giving praise to God, before the Fall. The Heavens are Telling marks the end of the first of three parts of the composition. After each day of Creation, the angels Gabriel, Raphael and Uriel are represented by soloists and the chorus declares the wonder of God's work. The patterns in the music are representative of the patterns of the days, weeks, months and seasons.

The music is spiritually triumphant, with a beautiful, soul-raising harmony, as opposed to the nationalistic triumph of the rhythmic marches of military compositions. To my mind, it's not difficult to imagine the Heavenly choruses surrounding the Throne of God and lifting their voices in joyful praise. This music, also, provides an example of how the arts can be a means of both explaining and glorifying the Divine mysteries. Words are just one form of expression of spiritual truths, with music and the visual arts providing further instruments for Divine inspiration.

Haydn died, in 1809, of old age. His body was exhumed, soon after, and his head stolen for scientific investigation, as it was thought that an examination of the brain may provide an explanation for his creative genius. When his old patron, Prince Esterhazy, discovered the theft, he ordered its return but a duplicate was presented, instead, and it wasn't until 1932, that the matter was resolved and Haydn's head was reunited with his body. Because the substitute head was not removed, Haydn's tomb consequently contains two heads!

Here is a YouTube video of 'The Heavens are Telling the Glory of God.'

(Because I'm not musically educated, I've drawn heavily from Internet sources for information, using a biography of Haydn, an article on The Creation, some program notes, another article describing the case of Haydn's missing head and a website explaining how to learn to appreciate classical music.)

Unschooling Temptations and the Spiritual Journey

Sometimes, I am tempted, as an unschooler, to interfere...

Gosh!!! Now that I've typed that out, I realize just how lacking in faith that would be!

The trouble is that unschooling does require faith - quite a lot of it, in fact. And, to the outside world, it can look pretty unimpressive, at times. We don't have beautifully coloured workbooks, official certificates or immaculately presented experiments and craft activities to proudly exhibit. We don't have a list of carefully organised accomplishments to boast of and we don't have a structured plan to prove that our learning is 'up to scratch.'


Occasionally, I look at the achievements of others and I'm impressed! Quality, quantity and structure yell out at me, 'This is success!' But, when I look closer, I realize that it wouldn't qualify as success for our particular family. Our children learn best when we allow them to make their own decisions and choices. It might mean that their accomplishments seem unworthy of applause or quite mediocre, in terms of visual perfection, but, in reality, they have achieved far more than they would have done through my intervention.


They have given free reign to their imaginations - not mine. They have problem-solved their way through challenges, rather than being programmed to avoid these learning opportunities. They have taken responsibility and control for a task, rather than being a slave to mine. And, they have taken ownership of their creativity and the project has, thus, become their own. As a result, they are left feeling suitably proud of their achievements and the latest progress that they have made.


As long as I don't allow worldly, outside standards to interfere with my judgment, I am suitably proud, too. It doesn't matter that their activities might not relate to a specific lesson or that their craft is not perfection to adult eyes. It, also, doesn't matter that they may have gone off on a tangent and not fulfilled a brief. They are not executives in an office and there's a lot of developing to do before they'll reach that level of skill and discernment - but, they may never acquire the necessary cognitive skills if they don't explore and discover the possibilities for themselves, now.



So, the problem is not them. They are doing just fine, more than fine. The problem occurs - just occasionally - when I allow myself to be seduced by material display, worldly expectations or self-reliance. Unschooling, I am discovering, is a spiritual journey - it requires trust, detachment from worldly aspirations and abandonment to God's will. The self diminishes in the presence of the Divine, and the true potential and beauty of our lives is gradually revealed - but, as with all truth, the closer we get to it, the greater the temptations are which would obstruct us on our journey.

Conceited Beauty and Fairytales

The apple bough had never thought of the boundless love of God which extends over all the works of creation, over everything which lives and moves and has its being in Him. He had never thought of the good and beautiful which are so often hidden, but can never remain forgotten by Him...

The moral of Hans Christian Andersen's 'The Conceited Apple Bough' is that beauty exists in all, even the most humble of God's creatures.


The childhood home of Hans Christian Andersen

In this fairytale, the apple bough thinks that it is more beautiful and of greater value than the more common herbs and dandelions of the garden. Even the people who visit to admire the bough's beauty are filled with an inflated sense of their own importance. Some were proud, some ambitious, 'while the rest might be spared without much loss to society.'


The apple bough learns his lesson from the sunbeam, who shows him that, while the dandelion may be small, it is, nonetheless, loved by the children who make chains of it to wear. It is, also, useful to an old woman who uses it to make tea and sells it to a chemist for income. Even the young woman, who, originally, admired the apple bough, appreciates the dandelion. She carefully picks one to include in a painting with the apple bough, thus, demonstrating that the beauty and status of each is of equal value.


While the message is that little and humble plants are as beautiful as the big and important ones, I don't think that Hans Christian Andersen is saying that ugly is beautiful. Rather, I sense he means that small and simple is beautiful in God's eyes; small and simple is synonymous with childlike innocence and purity. This point led me to thinking about the beauty of youth and spiritual beauty.

Young people don't wear the signs of physical decay and are untarnished by the corruption of worldly experiences, whereas older people wear their characters on their faces. According to the writings of university professors, character has a profound effect on the aging process. Just as it is possible for a plain youth to grow beautiful with age, it is possible for a beautiful young person to age unattractively. As character and love are intertwined, love and expression can transfigure a face, both spontaneously and over time. Spiritual joy and happiness may transform a plain youngster into a person of beauty, in maturity.


Some time ago, an image of the soul came to mind, as I was saying the Rosary. Thinking of the body as the shell of an egg and the soul as the growing infant bird within, the purpose for our aging seemed clear to me. At first, the shell (body) is perfect in its unblemished beauty. It ages and cracks with the wearing and circumstances of time, while the soul is the beauty of the growing life within. It develops and matures, until, at last, it is ready to break free of the constraints of its physical boundaries. Each crack of the shell is a wrinkle or a line marked in time, on the journey of life. Worn with pride, they are merits earned through our experiences and sufferings; else, they are the grim reminders of poor choices and lost opportunities. Ultimately, the shell must crumble to release the growing bird inside, and, thus, it is external physical decay that allows the beautifully grown soul to be set free and soar to the heights of Heaven. For me, this seemed to explain the reason for aging.

These thoughts I didn't share with the children, during this reading. Their concept of beauty is still very simple. In keeping with traditional fairytales, they equate physical beauty with goodness, and evil with distortion and deformity. In a spiritual sense, they are not wrong and I didn't think it appropriate to explain how this truth corresponds to the material world. Instead, we followed a rabbit trail of factual, rather than philosophical discoveries.


It's interesting how often our readings lead to geographical learning. Today's story highlighted the fact that Spring, in the Northern Hemisphere, occurs during May, rather than October. We discussed this, using maps of the globe, and then, turned to maps of Europe and Denmark to see where Hans Christian Andersen was born and lived. We looked at pictures of Andersen's childhood home before heading outside to make chains of dandelions, drawing upon the experience of the flower in the story, for inspiration. This led to more nature study, as we discovered new blackberry blossoms, lilies and flowering photinias, in the backyard.


The freedom to explore and, spontaneously, follow rabbit trails is, I think, one of the joys of unschooling, and quality read alouds seem to provide the perfect trigger for this type of learning. We each derive something different from the literature and this is somewhat dependent upon age and personal interest. For me, it led to a deeper pondering, while, for Melanie, it resulted in some creative activities and a study of the world around us. In this way, unschooling allows us to learn together, yet pursue and explore the areas of discovery which are relevant and exciting to us, as individuals.

Jesus in Bread

(For a more serious post about the Bread of the Eucharist, please read my conversion story, instead.)

Being a hopeless sentimentalist, I find that many sensations make me feel nostalgic and lift my soul towards Heaven. Music, art, poetry, movies, books, photos - even, smells and tastes - stir up memories and, often, joyful recollections of past pleasures.

During term-time, I spend a certain portion of my day taxiing the older children between train stations, bus stops and part-time jobs. Usually, we say the Rosary or listen to classical music, while we're driving, but, at the end of the day, I often turn to the music of my younger years and, without fail, happy memories flood my soul.

Some of my music is as beloved to our children as it is to me. They have grown up with it and formed their own associations and memories with it, just as I did, in earlier years. Other oldies are just plain old-fashioned to them and these provide fuel for some gentle, good-humored ribbing.

One band which has had a lasting impact in our lives has been Bread. This band is from an era which even I don't remember but, for us, the music is timeless. I remember listening to the album, for the first time, while driving through New Zealand with my husband-to-be, in 1989. It triggers memories of the beautiful, crisp New Zealand countryside and feelings of relief at gaining the acceptance of my future parents-in-law.

On this album, there is one song, in particular, which has had spiritual significance for me, over the years, despite being written with a secular intention. Listening and singing along to this song, after driving home from a showing of The Passion, took on a special meaning for me when I realised that, with Divine aspirations in my heart, the secular lyrics had been transformed into a spiritual love song. It wasn't what the songwriter had intended when he wrote the lyrics for his recently-deceased father, but it expressed my spiritual feelings, and the love in my heart, almost perfectly.

Here is a YouTube video of this David Gates song, which I still blare out with full lungs, when all but me and the little tike are out of earshot;-)

(I typed the title to this post quite unaware of the pun - is it significant, I wonder?!)

Creativity and Divine Musical Expression

After I wrote my last post about our enjoyment of secular music, I began to ponder the possible influence of secular music on the soul. I wondered whether the enjoyment we derived from our secular songs was purely aesthetic, limited to an arousing of the senses or whether it could, indeed, lead to a deeper spiritual awakening.

Here is where my ponderings have led me, so far:

First of all, I thought about the role of feelings in our faith. Music, whether secular or spiritual, stirs the feelings and, while the will is more important than feelings to enduring faith, feelings are still vital to the human condition. They are a means of self-expression and a necessary requirement of the ability to love. Feelings are, thus, a fundamental component of the Christian soul and they need to be validated in some way, during the process of spiritual and emotional maturity.

Music is a form of love. Throughout the centuries, singing has been an expression of joy and sacred songs, in particular, express joy in the Lord. People sing when mere words are not enough to express the feelings they are experiencing and the singing comes from love. If we consider that the Holy Spirit is love, we can recognise song as the Holy Spirit singing within us, and the songs we sing at church spring from the joy and gladness we derive from being loved by God.

The difference between secular and spiritual music may lay in where the love we express is ultimately directed. Secular music is usually self-indulgent and, often, steeped in artistic vanity. Sacred music, in contrast, arises out of prayer and has its end in worship. So, in one, the love we express is directed towards our own selves and, in the other, it is directed towards God. I don't think that this means all secular music is God-less. Rather, I think the important point is whether the creative influences and subsequent interpretation of the music are executed in union with God and His will for our soul's well-being.

Modern music often focuses on self to the exclusion of God. There is a freedom from order of any kind in this type of creativity - no goals, no meaning and no boundaries. The old order is rejected and controls or rules of any sort are repressed. The classical composers had the opposite intent. They looked to the ancient classicists for wisdom and conformed to a carefully formulated method, uniting their efforts to God's order in the universe. The classicists experienced the true freedom. They forged a union with God of which truth was the goal and the perfection of their craft was the ultimate intention.

Once we unite our creative aspirations to the supreme Creator, we unleash possibilities for creative expression which transcend the depth and scope of our human abilities. This freedom has a meaning and originality which are discoverable, rather than being limited by the constraints of the human mind and its shallow nature. I guess all creativity has a spiritual origin, whether recognized or not, but I think when we actively draw upon the Divine as the source of ideas, our own self-indulgent vanities transform our purely sensuous creations into a form of worship, whereby we glorify God and our creative efforts reflect His glory. Mere sensuality exists in opposition to worship and this is what much of our modern music is composed of.

Modern pop music is usually banal and rock music is often counter-Christian, becoming a new religion unto itself. It works on the senses in a dramatic manner and to passionate effect, but the highs are not long-lasting - there is no depth, just shallow, meaningless feelings. When music reflects the Divine order, subjectivity and passion are controlled, and the musical experience leads to an encounter with Truth. As long as technique doesn't assume such an importance as to create a proud, musical elite, this type of music will result in beauty at it's highest level. (See the Holy Father's writings on this.)


Liturgical music is a special kind of sacred music which unites the spirit and the senses, lifting the soul away from the material world and towards Heaven. Our own self is diminished in the face of such awe and love. Purely sensual music crushes the spirit under the weight of it's own nihilism. At this point in my thinking, I pondered the use of the type of chorus in the liturgy which encompasses bouncy melodies, physical participation and, in some cases, dancing. It seems to me that the real problem here is that such performances merely provide entertainment for the congregation. They excite the senses but do not raise the soul to Heaven. Instead of leading to worship and the glory of God, they result in self-gratification and soulless creativity. Dancing, in particular, focuses on the person, the performer, rather than the Divine and precipitates applause for human effort, instead of love and gratitude for our Creator.

Once again, my thoughts got carried away with me and I had to return to my original thought in order to reach a conclusion. After all this pondering, I concluded that yes, it is possible to experience a spiritual encounter with secular music but the extent to which this is possible does depend, in some part, upon the degree to which the composer has drawn on the Divine Creator in his own attempts at creativity. Liturgical music, I believe, deserves a different standard. Here, we must consciously reject any forms of entertainment which don't direct our expressions of love towards God. While some degree of self-expression and self-exploration can be useful outside of the liturgy, within the walls of our church, we are compelled to unite our whole being with God and, in this way, feel the awe and wonderment of His love, which infinitely surpasses our own human senses.

World Geography Page

1. Conceited Beauty and Fairytales - The Hemispheres, Europe and Denmark

Living with Flooding

Two of the most common traffic signs, in the roads of our neighbourhood, are water level indicators and warnings to the unsuspecting driver that this is a flood-prone area. Fortunately, our house is built above the predicted hundred-year flood level so the worst we have experienced is the inconvenience of being flooded in, as the local roads go under water.

Because we feel relatively safe, heavy rains and flooding are usually exciting times for us. Our environment becomes quite dramatic and the land can be permanently altered, in a very short space of time.

We first fell in love with our land, about seven years ago. At the time, we were experiencing one of the most severe droughts in living memory. In reply to our queries about the risks of flooding, local residents couldn't recall much to be concerned about. However, 18 months after our house was built, the drought broke with extreme and, for some people, tragic consequences. We experienced our hundred year flood and, for a few days, we sat without power, anticipating the high tides to see whether the calculations regarding the maximum flood level were accurate enough to ensure the safety of the house. They were, and the heavy rains haven't worried us, since.

That first major flood, though not dangerous to us, did, in fact, leave a lot of damage in its wake. We lost many trees when the banks of the creek were eroded and we nearly lost our bridge, as its foundations were largely washed away in the strong current. It took many months of restoration work to clear the mess and it was, at least, two years before the banks were restored to their former lush and leafy beauty.

The creek, today, after our stormy weather

The force of the current, and the speed at which it arrived, took us by surprise during that first flood. We were, also, unprepared for the dramatic impact it had on the environment. In the space of an hour, not only was the course of our creek changed forever, it also became significantly deeper. The creek bed was gauged out by the force of the water and our small, sandy beaches were replaced with mud. Huge trees, which had been standing for over a hundred years were, suddenly, toppled like matchsticks.


We have now come to expect that each significant rainfall will leave some permanent impression of its being and this experience influences how we view the world. Old earth theories of a slowly changing world, and a gradually evolving landscape, no longer inspire us with awe. We look at the constant change in our own backyard and observe the fallen tree trunks forming the new creek banks, and we see just how rapidly the earth can be destroyed, transformed and renewed, again. It is very easy to see how a global flood could have occurred and how it could have resulted in the geological features, mass burial sites and fossil records that we find in our world, today.

Orange Mousse Dessert

This recipe for orange mousse comes from my mother's kitchen - it was a favourite of mine as a child and, now, it's enjoyed by my own family. Served with fresh fruit and ice-cream, it is a great dessert for Spring-time.

It is another quick and easy recipe, but it does take a couple of hours to set. Although I enjoy cooking, it doesn't happen to be one of our current passions so tasty meals, which are simple to prepare, are popular in our kitchen, right now. When boredom with our menu or, either, seasonal or creative influences re-spark our enthusiasm for experimentation, we will probably become more adventurous, again. But, for now, 'simple, tasty and sufficiently nutritious' fulfills our criteria for a satisfying meal.


Orange Mousse
1 packet of mandarin or orange jelly crystals
small tin of evaporated milk
cream for topping
1 small tin of mandarins and juice


1. Dissolve jelly in boiling water and add enough mandarin juice to make 300ml.
2. Place in fridge to cool.
3. Whisk evaporated milk until frothy.
4. Slowly add cooled jelly mix, while continuing to whisk.
5. Pour into dish and allow to set.
6. Top with whipped cream and fruit.

Freedom - Catholic v. Protestant Viewpoint

This morning, I plodded off to Mass with a frog in my throat and a sore head. This flu, which we have all had, has kept us away from Mass for over a week, now, so, today, feeling keenly the sad effects of withdrawal symptoms, I set off, regardless of germs, and with the intention of keeping my distance from everything but the Blessed Sacrament.

As always, the rewards of meeting with Jesus were something beyond expression, and, as an extra bonus, some enlightenment as to my recent ponderings on the question of freedom seemed to present itself to my mind. After working through my thoughts, I discovered that the conclusions I reached are probably basic knowledge for the majority of American school children, but it's useful to me to write down my thought processes, so here follows my rabbit trail of contemplation:

After deducing that fighting for freedom seemed a typically Protestant trait, it occurred to me that the Reformation was based upon this very premise - that man's right to choose is paramount. But, I wonder whether freedom is really to be found in government legislation or physical liberty? As a Christian, it is my understanding that freedom from sin is the source of our true freedom. This would explain how Christians and Jews could experience deep peace and joy, during their imprisonment and persecution in the concentration camps of the Second World War.

The Protestant view of human rights and freedom, also, explains why Protestants have so actively defended their rights and, at times, fought for their freedom, while the Catholic response to persecution was, so often, acceptance and personal sacrifice. During the American Civil War, it appeared that freedom was valued more than life itself, as the fighters were willing to die for the cause, whereas the Catholics, of earlier times, were willing to accept and endure the loss of their freedom, and the cause of their ultimate sacrifice was their faith.

When it is realised that the Reformation was founded upon the fight for democracy, the different value systems that exist between Catholic and Protestant groups become easier to recognise. The structure of the Catholic Church is hierarchical, and, thus, not generally associated with personal rights or freedom of choice, while the prominent Protestant churches are more usually democratic in nature. From this point, I began to wonder whether the American Constitution was founded upon a Protestant ideal and it didn't take much research to discover that I was, in fact, pondering an idea which was already a well-known and widely-accepted fact.

Having established the Protestant influence in establishing freedom and upholding civil rights, my next thought centered on the merits of their cause. Given that we, now, in the western world, enjoy a freedom denied those from other parts of the globe, should Catholics be grateful to the Protestant ideals which freed our ancestors from oppression? Or has the emphasis on individuals' rights and freedom detracted from the need to accept our sufferings and abandon ourselves to God's will? Furthermore, is freedom of any value to someone who is chained by his own sins and absorbed in his own self-will?

All of this is food for thought, rather than judgements on the ideals that Protestants and Americans, in particular, have historically valued. The American government is one of the very few administrations that is based upon Christian principles of any sort - our own system is based on humanism and relativism. It is clear that the Framers, who wrote the Constitution, were men of prayer, with high principles and of good moral standing. As in all matters of policy and decision-making, the important issue is whether their actions reflected God's will for the people. Did the freedom-fighters follow God's will in securing freedom for their nation or did they pursue their own ethical objectives?

At this point in my thinking, the events of the Exodus came to mind. During the time that God willed their bondage to slavery, the Jews in Egypt lived without the rights and freedom that we take for granted. It was only when God willed their release that they were granted freedom, rights and stewardship. Such favours were not presumed to be a natural entitlement in life, but rather a gift from God. And, this seems to me to be more important than the concept of freedom. As creatures formed in God's image, we are beloved by Him but we do not automatically assume rights and entitlements of any sorts. Every good in life is a privilege and a gift, rather than a fundamental right - apart from the right to be loved by God. (I assume that to be an entitlement as it forms the basis of God's promise to us.)

This is leading to a new rabbit trail of thinking, along the lines that, while freedom may be a privilege rather than a right, we still have an obligation to defend the oppressed and persecuted, in our society. Injustices should not, I believe, be tolerated on the assumption that God will bring good out the sufferings of the weak. I really think there are two standards to consider here - for ourselves, we should be willing to accept any sufferings, including the curtailment of our freedom, for love of God but, for others, we should actively protect and defend, as far as God's will allows us to do so.

I hesitate to click the send button on all these thoughts as I am aware that they are lacking in lucidity and not entirely well-informed, as well as being original only in my own mind. However, this blog is a journal of our spiritual and personal progress, and learning has to have some beginnings so I acknowledge this process with humility.

(While I was searching for information, I came across this article on the Enlightenment which seemed interesting and, also, some historical background to the political systems of our Western democracies.)

Gratitude, Selflessness and God's Will - Lessons in Little Women

"Oh, dear, how hard it does seem to take up our packs and go on," sighed Meg the morning after the party.

'Little Women' provides a moral guide as well as a social commentary on the changing role of women, in 19th century America. In our latest chapter, the sisters return to work and school, after the Christmas holidays, and, in their different ways, they all struggle to shoulder their crosses in life. Each girl has a different fault to overcome and it is these faults which form the basis of their discontent.

Meg does not want to return to her babysitting job, at the wealthy King house. She, alone, remembers the days when her own family had wealth and she feels the effects of their poverty keenly. Jo is, also, reluctant to return to her job. She works as a companion to her cantankerous Aunt March and it is her boredom and impatience with her aunt which causes her vexation. For Beth, it is the frustration of unsatisfied musical aspirations and her dull home life which have made her unhappy. She feels pained by the sacrifice of exciting music lessons and a grand piano, and she resents the drudgery of her domestic duties. Amy's fault is vanity and superficiality. She goes to school, fretting over her flat nose and ugly dress.

The events of the day that follows teach the girls how to be grateful for their blessings, instead of complaining about their crosses. Meg discovers that rich families have their own problems and Jo learns that, rich or poor, people are responsible for their own happiness. Through the disgrace of a fellow student, Amy decides that appearances are less important than the social humiliation which results from poor behaviour, and Beth finds a destitute family whose struggles to survive make her own family's poverty seem insignificant.

Mrs March cements the lessons learnt with a moral story, in the evening. She, herself, has been feeling self-pity for which she later repented, after hearing the story of a man who has willingly sacrificed his four sons for the sake of the war. She sums up the girls' discoveries thus:

One discovered that money couldn't keep shame and sorrow out of rich people's houses, another that, though she was poor, she was a great deal happier, with her youth, health, and good spirits, than a certain fretful, feeble old lady who couldn't enjoy her comforts, a third that, disagreeable as it was to help get dinner, it was harder still to go begging for it and the fourth, that even carnelian rings were not so valuable as good behavior.

Throughout the story, Mrs March is portrayed as a model of virtue and righteousness. Her self-occupation with her own discomfort seems out of character, when concern for her husband's welfare would be more appropriate. Perhaps, the author is merely demonstrating how temptation affects us all, even the most saintly of beings. However, it seemed a little shocking to me that Mrs March's initial distress was centered on her own misfortune, rather than the dangers and hardships that her husband was likely to be enduring, at that very time.

During her change of heart, Mrs March expresses her admiration for the elderly man who cheerfully sacrificed his sons for the war effort. She respects his unselfishness and his principles. Not knowing a lot about the civil war, I wonder whether the war was a cause worthy enough for the sacrifice of one's child. Of course, freedom and civil rights are among the most worthy of causes, but I wonder whether the offering can be reconciled to the will of God. It is easy to justify the offering of a life in the defense of one's faith but are social and material oppressions, hardships to be accepted and endured as a penance? Being a Protestant novel, I wouldn't expect to find this viewpoint in 'Little Women.'

Comparing prominent Catholic and Protestant responses to religious oppression, in Elizabethan and Jacobean England, seems to reveal a different attitude to suffering and human rights. Many Catholic priests and lay people went into hiding, sacrificed their freedom, endured their sufferings and, ultimately, offered up their lives for their faith. There were similar occurrences amongst Protestants, too, but what is more notable is their fight for their freedom - the pilgrims who risked everything to begin a new life free of religious oppression, in the New World, and the soldiers of the American Civil War, who gave their lives for the cause of freedom.

Although the Church recognizes the case of a just war, it seems very difficult to discern and to justify hostilities, when God's will can be interpreted in different ways by different people. Some questions arise, in my mind, in the case of the elderly man, in 'Little Women.' Was he right to sacrifice his sons for the cause of freedom or should he have protected the family that had been entrusted to him by God and sacrificed them only for the love of God? These questions inspire more research into American history, in a rabbit trail sort of way. It doesn't seem possible to reach an unbiased conclusion without being fully informed of the circumstances, but what this subplot does reveal is the need to place God's will first in all our decisions and undertakings.

So far, our reading of 'Little Women' has been quite thought-provoking. This chapter, in particular, has helped us consider the virtues of gratitude and selflessness, in addition to the importance of reconciling our will to God's will for our lives.

Gardening in Spring

Yet another gardening post!

At the moment, my mind is full of thoughts that I'd like to include in our blogging journal, and the garden seems to feature strongly in them. I love gardening and being in the garden, especially in Spring-time when everything is budding and blooming. I often find that this love finds it's expression in art and poetry.

Robert Frost is one of my favourite poets and I think his poem, 'A Prayer in Spring', beautifully captures the joy and spirit of the season.

A Prayer in Spring
By Robert Frost (1915)
Oh, give us pleasure in the flowers to-day;
And give us not to think so far away
As the uncertain harvest; keep us here
All simply in the springing of the year.

Oh, give us pleasure in the orchard white,
Like nothing else by day, like ghosts by night;
And make us happy in the happy bees,
The swarm dilating round the perfect trees.

And make us happy in the darting bird
That suddenly above the bees is heard,
The meteor that thrusts in with needle bill,
And off a blossom in mid air stands still.

For this is love and nothing else is love,
The which it is reserved for God above
To sanctify to what far ends He will,
But which it only needs that we fulfil.


Pierre-Auguste Renoir is one of my very favourite artists (well, except for his immodest pictures, of course). I find his pictures cheery, colourful and lively. His painting, 'Spring at Chatou', is, I think, particularly full of the hope and beauty of the young, fresh Spring.





Here are some pictures of our own garden, this Spring. We are so blessed to have our own little slice of nature where we can reconnect with God and all that is natural in His plan for our lives.