Augustine of Hippo: The Philosopher of Virtue and Society

Saint Augustinus, by Christofel van Sichem II (from the archives of the Rijksmuseum, Amsterdam).

Saint Augustine of Hippo (354–430 AD) was one of the most influential Christian theologians and philosophers of late antiquity. Born in Thagaste (modern-day Algeria), he was raised by a Christian mother and a pagan father. As a young man, he pursued a career in rhetoric and was drawn to various philosophical and religious movements before encountering Plato and Plotinus, whose ideas deeply influenced him.

After years of spiritual struggle, he converted to Christianity in 386 AD, inspired by Saint Ambrose in Milan. He later returned to North Africa, where he became Bishop of Hippo, dedicating his life to theological writing and defending Christian doctrine. His most famous works, Confessions and The City of God, shaped Western thought for centuries, addressing sin, grace, and the purpose of human existence.

Augustine’s philosophy of virtues was deeply rooted in the tradition of Plato and his follower Plotinus, whom he reinterpreted through a Christian lens. He emphasized four cardinal virtues—prudence, justice, fortitude, and temperance—as the foundation of a righteous life. These virtues, along with faith, hope, and charity, became the moral pillars of Western society, promoting ethical governance and social harmony.

For Augustine, virtue was not merely a human achievement but a path to divine truth. He believed that only through the love of God and the pursuit of wisdom could individuals and societies attain peace and justice. His vision laid the groundwork for medieval philosophy and influenced thinkers from Thomas Aquinas to modern ethicists.

In today’s world, marked by division and moral uncertainty, Augustine’s call for wisdom, justice, and love feels more urgent than ever. Perhaps now, more than ever, we should reflect on his ideas and strive for a society built on the virtues he so passionately defended.

The Great Debate

"Just taste it, Dad, keep an open mind!"
She grins, he sighs, he is more resigned.
"No steak, no chops, no sausage here —
Just plants and spice? I live in fear."

He lifts his fork, he takes a bite,
She holds her breath — his eyes shut tight.
He chews, he nods, then smacks his lips,
"Not bad … but miss the ribs?"

She groans, "You're hopeless!" — he just grins,
"Fine meal, my dear … but bacon wins."

The Cathedral of Vic (Spain)

The Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

The Cathedral of Saint Peter (Catedral de Sant Pere) in Vic is a remarkable blend of architectural styles, reflecting the city’s long and evolving history. Originally founded in the 11th century as a Romanesque structure, the cathedral has undergone numerous transformations, incorporating Gothic, Baroque, and Neoclassical elements. However, what truly sets it apart is its striking interior.

Unlike most cathedrals, the interior of Vic’s cathedral is dominated by vast murals created in the 20th century by the renowned Catalan artist Josep Maria Sert. These dramatic, large-scale paintings, executed in deep, shadowy tones, replace the traditional stained glass and sculptural decorations found in other churches. Sert’s work, completed in multiple phases between the 1920s and the 1940s, imbues the space with a unique atmosphere, blending religious themes with an almost theatrical intensity. This bold artistic choice makes the Cathedral of Vic one of the most distinctive sacred spaces in Catalonia.

The interior of Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

Els Gegants de Ripoll (Spain)

Street art in Ripoll (Spain): Wilfred the Hairy (Guifré el Pilós) and his wife Guinidilda of Empúries.

The Gegants de Ripoll are part of the rich Catalan tradition of gegants i capgrossos (giants and big-headed figures), often seen in festivals and processions. These towering figures represent historical or legendary characters linked to the town of Ripoll, a place deeply rooted in Catalonia’s medieval history. Some of these giants symbolize figures such as Wilfred the Hairy (Guifré el Pilós) and his wife Guinidilda of Empúries, key figures in the region’s foundation, or characters from the time of the Reconquista.

The presence of Els Gegants in Ripoll’s public spaces—whether in parades, celebrations, or even as subjects of street art—reflects the town’s commitment to preserving its cultural identity.

The Kuringen Horse Fair

Some impressions of the Kuringen Horse Fair 2025.

The Kuringen Horse Fair has been a tradition since 1242, taking place annually on the first Saturday after March 17, the feast day of Saint Gertrude, Kuringen’s patron saint. While the event originally revolved around horse trading, the number of horses being sold has been declining each year due to changing regulations and modern trade alternatives. Instead, the fair has gradually transformed into a broader family festival, now part of the larger Saint Gertrude Festivities. Today, the focus has shifted towards entertainment, a vibrant ‘kermis,’ traditional crafts, and live performances. Despite this shift, the dedicated organizing committee works hard to preserve the historical roots of this unique celebration.

Some impressions of the Kuringen Horse Fair 2025.

The Altarpiece of Sant Joanipol

The Altarpiece of Sant Joanipol, currently at the Episcopal Museum of Vic (Spain).

This stunning 14th-century alabaster altarpiece tells the story of Christ’s Passion, Death, Resurrection, and Ascension. It was created between 1341 and 1342 for the church of Sant Joan i Sant Pau, also known as Sant Joanipol, in Sant Joan de les Abadesses.

At that time, the town was home to skilled sculptors specializing in alabaster. One of them, Bernat Saulet, was commissioned to carve this masterpiece. The altarpiece originally featured bright colors and glass details, making the scenes even more lifelike.

For centuries, it was an important part of the church’s religious heritage. In 1889, it was moved to the Episcopal Museum of Vic, where it remains today. The altarpiece is displayed in the state that it was when it arrived, allowing visitors to appreciate its beauty and craftsmanship as it was originally intended.

Eleanor of Aquitaine: Queen of England and France

The effigy of Eleanor of Aquitaine and King Henry II at Fontevraud Abbey.

Eleanor of Aquitaine (c. 1122–1204) was one of the most influential women of the Middle Ages. As Duchess of Aquitaine, she inherited vast lands after her father, William X, died in 1137. That same year, she married Louis VII of France, becoming Queen of France. Their union was troubled, especially after Eleanor accompanied Louis on the Second Crusade (1147–1149), where she reportedly clashed with him. Their marriage was annulled in 1152.

Shortly after, Eleanor married Henry II of England, future king, bringing Aquitaine under English control. As Queen of England (1154–1189), she ruled alongside Henry, influencing governance and court culture. However, tensions arose, and after supporting her sons' rebellion against Henry in 1173, she was imprisoned for 16 years.

After Henry’s death in 1189, Eleanor was released by her son, Richard the Lionheart, and helped secure his reign. When Richard was captured on his way back from the Third Crusade, she played a crucial role in raising his ransom. In her final years, she retired to Fontevraud Abbey, where she was buried alongside Henry II and Richard.

The End of Innocence

The café around the corner smelled of coffee and warmth, but an unshakable sense of unease clung to the air. At one table, a group of five was sitting, their hushed voices blending with the background hum. Their expressions were tense, their gestures sharp—whatever they were discussing, it was serious.

Trump had upended everything over the last two months. The dark-haired man gripped his coffee cup tightly, his voice low but urgent. Was he talking about Ukraine? About how America had turned its back, leaving Europe exposed? About how Trump and Putin were negotiating over Ukraine’s future while Zelensky wasn’t even at the table? The very idea was chilling—Putin playing Trump like a pawn, reshaping borders without resistance.

The red-haired woman frowned, shaking her head. Maybe she was thinking about what happens when Russia decides to push further—when there’s no one left to stand up for Ukraine, or for Europe as a whole.

One of the others, a man with tired eyes, spoke with quiet fury. Was he talking about Gaza? About how Israel had shattered the ceasefire, resuming its full-scale bombardment of Palestinians. About how Trump had called it the "new Riviera," as if the suffering, the destruction, the lives lost, were just inconvenient details in a grander vision? Were Palestinians simply expected to vanish, erased under the weight of war and indifference?

The woman next to him pressed her lips together. Perhaps she was thinking of a world where entire nations—Greenland, Canada—could be claimed like chess pieces in some billionaire’s game, their fates decided in smoke-filled rooms, far from the people who live there.

And then there was Musk. The unelected shadow behind the throne. No one wanted a Tesla anymore—it had become a symbol of betrayal. Tariffs, mass firings, entire government agencies dissolving overnight… what was left of order?

And now Europe was rearming. Governments scrambling to boost military spending, factories shifting production overnight, politicians no longer speaking of peace but of deterrence, of readiness. The old world was slipping away, replaced by something colder, something harsher. Was war inevitable? Would they be called upon to fight?

For a moment, no one spoke. Perhaps someone had asked the question they all feared—what happens next? The dark-haired man stared at his empty cup.

I finished my coffee and glanced at them one last time. They were just five young people in a café, but their worry for the future was clear. It’s obvious—the time of innocence is over.

Columbus and the Catholic Monarchs: A Meeting That Changed History

The statue of Isabella I of Castile, Ferdinand II of Aragon, and Christopher Columbus in the gardens of the Alcázar de los Reyes Cristianos in Córdoba (Spain).

In the lush gardens of the Alcázar de los Reyes Cristianos in Córdoba (Spain) stands a striking statue of Isabella I of Castile, Ferdinand II of Aragon, and Christopher Columbus. This monument commemorates Columbus’ efforts to gain royal support for his ambitious journey westward—an idea that would eventually lead to the discovery of the New World.

While Columbus did spend time in Córdoba seeking an audience, history records that his first official meeting with the monarchs took place in Alcalá de Henares (near Madrid) in 1486. There, his proposal was met with skepticism and referred to a royal commission. Years later, in 1491, at the military camp of Santa Fe near Granada, the tide turned. With the Reconquista nearly complete, Isabella and Ferdinand finally agreed to fund Columbus’ voyage, sealing the deal with the Capitulations of Santa Fe in April 1492.

Though Córdoba was not the decisive location, the statue here symbolizes the broader context of Spain’s age of exploration and the pivotal role of the Catholic Monarchs. Today, it remains a powerful reminder of the momentous decisions that shaped world history.

Citânia de Briteiros (Portugal)

Citânia de Briteiros (Portugal).

Citânia de Briteiros is one of the most important archaeological sites in northern Portugal, offering a glimpse into the lives of the people who lived there between the 4th century BCE and the 1st century CE. It was a castro, a fortified settlement built by the Gallaeci, the indigenous people of the region, who were skilled farmers, traders, and warriors.

The site reveals the remains of stone houses, often circular in shape, arranged along paved streets with an advanced water drainage system. The Gallaeci lived in small, self-sufficient communities, raising livestock, growing crops, and engaging in metalwork. They had their own social structures and religious beliefs, often connected to nature and ancestral traditions.

Although the Romans eventually took control of the region, elements of Castro culture persisted, blending with Roman ways of life. Today, Citânia de Briteiros stands as a reminder of this ancient civilization, offering visitors a chance to walk through the ruins of a once-thriving community and imagine the daily life of its inhabitants.

Museumnacht Maastricht (The Netherlands) #3

The University Library of Leuven (Belgium)

The University Library of Leuven (Belgium).

The history of the University Library of Leuven (Universiteitsbibliotheek Leuven) is marked by its turbulent past and significant cultural contributions. Founded in the 15th century as part of the university, the library became a vital academic center. However, its collections were tragically destroyed twice during the 20th century, first in 1914 during World War I, when invading German forces set fire to the library, destroying around 300,000 volumes and manuscripts. This event shocked the world, leading to international efforts to rebuild the library with donations from around the globe.

The rebuilt library, completed in 1928, became an emblem of peace and reconciliation, thanks to the efforts of nations like the United States, which contributed extensively to its reconstruction. However, in 1940 during World War II, the library suffered a second destruction, when bombings by Nazi forces obliterated much of the rebuilt collection. Once again, international support allowed for its restoration, and the modern University Library of Leuven, reopened in the post-war era, became a symbol of resilience, scholarship, and international cooperation.

Today, the library holds extensive collections and continues to serve as a major academic and cultural hub for the university and beyond. The building itself, in its neoclassical style with American influences, also stands as a reminder of the enduring partnership between Leuven and the international community, especially the United States.

The reading room of the University Library of Leuven (Belgium).

Infante Dom Afonso (1390–1400), Braga (Portugal)

The tomb of Infante Dom Afonso (1390–1400) in the cathedral of Braga (Portugal).

Infante Dom Afonso (1390–1400), the firstborn son of King John I of Portugal and Philippa of Lancaster, holds a poignant place in Portuguese history. Born at a time of newfound stability following the turbulent 1383–1385 Crisis, Afonso was the shining promise of the Avis dynasty. His birth symbolized not only the continuity of Portugal’s royal line but also the strengthening of the Anglo-Portuguese Alliance through his mother’s powerful Lancastrian lineage. As heir to the throne, Afonso embodied the hopes of a kingdom ready to thrive under a new generation of leadership.

Despite his young age, Afonso’s position as crown prince carried immense expectations. His life, however, was tragically brief. He passed away in 1400 at just ten years old, leaving his family and kingdom mourning the loss of their future king. His death reshaped the royal succession, passing the mantle to his younger brother Duarte (later King Edward of Portugal).

Afonso’s grave can be found in the Cathedral of Braga, one of Portugal’s most significant religious monuments. This historic cathedral, steeped in centuries of history, is a fitting resting place for the young prince who symbolized the dynasty’s promise.

Honfleur (France)

Quai Sainte-Catherine, Honfleur (France).

Honfleur is a picturesque port town located in the Normandy region of northern France, on the southern bank of the Seine estuary. Known for its enchanting harbor, charming streets, and historic architecture, Honfleur has long been a magnet for artists, sailors, and travelers alike.

Honfleur's history dates back to the Viking Age, with its name believed to derive from the Old Norse words "hon," meaning harbor, and "fleur," meaning inlet. By the 11th century, it had developed into a small fishing village, and in the 13th and 14th centuries, its strategic location made it a vital seaport for trade, especially with England and the Low Countries.

During the Hundred Years' War between England and France, Honfleur was heavily fortified and often caught in the conflict, changing hands several times. It became an important base for the French fleet, and in the 15th century, the town played a role in France’s early maritime exploration efforts. Notably, it was from Honfleur that explorer Samuel de Champlain set sail to the New World, where he founded Quebec in 1608.

Honfleur flourished during the 16th and 17th centuries as trade expanded, especially in timber, wine, and salt. Its picturesque harbor, known as Le Vieux Bassin, became iconic, attracting artists such as Claude Monet, Eugène Boudin, and Gustave Courbet in the 19th century. These artists were captivated by the town’s unique light and atmosphere, making Honfleur a cradle of the Impressionist movement.

Today, Honfleur retains much of its historic charm, with cobbled streets, timber-framed houses, and the famous Sainte-Catherine Church, the largest wooden church in France. The town remains a popular destination for visitors drawn to its rich history, artistic legacy, and serene waterfront.

The Bell Tower of Sainte-Catherine’s church, Honfleur (France).

Saint Etienne’s church, Honfleur (France).

City map of Honfleur (France).

San Pedro de la Nave

San Pedro de la Nave, El Campillo, Zamora (Spain).

In Spain, near Zamora, where history and landscape intertwine, stands the extraordinary Visigothic church of San Pedro de la Nave. This architectural marvel is a testament to the ingenuity and artistry of a bygone era.

Constructed during the 7th century, the church epitomizes the unique blend of Roman and Germanic influences that characterized the Visigothic period. Its survival through centuries of upheaval, including the Muslim conquest, is a testament to its resilience and historical significance. The church's distinctive horseshoe-shaped apse, robust walls, and functional interior design are hallmarks of Visigothic architecture.

A defining chapter in the church's history unfolded in the 1930s when the looming threat of submersion due to the construction of the Ricobayo reservoir necessitated a daring rescue. Through meticulous planning and execution, the entire church was dismantled and meticulously reassembled at a safer location, ensuring its preservation for posterity.

Today, San Pedro de la Nave stands as a beacon for history and architecture enthusiasts. Its journey, from its Visigothic origins to its modern-day preservation, is a captivating narrative that invites exploration and contemplation. This architectural gem offers a tangible connection to a past that continues to shape the present, making it an indispensable stop for those seeking to delve into the depths of Spain's rich cultural heritage.

The dolmens of Viera and Menga, Antequera (Spain)

The dolmen of Menga, Antequera (Spain).

The dolmens of Viera and Menga in Antequera, Spain, are awe-inspiring relics from the Neolithic and Bronze Age, standing as silent sentinels of a long-lost world. These ancient stone monuments, among the best-preserved in Europe, date back around 5,000 years and are now honored as a UNESCO World Heritage Site.

Dolmens are ancient megalithic structures typically built as burial chambers during the Neolithic period. Constructed using massive upright stones (orthostats) capped with one or more horizontal slabs (capstones), dolmens often served as ceremonial or funerary monuments. They were usually covered by earth or smaller stones to form a mound, though the covering has often eroded away over time. Found across Europe, Asia, and parts of Africa, dolmens are remarkable feats of engineering, reflecting the spiritual beliefs and social organization of early human communities.

The Dolmen of Menga is a colossal marvel, stretching 27.5 meters, with massive stones forming its walls and ceiling. Its wide corridor leads to a grand burial chamber, supported by towering stone pillars. Unlike typical dolmens, Menga faces not the rising sun but La Peña de los Enamorados, a mountain with a striking human face profile, hinting at a deep connection between the land and its ancient builders.

The Dolmen of Viera is more modest in size, measuring 21 meters. Its narrow corridor points directly at the equinox sunrise, tying it to the celestial rhythms of the sun. This alignment, common in megalithic structures, underscores its possible role in solar worship and agricultural cycles.

Unearthed in the 19th and early 20th centuries, these dolmens have since become cherished windows into the spiritual and architectural prowess of prehistoric societies. They stand as eternal markers of a people whose lives were deeply intertwined with the heavens and the earth.

The dolmen of Viera, Antequear (Spain).

The interior of the dolmen of Menga, Antequera (Spain).

Bathing and Morality in Medieval Art

The depiction of a couple bathing, Cathedral of Toledo (Spain).

Tucked among the elaborate carved seats of Toledo Cathedral’s choir, a rather cheeky wooden relief by Rodrigo Alemán catches the eye. It portrays a couple enjoying a soak in a wooden tub, a sight more expected in a medieval bathhouse than in a place of worship. But this wasn’t just an artist having a laugh—such playful yet pointed imagery was a hallmark of the time, blending humor with a moral lesson. Similar bawdy themes appear in the Book of Hours for Use in Maastricht (now in the British Library), a manuscript overflowing with mischievous marginalia—the kind of decorative flourishes Alemán himself would have thoroughly appreciated.

The idea of shared bathing was already making church officials sweat. Don Juan Manuel sternly advised that men should cleanse themselves “for hygiene, not hedonism”, while the Penitential of Burchard of Worms went so far as to catalog the many sinful temptations that could arise from mixed bathing. By the late 15th century—just as Alemán was carving his saucy scenes—the Church had seen enough. Mixed baths were banned, and public bathhouses, once the center of both hygiene and social life, were shut down under suspicion of encouraging a little too much relaxation.

Yet, centuries later, Alemán’s irreverent tub-dwellers are still making mischief, a testament to medieval humor, shifting moral tides, and the enduring appeal of a good soak.

Honoring the Exiles of Medina Antaqira (Antequera, Spain)

Homenaje a los antiqiries, Antequera (Spain).

In 1410, a pivotal moment in Andalusian history unfolded with the conquest of Antequera by the forces of Fernando I of Aragón, known as Fernando de Antequera. This event was part of the larger Reconquista, the Christian campaign to reclaim the Iberian Peninsula from Muslim rule. For the people of the Islamic medina of Antaqira, the conquest marked a turning point. Many were expelled and sought refuge in Granada, then still under Muslim rule. There, they established a new neighborhood, which became known as La Antequeruela—a lasting testament to their origins.

Six centuries later, in 2010, Antequera honored this chapter of its past by placing a statue in memory of those who were forced to leave.

The Cathedral That Dominates Albi (France)

The Cathedral of Saint Cecilia of Albi (France).

Rising like a mighty fortress above the Tarn River, the Cathedral of Sainte-Cécile in Albi is one of the most unique and imposing churches in Europe. Built in the aftermath of the Cathar heresy, it was not only a place of worship but also a powerful statement of Catholic dominance. In the 13th century, the region of Albi was at the heart of the Cathar movement, a Christian sect deemed heretical by the Roman Catholic Church. After a brutal crusade and the systematic repression of the Cathars, the victorious Church sought to reaffirm its authority with an architectural symbol that was impossible to ignore. Thus, in 1282, construction began on what would become the largest brick cathedral in the world—a fortress of faith, designed to leave no doubt about who held power.

At first glance, Sainte-Cécile looks more like a military stronghold than a traditional cathedral. Its towering red-brick walls, narrow slit-like windows, and massive buttresses give it an imposing and defensive appearance, a clear reflection of the uncertain times in which it was built. But step inside, and the contrast is breathtaking. The stark exterior gives way to one of the most opulent church interiors in France, a riot of color, sculpture, and artistic mastery.

The "Last Judgement" mural of the Albi Cathedral.

One of the most striking features of the cathedral is the grand mural of the Last Judgment, painted in the late 15th century. Covering the entire western wall, this vast fresco depicts the fate of souls after death, with the righteous ascending to paradise and the damned suffering horrific punishments in hell. The lower section is divided into seven compartments, each representing one of the seven deadly sins. The scenes are vivid and haunting—proud souls broken on a wheel, the envious plunged into ice and fire, and the greedy tormented by demons. Remarkably, the fresco remains almost untouched by restoration, preserving its original intensity.

The nave of the Albi Cathedral.

The cathedral's vaulted ceiling, stretching over 18 meters high, is another masterpiece. Painted in deep blues and golds, it is adorned with intricate floral patterns and biblical scenes. The decoration is the work of Italian artists brought in during the early 16th century, adding a Renaissance touch to the otherwise Gothic structure. Below the ceiling, the ornate jubé (rood screen) is a true gem of Flamboyant Gothic sculpture, delicately carved and adorned with statues of biblical figures. It once separated the clergy from the congregation, emphasizing the hierarchy within the church.

With its dramatic history, fortress-like presence, and awe-inspiring decorations, the Cathedral of Sainte-Cécile is more than just a religious monument—it is a testament to a turbulent past and a masterpiece of medieval artistry. Whether viewed from afar or explored up close, it remains one of the most breathtaking and unforgettable cathedrals in Europe.

The Rascal at IKEA (Murcia, Spain)

At Murcia’s gridlock garden, a van holds court,
a scruffy king of last resort.
Its doors don’t shut, its paintwork peels,
but oh, the charm! It spins its wheels.
 
Between the shiny cars in line,
it slouches, smug — "This spot is mine!"
No showroom gloss, no modern tech,
just quirks, some rust, and lots of specks.
 
At dawn it shakes, it groans, it grins,
"Time to roll — adventure wins!"
With a puff of smoke and a wobbly roar,
the rascal is gone — to the LIDL next door.