THE ALBANIAN CONDUCTOR Olsi Qinami, who began studying music in Tirana (Albania), lives in London. He certainly knows how to get the best out of the orchestra he helped to found, the London City Philharmonic. On Saturday the 2nd of October 2021 he conducted the orchestra in a wonderful concert of music by three Russian composers, two of them from the 19th century and the other from the 20th. The musicians performed to a large and enthusiastic audience in the church of St James in Sussex Gardens, Paddington. Many of those present were Albanian speakers and amongst them the Albanian ambassador, Qirjako Qirko.
The church, a fine example of Victorian gothic, was built to satisfy the spiritual requirements of the rapidly growing population of 19th century Paddington. Designed by George Edmund Street (1824-1881), the building was completed in 1882 on the site of an earlier, smaller church that was built in the neo-classical style in about 1841. Apart from being a highly successful example of gothic revival, the church is notable for having been that in which the unjustly vilified writer Oscar Wilde married Constance Lloyd in 1884. Despite being a large, spacious building, the church’s acoustics coped well with the orchestral music.
The concert opened with a spirited rendering of the “Polovtsian Dances from Prince Igor” by Alexander Borodin. This piece holds a special place in my heart, as I will now explain. In the late 1950s, my parents bought or were gifted an LP entitled “Classical Music For People Who Don’t Know Anything About Classical Music”, which I played often in my childhood. Its cover has a sketch of four people in the living room of a very modern looking house, even by today’s standards. A lady, looking pleased with herself or the music or both, stands next to a gramophone player clutching a record cover (sleeve). Behind her, three people are seated in armchairs: one looks puzzled; another looks a bit bored; and the third has fallen asleep with a drinking glass resting on his armrest. One of the tracks on this LP was the “Polovtsian Dances”.
Borodin’s piece was followed by Peter Ilych Tchaikovsky’s “Romeo and Juliet Overture”, with which I am less familiar than the “Polovtsian Dances”. Although this brief piece was nicely performed, it is unlikely to enter my list of favourite works by this composer in the near future.
After the interval, we were treated to an exciting and brilliantly performed rendering of the 5th Symphony by Dmitri Shostakovich. Olsi Qinami and the orchestra handled the constant alternation of the composer’s triumphant sounding sections of the symphony with its comparatively peaceful, lyrical sections with exquisite mastery.
Shostakovitch completed his 5th Symphony in 1937, soon after having been heavily criticised by Stalin for his opera “Lady Macbeth of the Mtsensk District”, first performed in 1934. Had the Fifth Symphony not been so well received and liked by Stalin, the composer’s future might have become exceedingly grim. As Olsi Qinami pointed out in a brief speech before conducting the symphony, the piece, which was praised by the authorities, contains subtle musical messages expressing the composer’s criticism of the ruling regime. Whether or not one was able to detect these messages did not matter because the performance we heard was exciting, uplifting, and invigorating. In the last minutes of the symphony, I noticed one of the violinists breaking into a wonderful smile, no doubt because she and the rest of the orchestra had so successfully mastered this complex and difficult piece of music.
An odd thought occurred to me whilst listening to the Shostakovich piece. It was composed in 1937, when life for ordinary people in the USSR cannot have been at all easy. Although the situation here in the UK in 2021 is hardly comparable to that distant time in Russia, we are also going through times far more difficult than anyone has experienced since WW2, what with the covid 19 pandemic, Brexit-related problems, and shortages in shops and filling stations. It must have been a source of great solace for Soviet citizens to escape from their daily problems, if only for a few hours, by joining an audience at a concert of fine classical music. Well, that is how Olsi’s joyous concert felt for me as soon as he lifted his baton, and the orchestra began to play.
EVER SINCE I CAN REMEMBER, I have been fascinated by maps and collected them. I cannot say exactly why I enjoy them, but one reason is that I get satisfaction from aesthetic aspects of cartography. Another reason is that when I look at them, I try to imagine the reality that they represent, a form of virtual travelling. Whatever the underlying cause(s) of my fascination with maps might be, it is irrelevant to what follows because what I want to tell you is about a shop that I used to love to visit. It was Stanford in London’s Long Acre, a street not far from the old Covent Garden Market and Leicester Square.
Founded by Edward Stanford (1827-1904) in the early 1850s, his business was one of the best specialist suppliers of maps in the UK, if not the very best. His company’s store on Long Acre opened in 1901, having moved there from Charing Cross. When I used to visit the shop to browse the lovely maps on display in the 1960s, there were two floors open to the public. The ground floor was the main showroom with maps of popular destinations that appealed to the majority of customers. The basement was less attractively arranged but far more interesting to serious travellers and map collectors such as me. There were no maps out on display down there. One had to ask a salesman to show you maps of areas that interested you. I believe it was there that I bought a nautical chart of the extremely remote French island of Kerguelen in the southern part of the Indian Ocean, a place that I had no intention of ever visiting.
In about 1966, my interest in Albania was born. I have tried to explain why this happened in my book “Albania on My Mind”, which I published in 2013, 101 years after Albania gained its independence. In those days, not much was known in the UK about this small country in the western Balkans. Maps of Albania were not available in most shops, probably because few people visited the place, or were even remotely interested in it. So, I took the Underground from my local station, Golders Green, to Leicester Square. Stanford was a few yards from that station. At Stanford, I enquired about detailed maps of Albania, and was sent to the specialist map department in the basement.
The only detailed map of Albania available at Stanford was a 1:200,000 scale map with the information that it was made:
“Auf Grund der Oesterreichischer-Ungarische Kriegsaufnahmen und der im Auftrage der Albanische Regierung Von Dr Herbert Louis gemachten aufnahmen sowie mit Benützung italienischer und franzoesischer Karten” (i.e., ‘On the basis of the Austrian-Hungarian war recordings and the recordings made by Dr Herbert Louis on behalf of the Albanian government, as well as with the use of Italian and French maps’)
The map, which comes as two sheets, was up to date in 1925. A small map alongside the main map shows which parts of the large map were surveyed by whom and when. Between 1916 and 1918, the surveyors were the armies of Austria-Hungary, France, and Italy. Some information collected by Baron Nopcsa between 1905 and 1909 is included in the map, as well as data collected by Dr H Louis between 1923 and 1924.
Baron Nopcsa was the Hungarian aristocrat and politician Franz Nopcsa von Felső-Szilvás (1877-1933; see: http://www.smithsonianmag.com/history/history-forgot-rogue-aristocrat-discovered-dinosaurs-died-penniless-180959504/), a founder of paleobiology and a specialist on Albanian studies. This one-time candidate for the throne of Albania created the first geological map of northern Albania. The German Dr Herbert Louis (1900-1985), whose name is prominent on the map, was no stranger to Albania. In 1923, he accompanied the Austrian geologist Ernst Nowack (1891-1946) during his research in the country, and in 1925, he was awarded a doctorate for his studies concerning Albania.
The map looked beautiful, I fell in love with it, and I knew I had to obtain a copy of it, but it was priced at 23/- (23 shillings: £1.15) for the set. That might not sound excessive today in 2021, barely the price of a small bar of chocolate or a cup of tea (in a scruffy café). But in about 1966, it was a huge sum of money for me, many times more than my weekly pocket money. I left Stanford, determined to save up for it and hoping that in the meantime the shop would not run out of copies of it. Eventually, I was able to purchase a set of these maps.
Delicately drawn, covered with contour lines, shaded representations of rocks and mountains, a variety of colours, the map shows how few roads there were in Albania in the 1920s. The tiny black dots, which represented buildings or small groups of them are often shown to be connected by tracks or footpaths, but many of them are a long way from any line of communication marked by the map makers. Most of the names on the map are in Albanian, but a few are also in Italian (e.g., Durazzo [Durres], Valona [Vlora], San Giovanni di Medua [Shengjin], and Santi Quaranta [Saranda]). Some words on the map are also in German.
I treasure this set of maps I bought at Stanford so many years ago and my memory of first being shown them in the basement of the shop. Yesterday, on the 15th of August 2021, first day of the 75th year of India’s independence, we walked along Long Acre, and discovered that although its name on the building is still there, the map shop is not. I had not realised that in 2019 this repository of records of landmarks and one of my favourite childhood haunts had moved from Long Acre to nearby Mercer Walk near The Seven Dials.
THE RIVER BRUE flows through the Somerset town of Bruton. In the Domesday Book (1086), its name was recorded as ‘Briuuetone’, which is derived from Old English words meaning ‘vigorously flowing river’. In brief, this small town is picturesque and filled with buildings of historical interest: a church; several long-established schools; municipal edifices; an alms-house; shops; and residences. On a recent visit, we drove past a Tudor building that was adorned with a crest labelled “Hugh Sexey” and the date “1638”. At first, I thought it was a sort of joke, rather like ‘Sexy Fish’, the name of a restaurant in London’s Berkeley Square. I walked back to the building after parking the car.
I looked at the sign, and my curiosity was immediately aroused. The crest bears a pair of eagles with two heads each, double-headed eagles (‘DHE’). Now, as some of my readers might already know, the DHE is a symbol that has fascinated me for a long time. This bird with two heads has been used as an emblem by the Seljuk Turks, the Byzantine and Holy Roman Empires, Russia (before and after Communism), the Indian state of Karnataka, Serbia, Montenegro, Albania, and some people in pre-Columbian America, to name but a few. In the UK, several families employ this creature on their coats-of-arms. These include the Godolphin, the Killigrew, and the Hoare families, to name but a few. Each of these three families has connections with the county Cornwall, which, through Richard, Earl of Cornwall (1209-1272) and King of the Germans, had a strong connection with the Holy Roman Empire, whose symbol was the DHE. Until I arrived outside the building in Bruton, Sexey’s Hospital, I had no idea about the existence of the Sexey family nor its association with the DHE.
Sir Hugh Sexey (c1540 or 1556-1619) was born near Bruton. He became royal auditor of the Exchequer to Queen Elizabeth I and later King James I, and amassed a great fortune. After his death, much of his wealth was used for charitable purposes in and around Bruton. Two institutions that resulted from his money and still exist today are Sexey’s Hospital, outside of which I first spotted the crest with two DHEs and Sexey’s School (www.sexeys.somerset.sch.uk/about-us/the-sexeys-story/). The school, which is now housed in premises separate from the hospital (now an old age home), was first housed in the same premises as the hospital.
According to the school’s website:
“…a two headed spread eagle is taken from the seal used by Hugh Sexey later in his life which can be seen on his memorial on Sexey’s Hospital …”
The article then considers the DHE (‘spread eagle’) as follows:
“Traditionally the spread eagle was considered a symbol of perspicacity, courage, strength and even immortality in heraldry. Prior to notions of medieval heraldry, in Ancient Rome the symbol became synonymous with power and strength after being introduced as the heraldic animal by Consul Gaius Marius in 102BC (subsequently being used as the symbol of the Legion), whilst it has been used widely in mythology and ancient religion. In Greek civilisation it was linked to the God Zeus, by the Romans with Jupiter and by Germanic tribes with Odin. In Judeo-Christian scripture Isa (40:31) used it to symbolise those who hope in God and it is widely used in Christian art to symbolise St John the Evangelist. An heraldic eagle with its wings spread also denotes that its bearer is considered a protector of others. Sexey’s seal and crest may have included the spread eagle to symbolise the family’s Germanic heritage.”
Some of this is in accordance with what I have read before, but I need to cross-check much of the rest of it, especially the Greek and Roman aspects. The final sentence relating to Germanic heritage seems quite sound, as the DHE was an important symbol in the Holy Roman Empire.
There is a sculpted stone bust of Sir Hugh Sexey in the courtyard of his hospital (really, almshouses), which was built in the 1630s. This portrait was put in its position in the 17th century long after his death. Above the bust, there is a carved stone crest bearing two DHEs, which was created by William Stanton (1639-1705) from London. According to the Oxford Dictionary of National Biography (‘DNB’):
“ Later in the seventeenth century a stone bust of Sexey, together with a coat of arms (that of the Saxey family of Bristol, with which he had no known connection), was placed over the entrance hall…”
The plot thickens as I now wonder whether the DHEs are related to the Sexey family or that of the above-mentioned Saxey family. A quick search of the Internet for the coats-of-arms of both the Sexey and the Saxey families revealed no DHEs except on crests relating to Bruton’s two Sexey foundations.
One family that was involved in the history of Bruton and whose crest bears the DHE is Hoare. They took over the ownership of the manor from the Berkely family in 1776. This is long after Hugh Sexey died and is therefore unlikely to be the reason that William Stanton included the DHEs on the crest above Sir Hugh’s bust. So, as yet, I cannot discover the history of the DHEs that appear all over Sir Hugh’s hospital and neither can I relate them to any other British family that uses this heraldic symbol. But none of this should mar your enjoyment of the charming town of Bruton.
BIRDS WITH TWO heads have fascinated me ever since I first became interested in Albania when I was about 15 years old. Just in case you did not know, the flag of Albania (and several other countries) bears an eagle with two heads. Another place that uses this imaginary bird with two heads as a symbol is a place I visit frequently: Karnataka State (formerly Mysore State) in the south of India. Currently (June 2021), unable to visit either Albania or India, we are on holiday in the English county of Cornwall. At least two Cornish families have employed this imaginary double-headed creature as a symbol: the Killigrews and the Godolphins. The famous banking family, the Hoares, also use the double-headed bird on their crest. A branch of this family might have originated in Cornwall (www.houseofnames.com/hoare-family-crest).
I do not know for sure when or why the two-headed bird was adopted by these leading Cornish families, but here is my theory. John (1166-1216), King of England from 1199 until his death, had a son, his second, called Richard (1209-1272). His older brother, who became King Henry III, gifted him the county of Cornwall, making Richard High Sherriff of the county as well as its duke. The revenues collected from his county made Richard a wealthy man. Cutting a long story short, Richard of Cornwall was elected King of the Germany in 1256, often a position held by candidates being considered for becoming Emperor of the Holy Roman Empire. This allowed him to become known as the ‘King of the Romans’. He was the ruler (but not the emperor) of the Holy Roman Empire, a position he held until 1272, when he was replaced by Rudolf I of Habsburg (1218-1291). Richard hoped to become emperor, but never made the position. His crest bore a single-headed eagle, but that of the realm to which he aspired, The Holy Roman Empire, employed an eagle with two heads. At this point, I enter the realm of speculation. I suggest (with no evidence to back this up) that some noble families in Cornwall, who might have been associated with Richard, might have borrowed the double-headed eagle of Richard’s German kingdom for use on their family crests to enhance their family’s importance. Or, they might have used it in deference to Richard. But, as my late father-in-law often said, I am only thinking aloud.
Recently, we visited Godolphin House, a National Trust maintained property just over 4 miles northwest of Helston. Set in lovely gardens, the house is what remains of a building that dates to about 1475, built by John I Godolphin. It was part of a far larger building, much of which is in ruins. It has a good set of stone outhouses. Godolphin built his house about 7 years after the death of the Albanian hero Gjergj Kastrioti Skënderbeu (1405-1468), also known as ‘Skanderbeg’, whose coat of arms, helmet, and seal includes a double-headed eagle. I do not know whether Skanderbeg was aware of the Godolphins, but it is possible that the reverse might have been the case, as much was written about the Albanian hero, even soon after his death, and many members of the Godolphin family were well-educated.
The name ‘Godolphin’ is derived from several earlier versions of the family’s surname. In 1166, there was reference to ‘Edward de Wotholca’. A record dated 1307 mentions the family of ‘Alexander de Godolghan’, who died in 1349. It was he who built the first fortified residence at Godolphin, the name that the family eventually adopted. John I Godolphin demolished the first dwelling and replaced it with what was the basis for the existing building.
The Godolphins of Cornwall included several notable figures. Sir Francis I Godolphin (1540-1608) constructed extensive defensive works to protect Cornwall and The Scilly Isles against Spanish incursions, as well as improving the efficiency of his tin mines. His son William Godolphin (1567-1613) was a loyal supporter of royalty during the English Civil War. It was said that the future King Charles II visited Godolphin House and stayed in what is now known as the ‘King’s Room’.
Sidney, 1st Earl of Godolphin (1645-1712) was involved in the Court and Parliament during the reign of Queen Anne, which ran from 1707 to 1714. His most important position was First Lord of the Treasury. During both Anne’s reign and that of her predecessor, King William III, he was strongly associated with the military career of John Churchill, the 1st Duke of Marlborough. Sidney’s son, Francis Godolphin, 2nd Earl of Godolphin (1678-1766) was also a politician and a courtier. Although he was born in London, he represented the Cornish constituency of Helston, which is not far from Godolphin House. Francis worked his way up the governmental hierarchy to become Lord Privy Seal in 1735. a position he held for five years. In 1698, Francis married Henrietta (1681-1733), eldest daughter of the 1st Duke of Marlborough.
The Godolphins were spending hardly any time in Cornwall by the 18th century. From 1786, Godolphin House was owned by the Dukes of Leeds, who never lived there. Despite its now distant connection with the Godolphin family, their double-headed eagle can still be spotted around the house. There is a fine example in the Kings Room and several more on the hopper heads at the top of the rain collecting downpipes.
Whether or not birds with two heads fascinate you, a visit to Godolphin House, remote in the Cornish countryside, is well-worth making, not only to spot the mythical birds but also to enjoy fine architecture and wonderful gardens.
PHILIP’S NAVIGATOR BRITAIN is a detailed (1 ½ miles to the inch) road atlas covering England, Scotland, and Wales. It is extremely useful for finding one’s way through Britain’s maze of narrow country lanes if, like us, you do not make use of GPS systems. One of the many features of the maps in this atlas is that it marks old buildings and other sites of interest in both towns and deep in the countryside. Recently (June 2021), we were driving around in rural Wiltshire, having just visited the small town of Bedwyn when I spotted that there was an old chapel nearby, close to the hamlet of Chisbury.
The area in which Chisbury is located is the site of an ancient hill fort in which archaeologists have found artefacts from the Palaeolithic era, as well as the Neolithic and Bronze Ages. The fort, whose earthworks are still discernible, was later used by the Romans. Long after the Romans had left England, the manor house of Chisbury was built within its site.
In the 13th century, the Lord of Chisbury Manor built a ‘chapel of ease’, St Martin’s, close to his manor house. According to Wikipedia, such a chapel is:
“…a church building other than the parish church, built within the bounds of a parish for the attendance of those who cannot reach the parish church conveniently.”
The chapel of ease at Chisbury was built to serve the household of the Manor House as well as villagers nearby, to save them having to travel to the nearest parish church which was in Great Bedwyn.
In 1547, during the Reformation of The English Church, the chapel, like many other places of worship in Henry VIII’s realm, ceased to be used. Instead of being demolished, as so many ecclesiastical buildings were at that time, the chapel was re-used as a barn. The barn continued to be used over several centuries until 1925, when it was designated a building of historical importance. Now, it is maintained by English Heritage. This re-purposing of a place of worship reminded me of what I saw when I visited Albania in 1984. At that time, religion of any sort had been made illegal by the Stalinist regime led by Enver Hoxha. Mosques and churches had either been demolished or re-purposed as sports halls, cinemas, and for other non-religious uses.
The chapel of Chisbury is beautiful. The glass has been long lost from its windows. Trees can be seen from within the chapel through its carved stone gothic windows. The ceiling of the chapel is timber framed, but I suspect that these are no longer the original timbers. The roof is thatched. The floor is at two levels, higher at the west end than the east. Steps lead from one level to the next. The two levels might reflect the fact that the chapel is built on a steeply sloping hill.
On the inside of the west wall of the building, close to the way into the chapel, there is a faded red painted circle enclosing a cross. Symbols like this were painted on to the walls of buildings during the consecration ceremonies of building about to become churches. What you can see in the chapel at Chisbury must have survived many centuries. Maybe, it has been touched up from time to time.
It is written that Jesus Christ was born in a kind of barn surrounded, as the story goes and many artist have depicted, by farm animals. I wonder whether this went through farmworkers’ heads as they used the former chapel as a barn for a variety of agricultural purposes.
Had it not been for builders working nearby, the chapel would have been silent except for birdsong. I am glad we made the small detour to see this delightful relic of mediaeval life in England.
TEARING DOWN STATUES or defacing them is nothing new, as some might believe after hearing about dunking Edward Colston’s toppled statue into a river in Bristol.
When I visited Albania in 1984, I saw statues of Josef Stalin and the Albanian dictator Enver Hoxha prominently placed in public spaces. Neither of these two gentlemen can be seriously considered to be God’s best gifts to humanity. Many of their actions caused great fear and suffering in both the former USSR and in Albania.
In 1991, Albania’s long (1944-1991) Communist regime crumbled ignominiously. In February 1991, citizens of Albania’s capital, Tirana, attached cables to a huge statue of Enver Hoxha, an admirer of Stalin, and pulled it down. Many of the police guarding the huge monument to repression assisted the people to cause this bronze statue to topple to the ground.
Years later, in 2016, we visited Albania. In the centre of Tirana, there is a national museum of art, which was present when I visited the city in 1984. Back then, and even in 2016, there was a good collection of fine works created in the Social Realism style, so popular amongst Communist regimes. After seeing the gallery in 2016, we happened to bump into one of the museum’s curators. I showed him a picture of a sculpture I had taken in 1984 and asked him if he recognised it. Without answering, he invited us to follow him to a yard at the rear of the gallery.
There, in the yard, stood the sculpture I had photographed in 1984. More interestingly, it was not alone. It stood next to a giant statue of Lenin and another one of Stalin and another large object wrapped in cloth tied down with ropes. The curator explained that these statues, although they depicted people whose ideas and actions had done much harm to the Albanian people, were valuable works of art, not simply because of their great scrap metal value but, more importantly, they helped record the country’s history. In addition, he explained that they were fine examples of their genre. The bundled-up object standing in that yard was, he explained, too sensitive to uncover as it would upset many people viewing it. It was part of an enormous statue of Enver Hoxha, who had not yet been forgiven by many Albanians. Clearly, Lenin and Stalin were thought to be less disturbing as they were not covered up, but sufficiently upsetting to be confined to a relatively unvisited yard behind the gallery open to the public.
Both Trafalgar and Parliament Squares in London contain statues that might cause offense to those whose knowledge of history is more than superficial, yet their actions have not always been 100% reprehensible. Fortunately for these monuments, many of the kind of people who might be inclined to topple statues do not usually read much detailed history.
There are some statues or monuments, which remember people, whose actions cannot rationally be called into question. One of these is that of Edward Jenner (1749-1823), whose work formed the foundation of something on which we are currently becoming extremely dependent: vaccination. Only someone out of his or her mind would consider pulling down or defacing his statue.
Recently, when strolling along an embankment, I spotted a monument close to the River Thames outside Lambeth Palace. Erected in 2009, it commemorates the Special Operations Executive (‘SOE’), whose covert activities in no little way helped to bring about the defeat of Nazi Germany’s forces during WW2. The plinth with metal commemorative plaques is topped with the head of a woman with high cheekbones, a serious, determined face, and luxuriant curly hair, tied back. She stares out across the River Thames toward the Houses of Parliament. The bust depicts Violette Reine Elizabeth Szabo (1921-1945), whose actions behind enemy lines in France were designed to sabotage German military activity. She was one of many women including Noor Inayat Khan (1914-1944), of Indian aristocratic heritage, who risked and lost their lives to assist in the defeat of a repressive regime.
SOE was staffed by both men and women of many nationalities, and their bravery is recorded on this simple memorial outside Lambeth Palace. Although simple in design, the expression depicted in the face of Violette Szabo gave me a feeling of the great determination of those brave souls who gave up their lives in horrific circumstances. They did so in the hope, fulfilled, that we could enjoy life in Britain and elsewhere without having to bear the burden of inhumane dictatorial rule.
Unlike Stalin and Hoxha, statues of the purely benevolent such as Jenner and Szabo should be allowed to stand undisturbed for ever, well, at least, so long as they can survive London’s ever-changing weather conditions and pollution.
ALBANIA. BULGARIA, AND YUGOSLAVIA are countries that I visited in the 1970s and 1980s. I visited the former Yugoslavia the most and acquired a smattering of Serbo-Croat, the main language spoken in that fascinating part of the Balkans. My limited knowledge of this language helped me get by in Bulgaria. My poor Serbo-Croat seemed to be well understood in Bulgaria. During my first visit to Albania in 1984, although we were prevented from communicating with the locals, there were plenty of examples of the Albanian language in the form of propaganda posters and political slogans written with numerous pebbles on the sides of mountains.
Until 1990, my vocabulary of words from various Balkan languages was of limited use to me whilst I was practising dentistry in England, first in north Kent then, after 1994, in London.
In the mid-1990s, I began treating patients who were refugees from parts of the then violently disintegrating Yugoslavia. Many of my new patients were from Bosnia and Herzogovina. Some of them had little command of the English language and were grateful that they were being treated by someone who knew ‘where they were coming from’, as the saying goes, and who knew some words of their own language. Sadly, some of them hearing me repeating what little Serbo-Croat I knew, assumed that I was fluent. I attracted a faithful following, some of whom were charming and a small minority, the opposite, On the whole, even the most difficult of my ex-Yugoslav patients were grateful and brought me gifts, often strong home-brewed alcohol sent from Bosnia, as a mark of their gratitude. One dear lady even brought me a pair of earrings that her uncle in Sarajevo had made specially for my wife.
Some years later, I began treating Albanian-speaking refugees from Kosova, a region of the former Yugoslavia that had and still has a population, which is mainly of Albanian heritage. Many of the recent arrivals from that country, who came to my surgery for dental care, had minimal or no English. My knowledge of Albanian was extremely limited. I could greet them with ‘diten e mire’ (‘good day’) or wish them ‘mirupafshim’ (‘good bye’), when they left my surgery, but I could say little else of any practical use. However, if I said ‘rrofte partia socialiste e shqiperise’ (‘long live the Socialist Party of Albania’) or ‘lavde shoku Enver Hoxha’ (praise Comrade Enver Hoxha’), which I had learnt from propaganda posters in Albania back in 1984, this caused many of my Kosovan patients to smile.
Now that I have been retired for a few years, many of the new arrivals to this country from the troubled Balkans have settled down and contribute positively to life in the UK. Only today, whilst waiting in the street for take-away coffees, we were joined by three other customers, workmen dressed in overalls. Seeing my furry ex-Soviet Army hat, they struck up a conversation. They were all from Serbia and were delighted that I knew some words of their language, if ‘samo malo’ (‘only a little’). I decided not to show off my knowledge of Serbian swear words that my friends in Belgrade had taught me long ago, and which I shall not share with you.
Just before reaching the café, we had been taking exercise in Holland Park. This park, like many others in London, has wooden benches, often inscribed with words to commemorate lost member(s) of a family. I was idly looking at a row of benches opposite the curious “Annunciation” sculpture, a structure consisting of horns and cogs, when I spotted one with words that are not English:
“Detikuar prinderve tane te dashur sabri dhe behije preci”
I recognised this as being in Albanian. Google translates this as:
“Dedicated to our dear parents Sabri and Behije Preci”
Until today, I had not seen a park bench with an Albanian dedication. Seeing this typically British form of memorial made me feel that members of communities that have had to flee from their war-torn homes in the Balkans are beginning to feel that Britain is now also a place they can call ‘home’, whose public amenities they are helping to cherish.
I have received news of two books about Albania. One, an intriguing novel, is written by American born Kim Malaj. The other, a collection of Albanian folk tales is written by her husband, Arti Malaj, who was born and brought up in Albania. I look forward to reading them in the future. Why not give them a try, and let me know how you enjoyed them?
THE NOVEL:”CASTLE OF TESKOM” by Kim Malaj
‘Shiny ember rocks are fuel for time; the dull rocks are a fool’s dime.’An old nursery rhyme, or so they think. Itra and Danae stumble across an ancient secret kept hidden behind a reflection in time near their Albanian home. A faded memory and cryptic messages have propelled them to risk an encounter with foes from Greek mythology, altering their perception of Albanian folklore and reality. Itra and Danae grapple with events set in motion centuries ago and must choose toprotect and serve or risk having the secret exposed. Will love, loyalty, and lineage be enough to hold them together, or will they lose their way in auniverse they are only beginning to understand?
THE FOLK TALESNORTHERN ALBANIAN FOLKTALES, MYTHS AND LEGENDS
by Arti Malaj
Generations of Northern Albanian are known as great storytellers. They shared many folk tales, myths, and legends with their descendants. The collected short stories include mysterious legends of lost treasures, mystical tales of mountain fairies, superhuman powers, century-old witches, blood feuds, and more written by a twelfth-generation Albanian. The lands described in the stories are still visible today, and locals share a sense of wonder and respect the mysteries that hide beneath. Northern Albania is a true treasure of raw natural beauty and a hidden gem in Southeastern Europe.
I WISH THAT I had taken a photograph of it when I was visiting Tirana, the capital of Albania, in 1984, the last year of the life of its long term dictator and admirer of Josef Stalin, Enver Hoxha (1908-1965). I managed to get at least one photograph of a statue of Stalin in Albania, the only European country that still displayed monuments to this by then mostly discredited Soviet dictator. However, in May 1984, I failed to take a picture of something I have never seen outside Albania or in Albania when I revisited it in 2016. What I failed to record on film was the sight of men walking along the streets with heads of flowers whose stems they were holding between their teeth. Their lips were hidden behind the blooms. I mentioned seeing this to several people who have visited Albania, and none recall seeing flowers being carried that way. So, I was beginning to wonder whether my memory was playing tricks as time passed.
A few days ago, I was browsing the bookshelves in an Oxfam charity shop when I noticed a travelogue that contained a few pages about the author’s experience of Albania, which he visited several decades before my first encounter with the country. I was thrilled and relieved that my memory had not failed me when I read the following words he wrote:
“The inhabitants of Tirana love music and flowers. You can see men going around with roses in their mouths. They seem to use them as an extra buttonhole.”
These words, translated from German, were published in the “Frankfurter Zeitung”, a German newspaper, on the 29th of June 1927. They were written by its journalist, the Austrian novelist Moses Joseph Roth (1894-1939), better known as ‘Joseph Roth’. The book in which I found his articles on Albania is “The Hotel Years”, edited and translated by Michael Hoffmann and published in 2015. The anthology of Roth’s writings covers countries, to mention a few of them, including Austria, Hungary the USSR, Germany, Yugoslavia, and Albania.
Roth visited Albania in 1927 and published six articles about it between May and July that year. He mentioned the love of music in Tirana. This observation relates to both the mandolins played mainly by Albanians who had unaccountably, in his opinion, returned to their country after having lived abroad, mainly in the USA, and to military bands. During his sojourn in the capital, he notes the seemingly endless army exercises and parades that are carried out throughout the day.
With regard to the Albanian army, it was his impression that they were poorly equipped:
“Now the army has Austrian rifles and Italian ammunition, bullets that jam, magazines that can’t be clicked in, British knapsacks that can’t be secured with Italian straps, covers for field-shovels and no field-shovels with which to dig trenches, Italian officers who don’t know commands in Albanian, …”
And, he asks:
“For whom do they exercise? Surely not for their country? Because half the country is unhappy with their government – for reasons of idealism.”
Reading this, made me wonder why Roth was sending reports from Albania between the end of May and the end of July in 1927. Near the end of his largely unflattering description of the country and its people, he wrote:
“Albania is beautiful, unhappy, and for all its current topicality, boring.”
Although Albania is anything but boring for me, I was curious about its “current topicality” during those months in 1927. Roth’s readers probably knew, but that was long ago.
I looked at various issues of the “Times” newspaper of London and other sources to discover what might have interested the world’s press in Albania at the time that Roth wrote his articles. On Monday, the 6th of June, the Times noted that diplomatic relations between Albania and its neighbour Yugoslavia had broken down. On the 27th of May, Mr Juraskovitch, an interpreter at the Yugoslav legation in Tirana, was arrested and his house was burnt down (www.jstor.org/stable/25638310?seq=1). Naturally, the Yugoslav government objected. On the 31st, Tzena Beg, an Albanian representative in Belgrade, explained to the Yugoslavs that Juraskovitch was an Albanian citizen and that compromising documents had been found in his possession. Mr Sakovitch, the Yugoslav chargé d’affaires, disclaimed all knowledge of this and demanded the release of Juraskovitch. Hussein Beg Vrioni, the Albanian Minister for Foreign Affairs, said that his case was purely an internal matter. On the 4th of June, the Yugoslav legation was withdrawn from Tirana. The following day, the Albanian government declared that it was taking the case to the League of Nations.
On the 5th of June, the “Times” noted that many Albanians feared that this diplomatic incident would create anxiety and unrest in the country, and many felt that the flames were being fanned by a third party with a great interest in Albania, Italy. According to “The Annual Register, Vol. 169- for 1927” Italy had:
“…sent to Berlin, Paris, and London a Note calling attention to alleged preparations on the part of Yugoslavia for an immediate invasion of Albanian territory. The crisis had arisen as the result of the arrest by the Albanian police of a certain Jurascovich, charged with espionage on behalf of the Yugoslav Government. Refusal to release the alleged spy led to the withdrawal of the Yugoslav Minister from Tirana, and to the Italian Note. The matter was, however, satisfactorily settled between Italy and Yugoslavia.”
Eventually in November 1927 after much Italian antagonism to the French and their cordial relations with Yugoslavia:
“ … the Italian Government published the text of an Italo -Albanian Treaty of defensive alliance.”
This was not the first attempt to forge an alliance between Italy and Albania as is illustrated from the following quote from “The Annual Register”:
“Relations with Italy and Albania were disturbed at the end of 1926 by the first Tirana Treaty and became more strained in March, 1927, when the Italian Government addressed a Note to the Great Powers (Germany, Great Britain, and France) accusing Yugoslavia of military preparations against Albania.”
Thus, Albania was being dragged gradually into the strong influence that Italy held on it until the Second World War had begun.
Roth travelled to Albania around about, or just after the Juraskovitch affair had begun. This might have been one reason for his visit. Another thing that might have attracted his attention, which was reported in the “Times” of the 10th of June 1927, was the growing unrest of many Albanians, particularly in the north, resulting from dissatisfaction with the government of Ahmed Zogu. However, by mid-July, a couple of weeks before Roth’s last article about Albania, the two countries, Albania and Yugoslavia, had come to a more or less satisfactory settlement of the Juraskovitch affair.
My surmise is that Roth came to Albania not out of curiosity but in connection with the diplomatic incident and the strained relationship between Albania and its Slav neighbour. My impression is that the urbane Roth cared little for what he observed during his time in Albania. His description of his arrival sets the tone for much that appears in the anthology of his Albanian travel writings:
“ … the hut, like so many attractions these days, has a guest book; sitting over the book is a man in a black uniform, rolling himself a cigarette, and this is the Albanian border police. A master of the alphabet, but unused to writing, he sits there whiling away the time of new arrivals by painstaking scrutiny of their passports … I cut short his study by offering to set down my name for him … Workmen are repairing the road. There are always two hunched over together … they collect little scoops of sand on their tiny shovels or in their bare hands, pour it into scars and potholes, sprinkle a few stones on top … and stamp it down with their bare feet …”
Roth also remarks on the telegraph wires linking Durres with Tirana. They were:
“… strung not on masts, but on crooked trees, which have been lopped and cropped. They used to stand by the wayside, a home to birds … now they are redesignated as telegraph poles … equipped to transmit journalistic reports – the twitterings of political sparrows – to Europe…”
Whereas Roth’s descriptions of Albania in 1927 are hardly flattering to the country, some other travellers, who visited it that year, published a far more flattering account in the same year. The travellers were Jan Gordon (1882-1944) and Cora C Gordon (née Turner;1879-1950), who wrote and illustrated a book called “Two Vagabonds in Albania”. It is amongst the best books I have read about the country. Unlike the critical and disapproving Roth, they take a delight in what they observed and convey that beautifully in their text and the illustrations they created.
Roth would be amazed by the changes that have occurred in Albania since his visit in 1927. I was also staggered by the changes I saw between my first visit in 1984, when I saw men with flowers in their mouths and motorised vehicles were few and far between, and 2016 when Tirana had become a modern city with traffic congestion and tall buildings to rival those found in any of the world’s large cities.
WE WERE NOT EXPECTING to see anything like it when walking down Chapel Street in the centre of the Cornish town of Penzance. What we saw immediately recalled the pseudo-Egyptian, art deco Carerras Building near Mornington Crescent in London. The building in London is far larger than that we found in Penzance, the Egyptian House. The Carreras Building was built in 1926-28. The Egyptian House was built far earlier, in 1835-36. Admittedly, the two buildings hardly resemble each other but when I saw the one in Chapel Street, I immediately thought of the structure in Mornington Crescent.
The Egyptian House is a regularly shaped building with an extraordinary façade. The front of the building is decorated in colourfully painted bas-relief with ornamentation that evokes thoughts of Ancient Egypt. The windows of this three-storey building are not rectangular. Each of them is framed in isosceles trapezoids (the top and bottom of each frame are parallel, the top being shorter than the bottom, and the sides of the frames form truncated isosceles triangles). All three layers of windows are framed in a large decorative isosceles trapezoid. This creates the illusion that the façade is tapering rather than rectangular. An informative merchant, who spoke to us from his shop across the road from the Egyptian House, pointed out that although the windows on the three floors look different in size, this is also an illusion; they are the same size on each floor.
The decorative features on the building include pillars with lotus capitals, sculpted human heads, a royal coat of arms and an eagle. Above the centrally located front door there is yet another feature, which I will describe soon. But first, a little bit of history.
“… was a stationer and bookbinder in Penzance, Cornwall, who was also dealing in minerals by 1830. Such was his success that he was able to build the famous Egyptian Hall, “Lavin’s Museum”, in Chapel Street in 1835–36.”
The building he created was typical of the early 19th century craze for building in the ‘Egyptian style’. It is said to resemble the now long-since demolished Egyptian Hall in London’s Piccadilly and the Oddfellows Hall in Devonport (constructed 1820s). Also, some of the tombs in the older, spookier, part of London’s Highgate Cemetery were designed to evoke the architecture of Ancient Egypt. When Lavin died, his son Edward sold his father’s collection to Baroness Burdett-Coutts for £3,500.
The building became neglected and fell into disrepair. By the 1960s, the façade was in a poor state, In the 1970s, the building was restored, and its original colouring reproduced. Now, it is maintained by the Landmark Trust, which rents out rooms within it to visitors at a high price, so we were informed by a local.
The decorative feature that intrigued me most is on the lintel above the front door. It is a bas-relief depicting two outstretched wings attached to a centrally located sphere from which a pair of bird’s heads each, on their own curved necks project. The bird’s heads are shown in profile with their beaks pointing in opposite directions, one to the left and the other to the right. The style of the depiction of the birds is pseudo-ancient-Egyptian as are many other of the ornaments on the building. As I am fascinated by the double-headed eagles that are used as the symbols of many places including, for example Albania, Serbia, Montenegro, Russia, and Karnataka, I was immediately curious as to whether what is above the doorway is a depiction of a double-headed eagle (‘DHE’).
Greatly simplifying matters, the earliest archaeological evidence of the DHE is in sites in Ancient Mesopotamia (3000-2000BC). The civilisations that thrived there were contemporary with Ancient Egyptian civilisations. Although DHE motifs have been discovered in Ancient Egyptian sites, they are not as prevalent there as in the lands between the Tigris and Euphrates. Without getting bogged down with the history of the usage of the DHE, I want to speculate on why Lavin included the two-headed bird decoration on his Egyptian-style building.
Was the centrally located motif simply chosen for its decorative symmetry or was John Lavin aware of some connection of the DHE with Ancient Egypt? Or was he making some reference to Cornish families, such as the Killigrews and the Godolphins, that included the DHE in their coats of arms? Sadly, I have no answer to these questions yet.
Our ‘discovery’ of the Egyptian House in Penzance was just one of many lovely things we saw during our brief first visit to the town. I have already written about the Turks Head pub in Chapel Street and I hope to reveal more of the town’s interesting sights in the near future.