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The Case Study houses that made Los Angeles a modernist mecca

Mapping the homes that helped to define an era

Los Angeles is full of fantastic residential architecture styles, from Spanish Colonial Revival to Streamline Moderne. But the modernist Case Study Houses , sponsored by Arts & Architecture and designed between the 1940s and 1960s, are both native to Southern California and particularly emblematic of the region.

The Case Study series showcased homes commissioned by the magazine and designed by some of the most influential designers and architects of the era, including Charles and Ray Eames, Richard Neutra, and Pierre Koenig. The residences were intended to be relatively affordable, replicable houses for post-World War II family living, with an emphasis on “new materials and new techniques in house construction,” as the magazine’s program intro put it.

Technological innovation and practical, economical design features were emphasized—though the homes’ scintillating locations, on roomy lots in neighborhoods like Pacific Palisades and the Hollywood Hills , gave them a luxurious allure.

With the help of photographer Julius Shulman , who shot most of the homes, the most impressive of the homes came to represent not only new styles of home design, but the postwar lifestyle of the booming Southern California region.

A total of 36 houses and apartment buildings were commissioned; a couple dozen were built, and about 20 still stand in the greater Los Angeles area (there’s also one in Northern California, a set near San Diego, and a small apartment complex in Phoenix). Some have been remodeled, but others have been well preserved. Eleven were added to the National Register of Historic Places in 2013.

Here’s a guide to all the houses left to see—but keep in mind that, true to LA form, most are still private residences. The Eames and Stahl houses, two of the most famous Case Study Houses, are regularly open to visitors.

As for the unconventional house numbering, post-1962 A&A publisher David Travers writes that the explanation is “inexplicable, locked in the past.”

Case Study House No. 1

J.R. Davidson (with Greta Davidson) designed this house in 1948 (it was actually his second go at Case Study House No. 1). It was intended for “a hypothetical family" with two working parents and was designed to require "minimum maintenance.”

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Case Study House No. 2

Case Study House No. 2 was designed in 1947 by Sumner Spaulding and John Rex. Arts & Architecture wrote that the home’s layout “achieves a sense of spaciousness and flexibility,” with an open living area and glass doors that lead out to adjoining terraces.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Oct 28, 2018 at 1:07am PDT

Case Study House No. 7

Case Study House No. 7 was designed in 1948 by Thornton M. Abell. It has a “three-zone living area,” with space for study, activity, and relaxation/conversation; the areas can be separated by sliding panels or combined.

Eames House (Case Study House No. 8)

Legendary designer couple Charles and Ray Eames designed the Eames House in 1949 and even Arts & Architecture seemed kind of blown away by it. The home is built into a hillside behind a row of Eucalyptus trees on a bluff above Pacific Palisades. It's recognizable by its bright blue, red, and yellow panels. The Eameses lived in the house until their deaths. It’s now open to visitors five days per week, though reservations are required.

Entenza House (Case Study House No. 9)

The Entenza House was built in 1949 and designed by Charles Eames and Eero Saarinen for Arts & Architecture editor John Entenza. According to the magazine, “In general, the purpose was to enclose as much space as possible within a reasonably simple construction.”

Case Study House No. 10

Case Study House No. 10 was designed in 1947 by Kemper Nomland. The house is built on several levels to mold into its sloping site. Recently restored, the home sold to Kristen Wiig in 2017.

Case Study House No. 15

Designed by J.R. Davidson in 1947, Case Study House No. 15 has south walls made of huge glass panels. Its flagstone patio and indoor floor are at the same level for that seamless indoor-outdoor feel. According to the magazine, the floorplan “is basically that of another Davidson house, Case Study House No. 11,” which has been demolished.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Nov 15, 2018 at 6:13am PST

Case Study House for 1953

Craig Ellwood’s Case Study House for 1953 is usually numbered as 16 in the Case Study series . It has a modular steel structure and “the basic plan is a four-foot modular rectangle.” But the interior walls stick out past the exterior walls to bring the indoors out and the outdoors in. The Bel Air house hit the market in November with a $3 million price tag.

Case Study House No. 17 (A)

Case Study House No. 17 (A) was designed by Rodney Walker in 1947. A tight budget kept the house at just 1,560 square feet, “but more space was gained through the use of many glass areas.” The house also has a large front terrace with a fireplace that connects the indoor living room fireplace. The house has been remodeled .

View this post on Instagram A post shared by Case Study House #17, 1947 (@casestudy17) on Jun 11, 2016 at 2:20pm PDT

Case Study House No. 17 (B)

Case Study House No. 17 (B) was designed in 1956 by Craig Ellwood, but “governed by a specific program set forth by the client.” Ellwood took into account the clients' collection of contemporary paintings and made the living room “purposely undersized” to work best for small gatherings. The house was extensively remodeled in the sixties by Hollywood Regency architect John Elgin Woolf and his partner, interior designer Robert Koch Woolf.

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West House (Case Study House No. 18 [A])

Case Study House No. 18 (A) was designed by Rodney Walker in 1948. The house is oriented toward the ocean, but set back from the cliff edge it sits on to avoid noise issues. As A&A says, "High above the ocean, the privacy of the open south and east exposures of Case Study House No. 18 can be threatened only by an occasional sea-gull." The house features a "bricked garden room" separated from the living room by a two-sided fireplace.

View this post on Instagram A post shared by CaseStudyHouse18A (@casestudyhouse18a) on Oct 6, 2018 at 8:44pm PDT

Fields House (Case Study House No. 18 [B])

Case Study House No. 18 (B) was designed by Craig Ellwood in 1958. Ellwood didn’t attempt to hide that the house was prefabricated (the magazine explains that he believed “that the increasing cost of labor and the decline of the craftsman will within not too many years force a complete mechanization of residential construction methods”). The components of the house, however, are “strongly defined with color: ceiling and panels are off-white and the steel framework is blue.” According to A&A' s website, the house has been remodeled.

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Case Study House No. 20 [A])

This two-bedroom house was meant “to serve young parents who find they can afford just that much,” according to architect Richard Neutra’s description. He also wrote that he used several different kinds of natural wood in the house.

Bass House (Case Study House No. 20 [B])

The Bass House was designed in 1958 by Buff, Straub, and Hensman for famed graphic designer Saul Bass. It's “unique in that it was based upon the experimental use of several prefabricated Douglas fir plywood products as part of the structural concept,” including hollow-core plywood vaults that covered the central part of the house.

Case Study House No. 21

Pierre Koenig designed Case Study House No. 21 in 1958. It was originally completely surrounded by water, with a walkway and driveway spanning the moat at the front door and carport, respectively. The house was severely messed with over the years, but restored in the ’90s with help from Koenig.

Stahl House (Case Study House No. 22)

Pierre Koenig's Stahl House , designed in 1960, is probably the most famous house in Los Angeles, thanks to an iconic photo by Julius Shulman . The house isn't much to look at from the street, but its backside is mostly glass surrounding a cliff's-edge pool. Tours are available Mondays, Wednesdays, and Friday—but book well ahead of time, as they sell out quickly.

Case Study House for 1950

The unnumbered Case Study House for 1950 was designed by Raphael Soriano. It's rectangular, with living room and bedrooms facing out to the view. However, in the kitchen and eating areas, the house “turns upon itself and living develops around a large kitchen-dining plan opening upon a terrace which leads directly into the living room interrupted only by the mass of two fireplaces.” According to A&A 's website, the house has been remodeled.

Frank House (Case Study House No. 25)

The two-story Frank House was designed by Killingsworth, Brady, and Smith and Associates in 1962 and it sits on a canal in Long Beach. A reflecting pool with stepping stones leads to its huge front door and inside to an 18-foot high courtyard. The house sold in 2015 with some unfortunate remodeling .

Case Study House No. 28

Case Study House No. 28 was designed in 1966 by Conrad Buff and Donald Hensman. According to the magazine, “the architects were asked to design a house that incorporated face brick as the primary structural material to demonstrate its particular advantages.” They came up with a plan for two symmetrical wings joined by glass galleries.

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The Case Study Houses Program: Mid-Century Modern Architecture

The Case Study Houses Program, promoted by the magazine Arts and Architecture in 1945, represented the most important American contribution to the Mid-Century Modern architecture .

Last month I wrote about the CSH #20 , today I want to give you the big picture about the Case Study Houses Program, its origins and inspirations.

The main inspiration of the thirty six houses designed for the program, was  the desire of a generation of architects to realize affordable and modern houses to satisfy the post war building boom.

Even though many of the designs were never built, the program proved -thanks to its success- that it was possible to realize affordable houses for residential uses.

The Case Study Houses Program’s Contribution to the Mid Century.

The Case Study Houses Program has, in fact, produced some of the most relevant examples of Mid-Century Modern architecture and its incredible success is proven by the influence that it still has today on the architectural culture worldwide.

The houses are an inspiration and a model for contemporary architects that look for experimental solutions to satisfy the need of reductive dwelling spaces.

John Entenza was the mind and the force behind the Arts and Architecture magazine and the Case Study Houses Program. Thanks to it, he wanted to offer a solution -both to the building industry and to the public- to the post World War lack of residences; proposing designs for affordable and modern houses.

The magazine was the vehicle through which Entenza promoted the designs and connected actual clients with the architects.

Already before the end of the war, Entenza hosted competitions for small house designs in the magazine anticipating and exploring the interest of the architects in the matter of building affordable residential houses.

Considering his interest in the architecture related fields of design, visual arts and music, Arts and Architecture was the natural place to gather the social and artistic concerns behind a project as the Case Study Houses Program.

Some of the architects joining the program were already internationally well-known as Richard Neutra , Charles and Ray Eames or Craig Ellwood , others -as Whitney R. Smith, Thornton Abell, and Rodney Walker- were mainly locally known and all of them represented a personal Entenza preference instead of a comprehensive overview of the American Mid-Century architects and their approach to the low-cost houses building.

As I said before, some of the designs were never built -as the Richard Neutra ’Omega’and ‘Alpha’ houses or the Whitney Smith’s ‘Loggia’ House- due to an actual lack of clients and sites. However, the ones built were in some cases greatly diverting from the original architects design due to the shortage of some materials or specific clients’ requests.

During the years, a small number of designs were added to the program to keep the continuity of the Case Study during occurring breaks of the program.

Two of the most famous case study houses, are the one that Entenza commissioned to Charles Eames and Eeero Saarinen for himself -the #9- and the one that Charles and Ray Eames designed and built for themselves; the #8. The Eameses house was one of the ones delayed due the post war scarcity of materials. The house was in fact first designed in 1945 but completed it in the 1949.

Despite its unquestionable success, the Case Study Houses Program  has not to be considered as an isolated attempt but as part of a wider architectural effort to find modern dwelling solutions.

Within the most known precedents in Europe -for example- I have to mention the 1927 Welssenhofsiedlung in Stuttgart -by Ludwig Mies van der Rohe- to which architects as Le Corbusier, Walter Gropius, Mart Stem, and Mies Van der Rohe himself participated, designing and building examples of modern minimal houses that are still inhabited today.

(pics via [amazon_link id=”3836510219″ target=”_blank” container=”” container_class=”” ]Case Study Houses – The Complete CSH Program[/amazon_link])

While in the U.S. Frank Lloyd Writght’s 1901 project for a ‘Small house with a lots of room in it’ was published in the Ladies Home Journal; an early attempt to spread the culture of well-designed and affordable houses through a popular magazine.

The Case Study Houses Program: Richard Neutra’s Bailey House

The Case Study Houses Program: Craig Ellwood’s Case Study House 18

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Case Study Houses

The Case Study Houses served as a blueprint and inspiration for Mid-Century homes in Southern California.

In 2013, ten Case Study House program residences were added to the National Register of Historic Places.

Relevant Places

Bass House (Case Study House #20B)

Case Study House #1

Case Study House #10

Case Study House #16

Case Study House #28

Entenza House (Case Study House #9)

Stahl House (Case Study House #22)

Triad (Case Study House #23A)

Triad (Case Study House #23C)

West House (Case Study House #18)

Launched in 1945 by John Entenza’s  Arts + Architecture  magazine, the Case Study House program commissioned architects to study, plan, design, and ultimately construct houses in anticipation of renewed building in the postwar years.

While the Case Study House program did not achieve its initial goals for mass production and affordability, it was responsible for some of Los Angeles’ most iconic and internationally recognized modern residences, such as the  Eames House (Case Study House #8)  by Charles and Ray Eames and the Pierre Koenig-designed  Stahl House (Case Study House #22) , famously photographed by Julius Shulman.

After a decade-long effort, L.A. Conservancy’s Modern Committee succeeded in listing ten Case Study residences on the National Register of Historic Places.

About This Issue

With an emphasis on experimentation, and a goal of promoting good, modern, affordable design for single-family homes, the program helped to disseminate the midcentury modern aesthetic through its thirty-five published plans. Of these, twenty-five houses and one apartment building were built in California and Arizona.

The program offered an unparalleled opportunity for commissions and publicity for established architects including Richard Neutra, J. R. Davidson, Sumner Spaulding, and William Wurster. It helped raise the profile of then-lesser-known designers including Craig Ellwood, A. Quincy Jones, Edward Killingsworth, Ralph Rapson, Eero Saarinen, and Raphael Soriano.

Our Position

On November 21, 2013, the  Los Angeles Conservancy Modern Committee was awarded a Governor’s Historic Preservation Award to recognize its work in nominating eleven Case Study Houses to the National Register of Historic Places.

Through the efforts of the Los Angeles Conservancy Modern Committee, eleven Case Study House residences in Los Angeles, San Diego, and Ventura counties are now recognized as nationally historic. Ten are officially listed in the National Register of Historic Places, and an eleventh was deemed eligible for listing.

Few of the Case Study Houses currently have preservation protections, and some have been demolished or significantly altered. This proactive step recognizes the eleven nominated homes and raises greater awareness about the Case Study House program while providing a historic context for future designation of the remaining eligible properties.

On May 1, 2013, the State Historical Resources Commission voted to recommend listing of ten Case Study Houses in the National Register of Historic Places.  These ten residences with certifying recommendations were submitted to the National Park Service for final review and listing by the Keeper of the National Trust.  They were formally listed on July 24, 2013.

An eleventh nominated residence, Case Study House #23A, was not formally listed because of owner objection, but it received a determination of eligibility for listing in the National Register. All eleven residences will be considered historic resources and will enjoy the same protections under the California Environmental Quality Act (CEQA).

Several Case Study Houses were not included in the nomination — if they’ve been altered or demolished, or for other reasons — but with this platform in place, it will be easier for other CSH homes to be nominated in the future.

Likewise, a few CSH houses, such as the  Eames House  (CSH #8), weren’t included because they’re already individually listed.

Case Study House residences included in nomination:

Los Angeles County

• Case Study House #1 , 10152 Toluca Lake Ave., Los Angeles
• Case Study House #9 , 205 Chautauqua Blvd., Los Angeles
• Case Study House #10 , 711 S. San Rafael Ave., Pasadena
• Case Study House #16 , 1811 Bel Air Rd., Los Angeles
• Case Study House #18 , 199 Chautauqua Blvd., Los Angeles
• Case Study House #20 , 2275 N. Santa Rosa Ave., Altadena
• Case Study House #21 , 9038 Wonderland Park Ave., Los Angeles
• Case Study House #22 , 1635 Woods Dr., Los Angeles

San Diego County 

• Case Study House #23A , 2342 Rue de Anne, La Jolla, San Diego (determined eligible)
• Case Study House #23C , 2339 Rue de Anne, La Jolla, San Diego

Ventura County

• Case Study House #28 , 91 Inverness Rd., Thousand Oaks

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THE CASE STUDY HOUSES

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SURPRISINGLY THE AMERICAN ARCHITECTURAL magazine most often found in the foreign architect’s office or School of Architecture is the California publication Arts & Architecture . In its pages the foreign archi­tect and student is exposed to an array of buildings of a remarkably high degree of quality. (He is also exposed to the writings of two of America’s most gifted critics, Peter Yates, in music, and Dore Ashton, in painting and sculpture). The wide acceptance and influence of Arts & Architecture  abroad has cer­tainly been due to its view of architecture as an art, rather than as a vast business enterprise, the ap­proach which underlies a majority of America’s archi­tectural publications. Related POP ART, USA MUSE AND EGO

One of the magazine’s most influential and far reaching programs has been its sponsorship of a series of Case Study Houses , where new concepts of form, material and structure could be tested out in residential architecture. The program was insti­tuted in 1945 and the first of these experimental houses was built the following year. Since this date, over 25 houses have been constructed and several are at present in the design stage or are in process of being built. Photographs and plans of these case study houses have recently been brought together by Esther McCoy in a single volume entitled Modern California Houses, Case Study Houses 1945–1962 , (published by Reinhold Publishing Corp., New York, 1962, $15.00). Esther McCoy has long been associated with Arts & Architecture . As a critic and historian she has con­tributed immensely to our understanding of 20th century architecture in California. Her writing on the work of Irving Gill, Bernard Maybeck the brothers Charles and Henry Greene and R. M. Schindler has re­vealed to us an almost entirely unknown chapter in the history of modern architecture. As we should ex­pect, this book, its text, the quality of its plates and its design layout are as distinguished as the buildings which it discusses and illustrates.

To fully appraise the Case Study program one should first see it within the context of similar endeavors which have been tried from time to time in this country and abroad. Throughout the 20th century, nu­merous “Idea houses” or “Houses of the future” have appeared in exhibitions and others have been spon­sored by home and women’s magazines. In 1927–28 the internationally famous Weissonhof housing proj­ects featured designs by Le Corbusier, Gropius, Mart Stam, J. J. P. Oud and others. A similar project to encourage the acceptance of modern architecture was instituted before the Second World War by the Walker Art Center in Minneapolis in their first “Idea house,” and continued in a second “Idea house” con­structed in 1947 behind the Center. In 1948 The Museum of Modern Art commissioned Marcel Breuer to build an exhibition house in the Museum court­yard; a second house was commissioned in 1950 to the California architect Gregory Ain. In the 1950’s the Guggenheim Museum, as part of its exhibition of Frank Lloyd Wright, built one of his “Usonian” houses.

Few of these programs have been able to sustain themselves for any appreciable length of time and it is difficult to say whether they have actually pro­duced their desired result. Even the influential ex­hibition and publication program of the Museum of Modern Art in architecture and design, first under Phillip Johnson in the early 1930’s, and later in the 40’s and early 50’s under Edgar Kaufman has pretty well fallen into a respectable intellectual doldrum in the hands of Arthur Drexler.

That this path is a precarious one is well illustrated by several of the most recent Case Study Houses, especially the Towri House on the Rivo Alto Canal, near Long Beach, and the Triad Development of houses at La Jolla, all by the firm of Killingsworth, Brady and Smith. In each of these houses there is a decided tinge of what has so aptly been labeled “Hollywood Regency.” Not that their forms are in any way eclectic––there is no evidence whatsoever of “French Provincial” or “English Regency” which is the normal mode of the Beverly Hills version of “Holly­wood Regency.” Yet their own involvement with formalism, with forced symmetry and their self-con­scious concern for uncluttered forms and surfaces has created a preciousness which compromises their total architectural statement. Man’s physical frame may well be symmetrical, but this does not mean that he necessarily lives or operates in this way. There is something dramatic about entering a house over a bridge, or via a series of stepping stones over a pool of water, but in the end is this architecture or simply a stage setting? In their house “A” at La Jolla, Kil­lingsworth, Brady and Smith provide this stagey, im­pressive entrance for guests and visitors and then they furnish an entrance for the family directly off the garage area which frankly conveys the informality of the contemporary California scene.

The view of architecture as an intellectual exercise in the realm of pristine sharp-edged forms and pre­cise proportions has long been a dominant theme in the Case Study program (as it has continually cropped up throughout the history of architecture), but in the earlier Case Study Houses by Craig Ellwood and Pierre Koenig the esthetic articulation of planes and volumes defined by precise rectangular shapes had been dominated by the structural form of the building. In Killingsworth, Brady and Smith there is a tendency to play down the structure as the salient motif and in its place to substitute an involvement with form.

The most recent of the Case Study Houses reveals as well a marked shift in the use of materials and the way in which they are exposed. The employment of steel as a relatively new building material in do­mestic architecture was initiated in the Case Study House program by Charles Eames for his own house and studio, built in 1949. The Eames house was the most successful of all the Case Study Houses in that it illustrated how the mass-produced product might be used in domestic architecture. The Eames house used materials, primarily steel and glass, in such a way that their quality of regularity and order never dominated the total form. In the later Case Study Houses of Ellwood and Koenig the steel frame did become the controlling element in the design, forci­bly establishing the surface, the proportion and the volume of the building. In several of the most recent examples of the Case Study Houses this directness of approach to materials and structure has been par­tially abandoned. The materials and structure no longer are an organic part of the design. As Mies van der Rohe, Walter Gropius and even Frank Lloyd Wright have pointed out, good design, especially in our century and here in America, is as much a result of negative self-restraint as it is positive affirmation. Certainly the success of the Eames house was the result of his adherence to the principle of self-re­straint.

Originally the Case Study House program had an­other dominating characteristic and that was its interest in the direct solution of the problems of the mass-produced project house. The first Case Study House by J. R. Davidson was an admirable and highly influential minimal house (of 1100 sq. ft.) and was reproduced as a mass-produced house. The same was true of Summer Spaulding’s and John Rex’s 1947 Case Study House, where a strict modular system was ad­hered to.

By the 1950’s Arts & Architecture had pretty well abandoned any direct concern for mass housing. The houses of the last 12 to 13 years seemed to be based upon the premise of influencing design through osmosis––by creating visual and structural “master­pieces” which will serve as a source of inspiration in the area of project and mass-produced housing. That the Case Study House Project has created significant monuments of the “modern movement” is undeniable and it is hoped that it will continue to do so, but whether this approach, as opposed to its direct in­volvement, can or will affect mass housing (which constitutes well over 90% of all houses built in the U.S.) is open to serious doubt.

–– David Gebhard

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LA’s Iconic Case Study Houses (Finally!) Make National Register

• Written by Karissa Rosenfield
• Published on August 22, 2013

Ten of Los Angeles ’ Case Study Homes have been deemed historically significant an worthy of being included on US’s National Register of Historic Places . Despite the Los Angeles Conservancy’s belief that all of them deserve “equal preservation protections,” the 11th home was not included due to “owner objection.”

The Case Study Houses spawned from a post-WWII residential experiment, presented by the Arts & Architecture magazine in 1945, which introduced modern movement ideas for affordable and efficient housing. The homes - designed by the likes of Richard Neutra, Charles and Ray Eames, Pierre Koenig, Eero Saarinen and others - redefined the modern home. And, with the help of Julius Shulman, placed Los Angeles as an epicenter for mid-century modernism.

The 11 homes included on the register are:

Los Angeles County Case Study House #1, 10152 Toluca Lake Ave., Los Angeles Case Study House #9, 205 Chautauqua Blvd., Los Angeles Case Study House #10, 711 S. San Rafael Ave., Pasadena Case Study House #16, 1811 Bel Air Rd., Los Angeles Case Study House #18, 199 Chautauqua Blvd., Los Angeles Case Study House #20, 2275 N. Santa Rosa Ave., Altadena Case Study House #21, 9038 Wonderland Park Ave., Los Angeles Case Study House #22, 1635 Woods Dr., Los Angeles

San Diego County Case Study House #23A, 2342 Rue de Anne, La Jolla, San Diego (determined eligible) Case Study House #23C, 2339 Rue de Anne, La Jolla, San Diego

Ventura County Case Study House #28, 91 Inverness Rd., Thousand Oaks

A selection of photos from the Case Study Homes can be found here .

References: LAist , Curbed Los Angeles

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The Mid-Century Fairytale of LA’s Case Study Houses

Featured image credit: mbtrama

It’s not often that we get to witness experiments in architecture while they’re in motion. Yet, that’s exactly the experience case study houses offer. Arts & Architecture magazine challenged notable architects to create affordable homes to address the U.S.’s residential housing boom. With World War II finally coming to an end, millions of soldiers were returning home to start families or pick up where they’d left off. The need for new housing was crucial. Arts & Architecture funded the experiment which ran just over two decades from 1945 until 1966. While one of the homes was built in Northern California and another in Phoenix, Arizona, most were erected in the Southern California region. Today, we take a closer look at this innovative moment in California’s housing history. 

The Mid-Century Fairytale of Case Study Houses

It’s safe to say that the project piqued the public’s curiosity, drawing over 350,000 visitors to the initial six houses revealed in 1948. But Arts & Architecture did what it could to bring the case study houses to the Americans who couldn’t make the pilgrimage themselves. 

The magazine regularly featured the completed homes in its pages, often supported by the keen eye of photographer Julius Shulman. Working in moody black-and-white, Shulman brought a classiness to his legendary shots of the forward-thinking domiciles. Furthermore, having specialized in architectural photography, Shulman fit naturally into the ambitious project. 

Of course, his photographs benefited from the otherworldly glamor of Southern California. Homes perched proudly atop Hollywood hilltops with the stars seeming to bow at their feet. Other times, the open promises of the Pacific Ocean lapped at the perimeter while palms kissed cloudless skies. 

In a world that had recently clawed itself out of the burned out crater of a devastating war, Arts & Architecture offered a “happily ever after” that was just sensible enough to believe. Soon, the case study houses became synonymous with the aesthetic of post-war Southern California. 

Seeking Protections for SoCal’s Case Study Houses

The completed case study houses haven’t always had an easy time over the resulting decades. Some owners remodeled homes beyond recognition. Others razed them altogether.  

But in 2013, the Los Angeles Conservancy Modern Committee petitioned to include 11 of the homes in the national registry. These homes range throughout Southern California, from Ventura to San Diego, though most stand in the Greater Los Angeles area. 

Ultimately, the National Register of Historic Places accepted ten of these homes. The 11th would have made the list as well, but the private owner requested the home not appear on the official register. However, the California Environmental Quality Act (CEQA) has protected all 11 of these case study houses since July 24, 2013.

While the Los Angeles Conservancy Modern Committee nominated whatever case study houses they could, some didn’t make the list. They excluded extensively remodeled properties. Yet, the successful inclusion of the 11 petitioned properties paved the way to potentially include remodeled properties in the future. Additionally, the committee neglected to nominate other well-known case study homes, such as the Eames house, simply because they already appeared on the register. 

Of the 11 homes submitted for registry, eight stand in Los Angeles County. Two more are located in San Diego County and another in Ventura County. Perhaps we’ll review those at a later date in our Los Angeles Home Spotlight column. But for today, we’re going to focus on the Los Angeles County offerings to the registry. 

Case Study House #1

10152 Toluca Lake Ave, Los Angeles

Architect: j.r. and greta davidson, year completed: 1948.

Don’t let the number system fool you. Case study house #1 was not the program’s first home to be constructed. Thus, we introduce the notoriously irrational numbering system of the case study program. Even the editor of Arts & Architecture admitted there’s little to no rhyme or reason to the numbers. 

J.R. Davidson, a force in the early days of California architecture, designed this home with the assistance of his wife, Greta. Efficiency was at the heart of the architecture as the Davidsons envisioned the busy lives of two working parents. Case study house #1 would allow working families more free time by keeping daily maintenance to a minimum. 

This case study abode also introduced a series of features that became hallmarks of the program including:

• Open floor plan
• Floor-to-ceiling windows
• Keeping corridors to a minimum
• Multi-purpose rooms
• Garden access from all primary rooms
• Standardized materials (ie. concrete, plywood, and industrial glass)

Case Study House #9

205 Chautauqua Blvd, Los Angeles

Architect: charles eames and eero saarinen, year completed: 1949.

Case study home #9 is popularly recognized as the Entenza House since it was built for Arts & Architecture ’s editor and publisher John Entenza. Designers Charles Eames and Eero Saarinen challenged themselves to offer a wealth of space with simple, minimalist construction. The home, built from a steel frame and covered in wood-paneling, overlooks the Pacific Ocean from a scenic hill in Pacific Palisades. 

Case Study House #10

711 S. San Rafael Ave, Pasadena

Architect: kemper nomland and kemper nomland, jr., year completed: 1947.

This tri-level structure would have existed regardless of the case study program. That’s because it wasn’t built in response to the program. Rather, it just happened to fit many of the ideals of the program including:

• Utilization of contemporary materials
• Employing modern building techniques
• Affordable to working class Americans
• Simple construction
• Economic use of materials
• Blending of indoor and outdoor features

So, how did this unrelated structure come to be case study house #10? Just two years into the case study program, Arts & Architecture were having trouble keeping a consistent pace. Without the completion of a new house on the horizon, they needed to find a way to keep the inertia. 

So, despite the fact that Kemper Nomland and son had already built the home without regard to the program, its symbiosis found it ripe for inclusion. The Nomlands used the home’s multi-level design to fit it to a Pasadena hillside. In 2017, it sold to comedian, actress, and Saturday Night Live alum Kristen Wiig. 

Case Study House #16

1811 Bel Air Rd, Los Angeles

Architect: craig ellwood, year completed: 1953.

The designer of case study home #16 (although that number changes depending on who you ask) was one of the most prolific in the program. So, it may come as a surprise that Craig Ellwood actually had no formal design instruction. Rather, he learned what he knew through his contracting work. It was enough to place his homes not once, not twice, but three times in the case study program. 

Sadly, two of Ellwood’s designs have been remodeled beyond recognition. Thus, case study home #16 is the only remainder we have of his unique vision in relation to the program. Ellwood was noted for his propensity to use industrial materials and techniques for residential purposes. 

But, as this home illustrates, he also had a gift for blending interiors and exteriors. This Bel Air home blurs the lines between the inside and outside by stretching inner walls beyond the outer walls. 

Case Study House #18

199 Chautauqua Blvd, Los Angeles

Architect: rodney walker.

Pacific Palisades was a popular place for the case study program. Though it appears later on the list than home #8, home #18 (sometimes referred to as 18A) was the first to be completed in the area. Overlooking the tumultuous Pacific Ocean, the structure is built atop a cliff far away from the battering waves. It’s also positioned back from the cliff’s edge to reduce the roar of the sea. 

But perhaps the most notable feature of Rodney Walker’s contribution to the program is the fireplace. The floor-to-ceiling double-sided brick fireplace is shared by a living room on one side and an interior garden room on the other. Three neighboring homes, including the aforementioned #8, would join #18 in the case study program over the next few years. 

Case Study House #20

2275 N. Santa Rosa Ave, Altadena

Architect: conrad buff iii, calvin c. straub, and donald c. hensman, year completed: 1958.

While the majority of case study houses being built in the late 1950s employed steel, case study house #20 was crafted from a variety of natural woods. The design team from architectural firm Buff, Straub, and Hensman leveled a decaying estate in Altadena to bring their economical vision to life. The idea was to create a home for young parents who couldn’t afford more than the essentials. However, the home went to industrial designer Saul Bass and his biochemist wife Dr. Ruth Bass. 

Case Study House #21

9038 Wonderland Park Ave, Los Angeles

Architect: pierre koenig, year completed: 1959.

Pierre Konig was a regular contributor to the case study program with his steel framed take on residential living. It was a trend that never quite caught on, but not for his lack of trying. One of the most notable case study houses, the Stahl House (#22 for those counting at home), was a result of Koenig’s lust for steel. 

Case study house #21 was dreamt up as a model for efficient modern living with the possibility of mass production. But it was originally distinguished by a surrounding moat. The home was accessible via walkways at the front entry and carport. Though this property was extensively remodeled over the decades, Koenig returned to it in the 1990s to attempt to aid in its return to its original vision. 

Case Study House #22

1635 Woods Dr, Los Angeles

Year completed: 1960.

Easily the most iconic of the case study homes on this list, case study house #22 is reserved for Koenig’s aforementioned Stahl House. It seems to float above the Greater Los Angeles area, kissing the interminable blue sky with the corners of its flat roof. To create this effect, Koenig employed the largest piece of glass available to commercial enterprises at the time. Furthermore, Koenig worked with the cliff’s edge site instead of against it to create a piece of LA history you can visit to this day. 

The Aftermath of the Case Study Program

While the case study program aimed to build 36 examples of modern living, builders never completed (or even started) several planned homes. For example, case study house #19 would have been erected in the San Francisco Bay area. On the other hand, home #27 wouldn’t have even been in California. It was marked to be constructed in Smoke Rise, New Jersey. 

The majority of LA’s remaining case study houses are private residences, yet two remain open to public tours. The Eames and Stahl Houses can be visited by scheduling a tour through their respective websites. 

Will we ever see another age of innovation like the case study houses commissioned by Arts & Architecture magazine? It’s hard to say, but we hope it doesn’t take us another war to get there. 

Seth Styles

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The Eames House (also known as Case Study House No. 8) is a landmark of mid-20th century modern architecture located in the Pacific Palisades neighborhood of Los Angeles. It was designed and constructed in 1949 by husband-and-wife Charles and Ray Eames to serve as their home and studio.

It was one of roughly two dozen homes built as part of The Case Study House Program. Begun in the mid-1940s and continuing through the early 1960s, the program was spearheaded by John Entenza, the publisher of  Arts & Architecture magazine. It was developed to address a looming issue: a housing crisis. Millions of soldiers would be returning from the battlefields of World War II, and were wanting to start families. John Entenza recognized that houses needed to be built quickly, inexpensively, yet without sacrificing good design. In a challenge to the architectural community, the magazine announced that it would be the client for a series of homes designed to express man’s life in the modern world. These homes were to be built and furnished using materials and techniques derived from the experiences of the Second World War. Each home was designed with a real or hypothetical client in mind, taking into consideration their particular housing needs.

Click here to see their design brief more clearly from the December 1945 issue of Arts & Architecture .

First Design: Bridge House (unbuilt)

The first plan of the Eameses’ home, known as the Bridge House, was designed in 1945 by Charles Eames and Eero Saarinen. The design used pre-fabricated materials ordered from catalogues, a continuation of the idea of mass-production. The parts were ordered and the Bridge House design was published in the December 1945 issue of the magazine, but due to a war-driven shortage, the steel did not arrive until late 1948.

While they were waiting for delivery, Charles and Ray picnicked in the meadow with family and friends, flew kites and did archery.  By then, Charles and Ray had “fallen in love with the meadow,” in Ray’s words, and they realized that they wanted to avoid what many architects had done: destroy what they loved most about a site by building across it.

Second Design: Eames House

Charles and Ray then set themselves a new problem: How to build a house that would 1) not destroy the meadow and trees, and 2) “maximize volume from minimal materials”.  Using the same off-the-shelf parts, but notably ordering one extra steel beam, Charles and Ray re-configured the House. The new design integrated the House into the landscape, rather than imposing the House on it. These plans were published in the May 1949 issue of Arts & Architecture .  It is this design that was built and is seen today.

Charles and Ray moved into the House on Christmas Eve, 1949, and lived there for the rest of their lives.  The interior, its objects and its collections remain very much the way they were in Charles and Ray’s lifetimes.  The house they created offered them a space where work, play, life, and nature co-existed.

While many icons of the modern movement are depicted as stark, barren spaces devoid of human use, photographs and motion pictures taken at the Eames house reveal a richly decorated, almost cluttered space full of folk art, thousands of books, shells, rocks, prisms, etc. The Eameses’ gracious live-work lifestyle continues to be an influential model.

The House has now become something of an iconographic structure visited by people from around the world.  The charm and appeal of the House is perhaps best explained in the words of the Case Study House Program founder, John Entenza, who felt that the Eames House “represented an attempt to state an idea rather than a fixed architectural pattern.”

Help us share the Eameses’ joy and rigor with future visitors, so they may have a direct experience of Charles and Ray’s approach to life and work.

Nationally recognized historic home to be bequeathed to La Jolla Historical Society

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A house in La Jolla’s Hidden Valley neighborhood described as “the most important single-family home in the La Jolla community” will one day become the property of the La Jolla Historical Society.

In a celebration Sept. 18 to welcome new Historical Society Executive Director Lauren Lockhart and bid farewell to her predecessor, Heath Fox , the announcement was made that upon the deaths of the current homeowners, Nancy, Joseph and Pamela Manno, Case Study House 23C will be gifted to the Historical Society.

“Of all the announcements I’ve made as executive director, this is the last and by far the most important,” Fox told the gathering.

The house, at 2339 Rue de Anne, is listed on the National Register of Historic Places , one of only four houses in La Jolla with such designation.

Fox later told the La Jolla Light that the Historical Society currently does not possess any properties besides its gallery and office location, known as Wisteria Cottage. The hope is to use Case Study House 23C as “an educational and cultural resource for the community of La Jolla, the people of San Diego, the state of California and indeed the nation that has honored it on the National Register of Historic Places,” Fox said. Plans for how that will be done haven’t yet been decided.

“We hope it will be a long time [before we own the house], and we will use that time to do due diligence and look at best practices and the other models of what people have established to make the resource available to the community and to people who are in architecture and design and want to visit and learn from the house,” Fox said.

The Manno family has lived in the house since Nancy and Joseph bought it in 1974.

Speaking for the family, daughter-in-law Pamela said: “Case Study House 23C is a quiet masterpiece. It exemplifies the harmonious relationship between art, architecture and nature. It is a peaceful place that invokes mindful thought, creativity and well-being for our family. We consider ourselves to be stewards of the house and are confident the La Jolla Historical Society is committed to continuing the stewardship. We believe bequeathing Case Study House 23C to the La Jolla Historical Society will ensue the preservation of this special place while educating communities on the significance of historical architecture and art preservation.”

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The Case Study House program, which ran from 1945 to 1966, was established by John Entenza, editor and publisher of Los Angeles-based Arts & Architecture magazine. Through the program, major architects of the day were commissioned to design prototype single-family homes in the modern style to test new ideas and concepts of plan, form and materials, Fox said.

“The goal was to represent models that could quickly and efficiently be used in residential development to address the postwar housing shortage,” Fox said. “The program became immensely influential in architectural design, and that is true right down to the present day.”

Through the program, 36 buildings were designed. Among them, 24 houses and one apartment building were constructed, mostly in the Los Angeles area.

The only project in San Diego County consisted of the three houses that make up Case Study House 23 — 23A, 23B and 23C, dubbed “The Triad.” The houses are next to one another on Rue de Anne. House 23C was listed on the National Register of Historic Places in 2013 . House 23A is considered eligible for the National Register. House 23B has been renovated to the point that it is no longer eligible.

“The essence and spirit of the whole historic preservation movement was in the hearts of Nancy and Joseph long before this house was listed on the National Register,” Fox said. “And this is the Manno family legacy, one of invested, thoughtful and committed stewardship. Although we hope it is many years away, when the day comes that ownership of Case Study House 23C passes to the La Jolla Historical Society, the Manno family legacy of stewardship will come with it. This is a responsibility I know the La Jolla Historical Society will embrace with enthusiasm, professionalism and dedication. To Nancy, Joseph and Pamela for your faith, trust [and] confidence in our organization as the inheritors of your legacy, we are humbly and sincerely grateful.” ◆

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• / Vladimir Soloviev, prophet of Russia's conversion

VLADIMIR SOLOVIEV prophet of Russia’s conversion

T HE conversion of Russia will not be the work of man, no matter how gifted he may be, but that of the Immaculate Heart of the Virgin Mary, the Mediatrix of all graces, because this is God’s wish, which he revealed to the world in 1917. The life and works of Vladimir Soloviev are a perfect illustration of this truth of Fatima. He whom our Father regards as « the greatest Russian genius of the 19th century », was in his own way a prophet of the “ conversion ” of his beloved Country, announcing the necessity of her returning to the bosom of the Roman Church. «  Rome or chaos  », such was his catchphrase, Rome whose anagram is not a matter of chance, but a providential sign, a definition: ROMA , AMOR . Led by this incomparable guide, we would like « to anticipate in our thoughts, our hearts and our prayers this consecration, this long-awaited conversion, which must mark the beginning of a time of sacred peace throughout the world, the beginning of the universal reign of the Most Blessed and Immaculate Heart of Mary, and through Her, of God’s Kingdom » (English CRC, December 1982, p. 23).

A PERSONAL CONVERSION

Through the example of his life, Soloviev recalls the indispensable means of this immense work: self-renunciation, personal and collective sacrifice, in Russian the podwig , the only way in which the Church, nations, saints and heroes can become the instruments of God’s designs. If he managed to surpass his master Dostoyevsky by his « truly universal Catholicism and far superior mystical vision », this was not without without a conversion of mind and heart on his part.

Our Father summarises the principal stages of his life as follows: « Born of an honourable Muscovite family, of part Kievian ancestry, Vladimir Soloviev began, in a world where only Germany counted, by being a victim of all the poisons of the West. He himself relates how he was a zealous materialist at the age of thirteen, had read Renan’s Life of Jesus at fifteen, and had become an evolutionist and therefore (!) an atheist and a nihilist at eighteen, in « It was Spinoza and then Schopenhauer who pulled him out of this bottomless void. Whereupon in 1872 a mysterious encounter with “  Wisdom  ” suddenly shook him out of the scientific naturalism in which he had been vegetating and made him aware, as he says, of invisible Beauty, the “  Sophia tou théou  ”, the daughter of God. He thus became the fervent witness of Wisdom’s indwelling in the world and of Her desire for total incarnation and universal queenship. His quest for wisdom, scientific, aesthetic and mystical, had commenced. He was nineteen years old. The quest would never end for this new style Russian pilgrim ; it would be of an unparalleled fruitfulness despite its touching brevity. He died of exhaustion in 1900, at the age ! » (English CRC, December 1982, p. 35)

We will limit ourselves in this article to his prophetic insights on the Union of the Churches. In his Lessons on Theandry (1878) – he was then twenty-five ! – our philosopher applies himself to contemplating the Wisdom of God at work in history, perfectly incarnated in Jesus and His virginal Mother, as well as in the Church as she awaits her eschatological transfiguration. The most serious sin, throughout this history, has been that of schism. Who is responsible for this vast Vladimir Soloviev began by throwing all responsibility for it on the Catholic Church, so much so that he provided the inspiration for Dostoyevsky’s famous “ myth of the Grand Inquisitor ” in The Brothers Karamazov . But, at the beginning of the 1880’s, through studying the question more closely, he understood that the sin of schism was in fact that of the East. This was a stroke of genius on his part for which our Father commends him greatly:

« I must beg pardon of my master Msgr. Jean Rupp, of Solzhenitsyn, Volkoff and so many others, but it seems obvious to to me, as it did to Soloviev in the end, that the schism of Moscow in setting itself up as the third Rome was the beginning of all the ills suffered by these admirable Christian peoples of European Russia . And I must say so because this rupture still weighs heavily on the world of today and because it is precisely of this rupture that Our Lady of Fatima speaks when She foretells “  the conversion of Russia  ”. (English CRC, December 1982, p. 24)

Let us follow Soloviev in his commendable mystical conversion which has opened up a path of light for his people, allowing a spring of grace and mercy to gush forth.

AN EVANGELICAL DISCOURSE

In 1881, Soloviev published a long article, still very antipapist, entitled Spiritual power in Russia . There the pope was presented as Antichrist institutionalised ! Our theorist placed all his hope in the regenerative mission of Holy Russia and in the Tsar who was to be her « divine figure, religious guide and animating wisdom ». But were the Russian people still capable of accomplishing such One particular event was to shake Soloviev’s patriotic faith. On March 1, 1881, Alexander II was assassinated by revolutionaries. A few days later, Soloviev gave a Discourse in which he recommended that his successor, Alexander III, show mercy to the regicides. Certainly not as a matter of weakness or abdication before the Revolution, even less out of the spirit of non-violence that a certain Tolstoy was already preaching, but « as an example of Russian piety », that famous podwig « which lies at the heart of the Russian people’s evangelical soul, of which the tsar is the living icon ». Alas, Soloviev was not understood... This was a painful stage in his life, the first step he had taken beyond his master Dostoyevsky.

The following year, he published another article entitled “  Schism in the Russian people and society  ”. Delving deep into the past, he accused Metropolitan Nikon of having broken, at the time of Peter the Great, the communion, the Sobornost , so beloved of the Russian people, by excommunicating Raskol, the fierce guardian of traditional popular religion... Ever since then, the Orthodox hierarchy, enslaved to the imperial power, had proved powerless to govern and sanctify Orthodoxy. It was nothing now but a shrunken, secularized “ local Church ” which, if it were to be restored and revived, would need to open itself up to “ the universal Church ”.

In the spring of 1882, Soloviev was powerfully affected by an unusual dream. In his dream he met a high-ranking Catholic ecclesiastic and entreated him to give him his blessing. The priest refused, so Soloviev insisted, declaring, « The separation of the Churches is the most disastrous thing possible. » Finally, the ecclesiastic agreed to give him his blessing.

This premonitory dream was to awaken in Vladimir Soloviev a burning desire for reconciliation with Catholicism, and to stimulate him to write a series of articles to be published every month in his friend Aksakov’s slavophile newspaper Rouss and then to be collected together in a work with the resonant title: The Great Controversy and Christian Politics . One particular maxim constantly reappeared under the Russian writer’s pen:

«  FIRST AND FOREMOST WE MUST WORK TO RESTORE THE UNITY OF THE CHURCH, AND TO MAKE THE FIRE OF LOVE BURN IN THE HEART OF CHRIST’S SPOUSE . »

By an irony of fate, the term “ Controversy ”, which for Soloviev referred to the conflict between Rome and the East, was going to give place to a bitter controversy between himself and his Orthodox and slavophile friends.

A MARVELLOUS AND ADORABLE WISDOM

T HE world’s beauty appeared to Soloviev as a living figure, a real existence, changing and yet immortal. He saw her and held her as the queen of his spiritual universe under her venerable name of Sancta Sophia . At the end of his life, in 1898, he celebrated the Three Encounters he had had with this Beauty which for him was Wisdom.

“ Three times in his life he had been overwhelmed by the radiant visit of Wisdom who appeared to him in the form of an absolutely heavenly female being, dazzling him and enlightening him profoundly. Not without reason certain authors think that all his religious and even philosophical works derive from this illumination. ”

And let us immediately point out, in order to acclimatize the Western reader who is highly likely to be disconcerted by these accounts, that trustworthy interpreters of Soloviev have attributed a marian character to these visions. For them, the whole of the Philosopher’s work derives from the AVE MARIA GRATIA PLENA . “ It is a marvellous perspective ”, adds Msgr. Rupp. “ Wisdom is closely allied to the Immaculate who is its seat. ” ( Le message ecclésial de Soloviev , p. 340)...

What I am going to say next will perhaps surprise my reader. Nothing is more biblical than this vision, and I am astonished at the astonishment of theologians and their impatient criticisms. This Sophia was already well known, hymned and even boldly adored by the scribes of the Old Testament under this very name of Wisdom. Far from being “ pantheist ”, this idea, this vision touches the essence of created beings, and is clearly poles apart from the Platonic idea and far more profound than Aristotle’s substance; it lies at the very heart of being, there where nothing exists except relationship to God, the term of a will and a wisdom that are infinite, there where exists a pure reflection, a fragment of the image of God’s beauty.

George de Nantes , A mysticism for our time , French CRC no. 133, p. 7.

THE GREAT CONTROVERSY

In January 1883, he fired the opening shots with an open letter to Aksakov: « As I reflected on the means of curing this interior disease (of Christianity), I became convinced that the origin of all these evils lies in the general weakening of the earthly organisation of the visible Church, following her division into two disunited parts. » He demonstrated that, in order to establish herself on earth and to endure throughout history, the Christian religion had need of a higher authority, and he explained that it was therefore essential to restore « the union of all Christian and ecclesiastical forces under the standard and under the power of one central ecclesiastical authority ».

On February 19, Soloviev gave a talk in homage to his master Dostoyevsky. It was almost a panegyric of the Roman Church ! He declared his ardent hope for the reconciliation of the two Churches, for the two parts of the universal Church which should never have been separated and whose centre lay in... Rome . As a result of this speech, he saw himself banned from speaking in public. The newspapers made no mention of his speech. For the first time, and it would not be the last, Soloviev was the victim of the censure of Constantin Petrowitch Pobiedonostev, Russia’s Grand Inquisitor and the Tsar’s adviser on religious matters. Pobiedonostev championed a sacral conception of political power, akin to that of the French legitimists of the time, but he was fiercely Orthodox, and any opening towards the Catholic religion was pitilessly censured.

Soloviev responded to this censure with a smile. So his speech had been described as « infantile chattering » ? « If we are not converted », he said to his friends, « and become like little children again, we will not enter the Kingdom of Heaven. » He went on: « When I was a pretentious little boy [teaching German philosophy: Kant, Hegel, Fichte, Schopenhauer and Nietzsche], people listened with great respect to my “ truly infantile ” prattling. And now it is fitting that the only way I can attain the perfection of humility is by everyone ! »

At the same time, he wrote to Aksakov: « It is necessary to defend Catholicism against the false accusations being brought against it... Consequently, in advocating a reconciliation with Catholicism, I assume that Catholicism is not in principle erroneous, for one cannot be reconciled with error . » Now there we have a true ecumenism ! The life of Soloviev, writes our Father, « was ».

To the charge of “ papism ” levelled against him, Soloviev responded in March 1883 with an admirable profession of faith, already Catholic:

« It seems to to me that you concentrate only on “ papism ” whereas I focus first and foremost on the great, holy and eternal Rome, a fundamental and integral part of the universal Church. I believe in this Rome, I bow before it, I love it with all my heart, and with all the strength of my soul I desire its rehabilitation for the unity and integrality of the universal Church. And may I be accursed as a parricide should I ever utter one word of condemnation against the Holy Church of Rome . »

THE REALISATION OF THE DREAM

In May 1883, on the occasion of the coronation of the Emperor Alexander III, the Moscow press complained that too many concessions were being made to restore diplomatic relations with the Vatican broken in 1866, but Soloviev protested: such an agreement was necessary, were it only to improve relations with the Catholics of Poland. The Pope was represented at the ceremony by his special envoy Msgr. Vincenzo Vanutelli. Had not Alexander III written to Leo XIII shortly beforehand: « Never has unity between all Churches and all States been so necessary, in order to realise the wish expressed by Your Holiness of seeing the peoples abandoning the disastrous errors responsible for the social malaise and returning to the holy laws of the Gospel... »

A few days after the ceremony, Soloviev was crossing Moscow in a hired car. Suddenly, he recognized the route he had followed in his dream the previous year. Soon he came to a stop in front of a house from which a Catholic prelate was just leaving: it was Msgr. Vanutelli in person... There was the same hesitation of this latter to give his blessing to a schismatic, and the same entreaties of Soloviev, who finally !

In the summer of 1883, our author wrote two articles on The Catholic Question . According to Soloviev, it was for Russia to take the first step towards the Catholic Church. Imagine !

His articles were not of the sort to leave his readers indifferent. On the Orthodox side, there was an increasing irritation, while on the Catholic side, surprise soon gave way to enthusiasm. The news crossed the borders, spreading to Poland and even to Croatia, where Msgr. Strossmayer was finally seeing his desires realised. The jurisdiction of his diocese of Djakovo extended into Bosnia and Serbia, that is into Orthodox territory. Endowed with a superior intelligence and animated by great apostolic zeal, this Croatian bishop keenly felt the need for a true, intelligent and benevolent ecumenism. He wrote in 1883 to one of his friends, Father Martynov:

« In my opinion, the principal task of the Catholic Church and of the Holy See this century is to draw as closely as possible to the Slav nation, principally the Russian nation . By winning it over to the divine unity of the Catholic Church, we would at the same time win over everyone in the world who still possess a positive faith. »

IN THE RADIANCE OF THE IMMACULATE

In the summer of 1883, Soloviev wrote five long letters to a Russian Uniate priest on the subject of The Immaculate Conception of the Most Blessed Virgin Mary . At the same time he translated Petrarch’s “ Praise and prayer to the Most Blessed Virgin ”, wherein he contemplated Her “ clothed in the Sun, crowned with stars... Her glance radiating infinity ! ” It is highly significant that Soloviev was simultaneously attracted by the mystery of the Catholic Church and the mystery of the Immaculate Virgin. The dogma of the Immaculate Conception was the first Catholic dogma which he embraced, and his favourite painting was the Immaculate Conception by Murillo.

In The Foundations of the Spiritual Life (1884), he exalted the « All Holy and Immaculate » Virgin Mary. In Russia and the Church Universal (1889), he would praise Pope Pius IX for having quoted, in support of his dogmatic definition, the Old Testament texts referring to Wisdom, the “  Sophia  ” of his personal intuitions:

« If, by the substantial Wisdom of God, we were exclusively meant to understand the Person of Jesus Christ, how could we apply to the Blessed Virgin all those texts in the Wisdom books which speak of this Wisdom ? However, this application, which has existed from the very earliest times in the offices of both the Latin and Greek Churches, has today received doctrinal confirmation in the bull of Pius IX on the Immaculate Conception of the Most Blessed Virgin. » (quoted by Msgr. Rupp, Le message ecclésial de Soloviev, p. 338)

In September 1883, when the sixth chapter of The Great Controversy was published, a rumour spread through Moscow that Soloviev had “ passed over ” to Catholicism, but there was no truth in it. Moreover, curious though this may seem to us, he was not looking “ to pass over to Catholicism ”, but only to open Orthodoxy up to the universality of the Roman Church.

His seventh and final chapter aroused a lively debate, one that is ever topical. The question turned on the attitude of the Byzantine Greeks in conflict with the Crusaders of the West. Soloviev wrote: « On the day that Constantinople fell, seeing the Turkish armies poised to attack, the final spontaneously expressed cry of the Greeks was, “ Better Islamic slavery than any agreement with the Latins. ” I do not mention this as a reproach to the unfortunate Greeks. If, in this cry of implacable hatred, there was nothing Christian, then neither has there been anything especially Christian in all the formal and artificial attempts to reunite the Churches… »

Aksakov, his Orthodox pride deeply irritated by this remark, retorted: « What does he mean, nothing Christian ? May the Greeks be blessed a hundred times over for having preferred a foreign yoke and bodily torture to the abandonment of the purity of their faith in Christ and for having thus preserved us from the distortions of papism at the precise moment [ the beginning of the 13th century ! ] when it had reached the height of its deformity. May they win eternal glory for this ! »

Nonetheless, Soloviev continued his search for truth, surmounting every obstacle. His article “  Nine Questions to Father Ivantsov-Platonov  ” published in December 1883, created a deep stir even in the West. Here he put nine questions to his former master in Orthodoxy on those points of controversy which set the Church of the East against the Church of Rome. Here is the setting:

« How is it that the countries of the East are separated from the Roman Church ? Did the latter proclaim an heretical proposition ? One would be hard pushed to maintain this, for the addition of the Filioque to the Creed, which is put forward to justify the separation, does not have the character of a heresy. Furthermore, it is absurd to say that the Roman Church is in a state of schism with regard to the Eastern Churches. Thus, the latter’s separation from the former has no basis. Let us acknowledge this and, putting aside all human viewpoints, let us work towards Unity or rather let us work so that Unity, which already has a virtual existence, may become a reality. »

THE THREAD OF AN ANCIENT TRADITION

During 1884, the Russian philosopher studied Catholic dogmatics. He read the works of Perrone, the theologian of Gregory XVI and Pius IX, as well as the texts of the Councils. He was particularly interested in Popes Gregory VII and Innocent III, whom he read in the original text.

At the same time he had a great enthusiasm for the Croatian priest George Krijanich who « had come from Zagreb to Moscow in the 17th century to spread the ideal of the Holy Kingdom of God, Roman Catholic and panslavic, gathering together under the sceptre of the tsars and the crook of the Pope all the Slav peoples who would thereby be freed and protected from the twofold burden pressing them on both sides like a vice, the Germanic powers and the Turks. Thus the Croats would work to free themselves from Austrian control and at the same time they would assist the Serbs, their Orthodox brothers, to shake off Moslem domination.

« To realise this grand design, capable at one blow of powerfully advancing the Kingdom of God on earth, Krijanich came to Moscow and preached on the subject of Russia’s reconciliation with Rome . This should not be difficult, he said, because the Russians had only fallen into schism through ignorance and not through heresy or malice. He himself was already preaching that everyone should recognise their own individual faults, be they unconscious or involuntary, and the need for expiation. God’s blessings would follow as a result, immense and eternal blessings. Sergius Mikhailovich Soloviev, our great man’s father, a historian and the author of a monumental history of Russia, admired Krijanich as “ the first of the Slavophiles ” and also, in his eyes, “ the most paradoxical ”, so alien did Catholicism then appear to the Russian consciousness. » (English CRC, December 1982, p. 32)

Soloviev intended to prove the contrary. And it was just at this time that he entered into friendly relations with the Croatian Bishop Strossmayer, thereby resuming the thread of an ancient tradition, one which was apparently marginal but which in reality was pregnant with a splendid future. Early in December 1885, Soloviev for the first time received a letter from the Croatian bishop. He replied to him on December 8, “  the blessed Day of the Immaculate Conception of the Most Blessed Virgin  ”:

« On the reunion of the Churches », he wrote, « depends the fate of Russia, the Slavs and the whole world. We Russian Orthodox, and indeed the whole of the East, are incapable of achieving anything before we have expiated the ecclesiastical sin of schism and rendered papal authority its due . » And he ended with these words: « My heart burns with joy at the thought that I have a guide like you. May God long preserve your precious leadership for the good of the Church and the Slav people. » In his pastoral letter of January 1886, the bishop of Djakovo quoted large extracts from this letter.

Encouraged by such support, in 1886 Soloviev undertook a study on Dogmatic development and the question of the reunion of the Churches , which provoked the fury of Orthodoxy. However, at a conference given at the ecclesiastical Academy of Saint Petersburg, Soloviev attempted to justify himself: « I can assure you that I will never pass over to Latinism. » He thereby sought to register his attachment to the Eastern rite. No question for him of adopting the Latin rite ! After that, he set out on a journey to Europe.

FIRST STAY IN ZAGREB (1886)

At the beginning of July, he was the guest of the honourable Canon Racki, President of the Yugoslav Academy of Zagreb, founded by Msgr. Strossmayer, and a personal friend of the latter. Every morning the Orthodox Soloviev assisted at the Catholic Mass with great enthusiasm. He made the sign of the cross in the Catholic manner, but prayed in the Greek manner, crossing his arms on his chest. He willingly admitted to his host – and this was not due to any desire to please on his part – that Croatian Catholics, like the Ukrainians, were more religious than his Orthodox compatriots !

Following an article published in the Croatian journal Katolicki List , Soloviev for the first time encountered opposition from a Catholic priest.

During his stay in Zagreb, he also published a letter in the Russian newspaper Novoie Vremia , wherein he refuted the widespread opinion in Russia that the Croats were the instruments of the Austro-Hungarian government’s attempt to Latinize the Eastern Slavs.

In August, he joined Msgr. Strossmayer in the Styrian Alps, and spent ten marvellous days with him. These two minds were truly made to get along. The mutual admiration they felt for one another reinforced their spiritual friendship. But Soloviev continued to receive Holy Communion at the hands of the Orthodox priest of the Serb parish of Zagreb... Rising above the inevitable criticisms, he then wrote a letter to Msgr. Strossmayer, summarising their initial conversations:

«  The reunion of the Churches would be advantageous to both sides . Rome would gain a devout people enthusiastic for the religious idea, she would gain a faithful and powerful defender. Russia for her part, she who through the will of God holds in her hands the destinies of the East, would not only rid herself of the involuntary sin of schism but, what is more, she would thereby become free to fulfil her great universal mission of uniting around herself all the Slav nations and of founding a new and truly Christian civilisation, a civilisation uniting the characteristics of the one truth and of religious liberty in the supreme principle of charity, encompassing everything in its unity and distributing to everyone the plenitude of the one unique good. »

Such was his transcription of the well known Catholic principle: «  In necessariis unitas, in dubiis libertas, in omnibus caritas : unity in essentials, liberty in matters of doubt, and in all things charity . Such must be the Charter of Catholic ecumenism under the crook of the one Shepherd. From the start of this crisis, such has been the invitation we have made to our bishops and to our brothers. Today, it is also the will of the Holy Father », wrote our Father in his editorial for September 1978, dedicated to John Paul I, another Saint Pius X without knowing it (English CRC no. 102, p. 6).

When he informed his friends of Soloviev’s letter, Msgr. Strossmayer presented its author as « a candid and truly holy soul ».

Msgr. Strossmayer and Soloviev had agreed to meet again in Rome for the jubilee pilgrimage of 1888. The Croatian bishop decided to pave the way in Rome by writing to Leo XIII’s Secretary of State, Cardinal Rampolla. He presented his Russian friend as «  toto corde et animo catholicus  ». The Pope at first took a personal interest in the affair: « Here is a sheep », he said, « who will soon be clearing the gate of the sheepfold. » But curiously, there was to be no follow-up. It seems that Leo XIII failed to appreciate Soloviev’s genius... However, things were different in France, where an unassuming and ardent rural parish priest latched on to everything that his apostolic zeal could extract from the lightning advances made by the Russian thinker ( see inset , p. 19).

Soloviev returned to Russia at the beginning of October 1886, rather discouraged by the criticisms directed against him on all sides: there were the Orthodox, some of whom had accused him of bringing Orthodoxy into disrepute abroad... and certain Catholics, like Fr. Guettée in France, a modernist priest with little to commend him, whom he had met in Paris in 1876 and who had recently published an article of rare violence against him !

THE “ RETURN OF THE DISSIDENTS ”

June 18, 1887: a young Capuchin, Leopold Mandic, from Herzeg Novi in Bosnia, under the jurisdiction of Msgr. Strossmayer, and studying at the friary in Padua, heard the voice of God inviting him to pray for and promote the return of the Orthodox to the bosom of the one Church of Christ. «  The goal of my life , he would later say, must be the return of the Eastern dissidents to Catholic unity; I must therefore employ all my energies, as far as my littleness allows, to co-operate in such a task through the sacrifice of my life . » Fifty years later, he would still remember this grace: «  June 18, for the record: 1887-1937. Today, I offered the Holy Sacrifice for the Eastern dissidents, for their return to Catholic unity . » Thus the Heart of Jesus and the Immaculate united, in this one same “ ecumenical ” work, the ardent heart of a young Capuchin destined for the altars, the apostolic wisdom of a bishop and the brilliant intuitions of a great thinker.

In January 1887, from the Monastery of Saint Sergius where he had celebrated Christmas, Soloviev wrote an article in which he provided philosophic justification for the three Catholic dogmas which the Orthodox reject, namely the Filioque, the Immaculate Conception and papal infallibility . Here is a « basis for working towards the reunion of the Churches », he explained. A few months later, he published in Zagreb (on account of the censure directed against him in Russia) his book The History and Future of Theocracy .

There he retraced the vast movement of history towards the establishment of the Kingdom of God. Universal Theocracy, the successor of Jewish Theocracy, cannot be conceived, he explained, without an integrally Christian politics, and he concluded with a splendid anthem to Christ Pantocrator receiving from His Father all power on earth and in Heaven and acting through His emissaries, the Apostles and their successors. Soloviev always believed in the privileged vocation of Russia within the Catholic community of Christian nations, even if he stigmatized what he called “ the sin of Russia ”, which was to oppress and hate all those it dominated, in particular Polish Catholics, Greek Uniates, Ruthenians and Jews !

Like a true prophet, he was vigorous in preaching repentance to his people . In order that they might be faithful to their vocation within the great Slav family, Soloviev asked them to give up their inordinate ambitions, to return to a truer and more Christian conception of their destiny, and to accomplish this within the only international organization which could direct its course, Catholicism, that is to say Roman universalism.

«  One of my theses is that the cause of the Reunion of the Churches in Russia demands a podwig (sacrifice) even heavier to bear than that which, already demanding great self-denial, was needed to ensure Russia’s receptivity to Western culture, an event truly disagreeable to the national sentiment of our ancestors .

«  Well ! this sacrifice consists in drawing closer to Rome and it must be attained at all costs. In this lies the remedy for the Russian sin . »

It goes without saying that Soloviev earned himself new enemies with his book. It cost him great personal suffering, but he could not fail the Truth, which he contemplated with ever greater clarity... What greatness of soul this universal genius possessed !

SAINT VLADIMIR AND THE CHRISTIAN STATE

1888 marked the ninth centenary of the baptism of Saint Vladimir, the first prince of Kiev, whose kingdom after his conversion became « the model of Christian States, with evangelical morals », writes our Father (English CRC, December 1982, p. 23). Soloviev used the occasion to give a conference in Moscow, where he reaffirmed that Russia’s destiny was to turn towards Rome, as King Vladimir had ! However, having hardened itself in its schism, the Muscovite hierarchy was no longer animated by the spirit of St. Vladimir. Hence the fury of the Orthodox hierarchs !

At the same time, Msgr. Strossmayer had gone to Rome for the Jubilee. In vain did he wait for Soloviev there. The latter, fearing perhaps that he had made a definitive break with the Orthodox world which he dreamed on the contrary of winning for the Union, had given up the idea of making this journey. It must also be said that Vatican diplomacy hardly inspired more confidence in him. Leo XIII was revealing himself less and less slavophile, reserving his favours for the Germany of old Bismarck and the young William II ! Msgr. Strossmayer lamented this in a letter to Fr. Martynov: «  The Pope is acting against the Slavs. The Roman prelates are like people insane and think only of temporal power !  »

What a difference between Leo XIII and his successor, St. Pius X, who was, in the words of Msgr. Rupp and our Father, the greatest slavophile pope of our times !

Early in May 1888, Soloviev was on a visit to Paris. To explain his thinking to the French public, he gave a conference on the Russian Idea , « the true national idea eternally fixed in the design of God », who longs to spread His light over the whole world. However, Soloviev remained lucid about his own Church: « If the unity of the universal Church founded by Christ only exists among us in a latent state, it is because the official institution represented by our ecclesiastical government and our theological school is not a living part of the universal Church. »

In passing, he described the destruction of the Greek-Uniate Church by the Orthodox as a «  veritable national sin weighing on Russia and paralysing her moral strength  ». That is still the case today...

In July, Kiev celebrated the feast of the baptism of St. Vladimir. From Zagreb Msgr. Strossmayer sent a telegram in which he exalted Russia’s future role in the manner of his friend Soloviev. Scandal ! His remarks were universally reported by the press. Cardinal Rampolla informed the Croatian bishop that Leo XIII was seriously displeased ! The bishop of Djakovo also earned himself the bitter reproaches of Emperor Francis Joseph of Austria, which is more understandable given the rivalry existing between the two Empires.

In the summer of 1887, Soloviev published in the Universe , the newspaper of Louis Veuillot, three articles on St. Vladimir and the Christian State which caused a great stir. Then he journeyed to Croatia where he remained for one whole month with Msgr. Strossmayer. This meeting was rather sad, for the two friends were increasingly aware that their attempt to reunite the Churches would not succeed, at least in their lifetime.

It was in Djakovo that Soloviev finished the immense prologue to his magisterial book, Russia and the Church Universal , in which one can already glimpse signs of the discouragement that would overwhelm the thinker in the latter part of his life. We know from Fatima that the work of the conversion of Russia, something humanly impossible, has been entrusted to the Immaculate Heart of Mary who has a particular love for this Nation such as to inspire jealousy in others. But this only makes it all the more extraordinary that our prophet should have traced out the course of this conversion, like a true Precursor !

« RUSSIA AND THE CHURCH UNIVERSAL »

Soloviev does not hesitate to delve deep, extremely deep, into the past. To realise its designs in the world, divine Wisdom wished to become incarnate, and the Verb to take flesh like our own. As that was not enough, He also wished to unite to Himself a social and historical body, one that could reach the universality of mankind and communicate to all men His own divine Life. In this magnificent perspective, Soloviev compares the formation of that Body through which God wishes to be united with humanity to that effected in the womb of the Virgin Mary at the time of the Incarnation, and to that which operates every day in the Eucharistic mystery... What was needed for this work was a solid foundation, a Rock:

« This bedrock has been found », he writes, « it is Rome. It is only on the Rock [of Peter and his successors] that the Church is founded. This is not an opinion, it is an imposing historical reality . »

It is also an evangelical truth: «  You are Peter, and on this Rock I will build my Church . » Here Soloviev addresses the Protestants who seek to outbid each other in their attacks against the Primacy of Peter by quoting Jesus’ own words to His Apostle when he was obstructing the Master’s path: «  Get behind me, Satan !  » Soloviev’s response once again shows the clarity of his intelligence and his perfect knowledge of Catholic dogma:

«  There is only one way of harmonising these texts which the inspired Evangelist did not juxtapose without reason. Simon Peter, as supreme pastor and doctor of the universal Church , assisted by God and speaking for all, is, in this capacity, the unshakeable foundation of the House of God and the holder of the keys of the heavenly Kingdom. The same Simon Peter, as a private person, speaking and acting through his own natural forces and an understanding that is purely human , can say and do things that are unworthy, scandalous and even satanic. But personal defects and sins are passing, whereas the social function of the ecclesiastical monarch is permanent. “ Satan ” and the scandal have disappeared, but Peter has remained.  »

Soloviev’s doctrine agrees with that of Vatican Council I and with that of our Father who, at the same time as he makes us venerate Peter’s magisterium, magnificently illustrated by Blessed Pius IX, St. Pius X and John Paul I, accuses John XXIII, Paul VI and John Paul II of being instruments of “ Satan ” for the ruin of the Church.

However, Christ wished that it should be around Peter that the unity of faith and charity should be formed: «  Since the unity of the faith does not presently exist in the totality of believers, seeing that not all of them are unanimous in matters of religion, it must lie in the legal authority of a single head, an authority assured by divine assistance and the trust of all the faithful . This is the ROCK on which Christ founded His Church and against which the gates of hell will never prevail.  »

Why did this ROCK settle in Rome, and not in Jerusalem, Constantinople or Moscow ? Here we have a further brilliant response from Soloviev: historically Rome represented the order, civilization and terrestrial Empire that would best allow the Church to become the universal spiritual Empire desired by Christ. In a mystical view of the history of Salvation – we would say divine “ orthodromy ” – Soloviev shows how God, wishing to extend salvation to the whole world,  decided one day that His Kingdom should leave Israel for Rome, so that the capital of the pagan Empire should become “ the conjoint instrument ” of His designs:

« The universal monarchy was to stay put; the centre of unity was not to move. But central power itself, its character, its source and its sanction were to be renewed... Instead of an Empire of Might, there was to be a Church of Love. » One thinks of Constantine’s conversion and his imposition throughout the Roman Empire of laws favouring Christianity, and of Theodosius declaring the Christian religion the religion of State. What decisive support for the Gospel ! The remarkable Roman civilization, already the heir of Greece, was put at the service of the Cross of Christ !

Soloviev had some wonderful expressions to describe this, as for example the following: «  Jesus unthroned Caesar... By unthroning the false and impious absolutism of the pagan Caesars, Jesus confirmed and immortalised the universal monarchy of Rome and gave it its true theocratic foundation . »

« Let us not think », comments our Father, « that our theosophist loses his way in a contemplation of evangelical love and freedom. Fully aware of the frailty and shortcomings of humanity, he declares that it is essential, for its effective salvation, that supreme divine power be joined to the firmest social structure, to the virile principle , and not as formerly to the female principle of a virginal flesh for the Incarnation. This firm principle is the imperial monarchical institution which is Rome and Caesar. Converted, elevated and unabolished, the Power of Rome continues in the Pope for the service of the universal community.

« It is only this divino-human pontifical paternity that is capable of forming the basis of the universal fraternity of the peoples, not only through its spiritual influence but also through its authority and its supranational organization. In this monarchy, sacred but popular, the Pope, the Universal Emperor, clearly remains the servant of the servants of God and is, for that very reason, the sovereign Head of the Nations. Opposed to any kind of papolatry, antagonistic to all the encroachments of papism, and quite capable of denouncing such a Pope as Satan, Soloviev raised an imperishable monument to the glory of Rome and pointed out – him, a member of the Orthodox Church – the path of the world’s salvation, which lay in one place only, in the universal Christian order of a restored Roman Catholic Church ... » (French CRC no. 131, July 1978, p. 6)

In his lifetime, Soloviev ran up against a wall of hostility and incomprehension: « I am not so naive », he said, « to seek to convince minds whose private interests are greater than their desire for religious truth. In presenting the general evidence for the permanent primacy of Peter as the basis of the universal Church, I have simply wanted to assist those who are opposed to this truth, not because of their interests and passions, but merely because of their unwitting errors and hereditary prejudices. »

The final period of his life might seem to some like a decline and a renunciation of his prophetic insights, but our Father writes: « Soloviev was too great a mind to be discouraged or to modify his ideas in accordance with the fluctuations of his worldly success. What is certainly true is that his bitter experiences gave him a better knowledge of the Evil that was at work in the world, throwing up formidable obstacles to God’s designs and going so far as to erect a kind of caricature of them. This he denounced as the power of the Antichrist, the Prince of this world, announced in the Scriptures. » (French CRC no. 132, August 1978, p. 12)

At the beginning of the 1890’s, relations between Soloviev and the Orthodox Church deteriorated. «  Given the papaphobia reigning among us , he wrote to a friend, sometimes revealing its underhand character and at other times its stupidity, and always in any event unchristian, I considered and I continue to consider that it is necessary to draw people’s attention to the Rock of the Church laid by Christ Himself and to its positive significance . »

As he persisted in his criticisms, even going so far as to compare the Greco-Russian Church with « the Synagogue », the Orthodox hierarchy, in the person of Pobiedonostev, the Holy Synod’s prosecutor, employed the ultimate weapon at its disposal: it deprived him of the sacraments. One day in 1894, being seriously ill, Soloviev asked to receive the sacraments. His Orthodox confessor refused to give him absolution unless he renounced his Catholic views. Soloviev refused to yield, preferring to forego confession and Holy Communion.

AN AUTHENTIC CONVERSION

The moment had come. On February 18, 1896, he went to see Fr. Nicholas Alexeyevich Tolstoy, a Catholic priest of the Eastern rite exercising his ministry in Moscow. This priest, a former officer, owed him his vocation, his formation (Soloviev having been his teacher) and his conversion to Catholicism. That February 18 was the feast day of Pope St. Leo so dear to Soloviev. Before Mass, he read on his knees the Tridentine symbol of the faith containing the Filioque and a formula declaring that the Church of Rome must be regarded as the head of all the particular Churches. Then he received the Body of Christ at the hands of the Catholic priest.

On the following day, Fr. Tolstoy was denounced and arrested. He managed to escape and to reach Rome first, then France. It was only in 1910 that he would give an account in the Universe of the authentic conversion of Soloviev, and in 1917 that the two witnesses present at the scene would confirm the celebrated Russian’s profession of the Catholic faith. Nevertheless, this conversion was disputed not only by the Orthodox but also by Catholics imbued with a false ecumenism like Msgr. d’Herbigny of sinister memory. But in this matter the facts are indubitable. His entry into the Catholic Church did not, however, in Soloviev’s mind, exclude him from what he called « the true and authentic Eastern or Greco-Russian Church ». Never did he embrace the Latin rite. After the exile of Fr. Tolstoy, as there were no longer any Catholic priests in Moscow apart from those belonging to the Latin rite, Soloviev decided to refrain from receiving the sacraments...

In 1897, a census of the whole of Russia was carried out in which a question was asked about religion. «  I am both Catholic and Orthodox; let the police work that out !  » Soloviev answered.

« Self-important people from Rome and Moscow declared themselves scandalized », writes our Father. « The hour had not yet come for the podwig , for self-renunciation and reconciliation in truth and justice ( pravda ), and for the restoration of the wholly divine unity of communion in love ( sobornost ). Msgr. Rupp thinks that we achieved it with Vatican II. Alas, no ! I hope for and expect it to come with Vatican III... but only after the trial, after conversion and expiation... and after Our Lady’s humble requests have been met. » (English CRC, December 1982, p. 36)

UNDER THE SIGN OF MARY

«  This glow from Heaven emanates from Mary, And vain remains the attraction of the serpent’s venom.  »

On July 17, 1900, sensing death approaching, Soloviev sent for a priest. He was most insistent about this: « Will it be morning soon ? When will the priest come ? » The next day, he made his confession and received Holy Communion at the hands of an Orthodox priest. He died peacefully a few days later, on July 31, «  in the communion of Russian Orthodoxy to which he had ever been faithful, without however disowning the Catholicism of his heart, assured by the example of the Fathers of Russian Christianity, Saints Cyril and Methodius, Saint Vladimir, and so many strastoterptsi , innocents who had suffered the passion , and startsi , slavophiles and romanophiles at the same time, without schism or constraint, in the love of Holy Church and Holy Russia, the Kingdom of God to come !  »

But all this is too beautiful for us not to revisit it, so our Father has decided that we will study in more depth the work of this great Russian thinker, in three parts to appear in subsequent editions of Resurrection , Deo volente:

The vocation of Russia in the designs of God and the concert of the Christian nations: up to and including Putin ?

The Immaculate Virgin Mary , throne of Wisdom, essential beauty of the created world, our ultimate recourse !

The Antichrist unmasked by Soloviev . This was the last service the “ inspired prophet ” rendered to his beloved Russia: that of putting her on her guard against the seductions of the Antichrist. In Rome, at the same time, St. Pius X was also announcing his advent in his encyclical E supremi Apostolatus of October 4, 1903: « The Antichrist is present among us. The Evil shaking the world should not affright us, it will only last a short while. What must fall will fall, and the Church will be reborn from the trial, assisted by her Saviour and ready for extraordinary developments. »

Brother Thomas of Our Lady of Perpetual Help He is risen ! n° 8, August 2001, pp. 13-22

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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