I finally got out to photograph the newest addition to the Texas State Capitol grounds in Austin Texas. This wonderful sculpture is the work of Texas artist Armando Hinojosa.

 

If you enjoy my work, please comment. You may also contact me through my 'real' site; www.JohnRRogers.com for more information on licensing and prints of this or any of my images.

 

A note about my Creative Commons - Non Commercial Licensing.

If you derive any income from your website through sales of products or services or receive revenue from advertising placed on your site then you do not qualify to use my images under my creative commons license. If your are a not for profit corporation or political campaign, you also do not qualify under my Non Commercial license. I do license my images to commercial enterprises for a very reasonable fee. Please feel free to contact me if you have any questions.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background

The North American Aviation P-51 Mustang was an American long-range, single-seat fighter and fighter-bomber used during World War II, the Korean War and other conflicts. The Mustang was conceived, designed and built by North American Aviation (NAA) in response to a specification issued directly to NAA by the British Purchasing Commission. The prototype NA-73X airframe was rolled out on 9 September 1940, 102 days after the contract was signed and, with an engine installed, first flew on 26 October.

 

The Mustang was originally designed to use the Allison V-1710 engine, which had limited high-altitude performance. It was first flown operationally by the Royal Air Force (RAF) as a tactical-reconnaissance aircraft and fighter-bomber (Mustang Mk I). The addition of the Rolls-Royce Merlin to the P-51B/C (Mustang Mk III) model transformed the Mustang's performance at altitudes above 15,000 ft, giving it a much better performance that matched or bettered almost all of the Luftwaffe's fighters at altitude. The definitive version, the P-51D (Mustang Mk IV), was powered by the Packard V-1650-7, a license-built version of the Rolls-Royce Merlin 60 series two-stage two-speed supercharged engine, and armed with six .50 caliber (12.7 mm) M2 Browning machine guns.

 

The Mustang VI (later re-designated FR.6; the Mustang V was a lightweight fighter of which only one prototype reached England) was an indigenous, British project that was based on the P-51D. It was to meet Air Ministry Specification F.4 of 1940 for a high altitude fighter, designed to fight at extremely high altitudes, in the stratosphere.

 

Background was that Great Britain feared, with an ever increasing air superiority over the British Isles, that German bomber raids might come in at very high altitudes in the near future, staying out of reach from conventional defense measures. Earlier reconnaissance flights of Ju 86P aircraft had already shown that this was a realistic scenario. Additionally, the domestic development progress of pressurized cockpits for high altitude fighters convinced authorities that Germany would easily be on the same technical level, so that a high altitude interceptor was indeed needed.

 

While Westland and Vickers responded with twin-engined designs, North American was also requested to modify the relatively new Mustang (which was designed for medium to high altitudes) for extreme altitudes, as F.4/40 specification was revised into F.7/41 in early 1941. British pressurized cabin technology was to be incorporated, but the engine could be based on US technology.

North American was quick to respond and modified a P-51D airframe. This prototype was internally coded NA-73HK and ready for inspection in mid-late 1942.

 

The NA-73HK’s most obvious feature was the enormous high aspect ratio wing, achieved by extended wing tips, together with a fortified internal wing structure and weight saving measures (which had already been designed for the lightweight Mustang V). This new wing necessitated enlarged tail surfaces and a slightly elongated fuselage to provide a longer moment arm.

 

The aircraft was powered by a Packard V-1650-20 engine that delivered 1.233 hp (920 kW) at 35,000 ft (10,668 m). It was based on the Rolls Royce Merlin 76 (RM 16SM), but instead of the standard two-speed, two-stage supercharger it was coupled with a General Electric C-23 turbo-supercharger. The system was fitted with A.D.I and a General Electric ignition system with a tubular ignition harness developed by the Scinitilla company. A water injection system was added for short-term power boosting, too. The original Bendix-Stromberg carburetor was retained, even though optimized for lower air density use and a higher air mass flow. It drove a new, four-bladed propeller with increased diameter and enlarged single blade area.

 

Since the slender P-51 airframe did not allow the placement of the turbo-supercharger in front of the cockpit it was re-located into a large ventral fairing which replaced the original radiator tunnel – the basic layout resembled that of the P-47 Thunderbolt. But due to lack of internal space the system had to be connected through external exhaust pipes running along the fuselage flanks. This was a draggy arrangement, but it would not matter much anymore once the aircraft was at its intended operating altitude of 40.000 ft (~12.000m) and beyond.

 

The cockpit retained an aft-sliding bubble canopy, even though it had to be reinforced and was quickly recognizable through its stiffener bars. The cockpit pressurization system was driven by a separate Rotol supercharger attached to the engine, providing a constant pressure of 3.5 psi (24 kPa) over the exterior pressure. This resulted in an apparent cabin altitude of 24,000 feet (7,300 m) when the aircraft was operating at its design altitude of 45,000 ft (14,000 m).

This cabin altitude was still too high for normal breathing, so the pilot had to wear an oxygen mask during flight. A rubber gasket filled with the pressurized air sealed the canopy when the system was turned on, and a valve ensured the pressure was controlled automatically. Moreover, the pilot also had to wear a high altitude suit as he might have been required to bail out at altitude.

 

Detail work turned into time-consuming process, though. For instance, the Mustang VI, how the type was called by the RAF, and “The White Horse” by its pilots and service drews, required a new, sophisticated electrical system. This was necessary in order to minimize the number of seals and points of entry into the cockpit for the controls and instrumentation. It worked, but it was complicated: it took an electrician experienced in the features of the Mustang VI almost four hours to undertake a pre-flight check of this system!

 

The armament was modified, too. The original six 0.5" machine guns were to be replaced by four long-barreled Hispano 20 mm cannon in the wings. These offered greater range and ensured more damage against the expected, big targets.

 

Five prototypes were used in the development process in early 1943. Despite its complexity the White Horse proved to be successful, as it easily reached 50.000 ft. (15.000 m) altitude and handled well. But production was delayed as the standard P-51D had priority and no immediate high altitude threat from Germany materialized.

Serial production eventually started in mid-1944, but at a much smaller scale than initially planned: the original production plan from late 1942 demanded no less than 500 specimen, but towards late 1943 this drastically reduced to 100, and eventually only a mere 50 of these aircraft actually reached its exclusive user, the Royal Air Force, until early 1945.

 

When the Mustang VI arrived at the frontline in January 1944, there was virtually no sign of high altitude aircraft to be intercepted – and there was hardly any other use for this specialized aircraft. As a consequence most of the almost new airframes were modified to carry cameras for high altitude reconnaissance missions. These machines were converted by the Forward Repair Unit (FRU) to have two camera compartments fitted: one behind the cockpit cabin, facing to port or starboard, with respective windows added behind the cockpit and above the turbocharger compartment, and another in the extension segment in front of the tail wheel, where up to two vertical cameras could be mounted (even though the location proved to be rather unsuitable, as hot air from the radiator and oil leaking from the turbocharger frequently obscured clear vision). These modified aircraft were re-designated Mustang PR.VI, which turned into FR.6 from late 1944 on.

 

After WWII hostilities ended, a small number of Mustang FR.6 was kept in RAF service and allocated to squadrons in Germany and in the Far East, where the aircraft were exclusively used for reconnaissance duties.

 

One of the type's last missions took place in 1951, when Hainan Island (People's Republic of China) was targeted at the behest of U.S. Naval Intelligence for RAF overflights. RAF Mustang FR.6 of 80 Squadron, based at Kai Tak Airport in Hong Kong, were deployed, together with Spitfire PR.19 from 81 Squadron.

  

General characteristics

Crew: 1

Length: 34 ft (10,37 m)

Wingspan: 48 ft 9½ in (14.90 m)

Height: 14 ft 7½ in (4.46 m) w. tail wheel on ground & vertical propeller blade

Empty weight: 4,870 kg (10,737 lb)

Loaded weight: 5,100 kg (11,244 lb)

Max. take-off weight: 6,020 kg (13,272 lb)

Fuel capacity: 1,200 l (264 imp gal)

 

Powerplant:

1 × Packard V-1650-20 liquid-cooled piston engine, rated at 1.233 hp (920 kW) at 35,000 ft (10,668 m)

 

Performance

Maximum speed: 420 km/h (261 mph; 227 kn) at sea level, 660 km/h (409 mph) at 15.000 m (49.130 ft)

Cruise speed: 362 mph (315 kn, 580 km/h)

Range: 460 km (286 mi; 248 nmi) at maximum continuous power with 595 l (131 imp gal) of fuel at sea level; 1,440 km (895 mi) with 1,200 l (264 imp gal) of fuel at 15.000 m (49.130 ft)

Service ceiling: 50.500 ft (15.420 m)

Maximum ceiling: 55,610 ft (16,950 m)

Rate of climb: 11.5 m/s (2,260 ft/min) at sea level, 3.92 m/s (13 ft/s) at 15.000 m (49.130 ft)

  

Armament

4× 0.787 caliber (20mm) Hispano cannons with 200 RPG in the outer wings; some aircraft only carried a pair or these or were completely unarmed to save weight

2× hardpoints for up to 2.000 lb (907 kg) of external ordnance under the wings, typically only two drop tanks were carried.

  

The kit and its assembly

I've always been a big fan of the Westland Welkin and its elegant high altitude livery in PRU Blue and Medium Sea Grey, but lacking a suitable kit this had always been just a plan - until you build a suitable aircraft on your own! The plan for a high altitude Mustang had also been lingering for some time, as I found good donation parts in the stash (see below).

 

So... why not combine these into a whif model? Specification F.4/40 was a good real world background, and maybe a single-engined aircraft in the style of the Bv 155 would have been a better answer than the twin-engined Welkin or its competitor, the Vickers 432?

 

The basis is the Hasegawa P-51D. It's a decent kit with good detail but only of average fit. It's an old casting, but for this conversion it was a very good basis.

 

Many things were changed in order to create the FR.6, though:

● Wing tips extended with parts from a HUMA Me 309 (leading and training edge sweep match perfectly!)

● Extended rear fuselage, with a 2C putty plug (about 1 cm) inserted

● Elongated fin, the upper half comes from a Special Hobby He 100D

● New stabilizers, taken OOB from an ART Model Bv 155

● New ventral fairing; it's a seriously trimmed radiator from the aforementioned ART Model Bv 155 with scratch parts

● New/larger carburetor air intake, from a Matchbox Martin Marauder

● Camera windows on the real fuselage - simply drilled holes, filled with black glass paint and Humbrol Clearfix

● New propeller; the spinner is OOB, the blades come from the ART Model Bv 155, too

● New canopy; it's a vacu piece, also leftover from the ART Model Bv 155 (it fits almost perfectly!)

● Long-barreled Hispano cannons from a late Spitfire kit from Special Hobby

 

Fortunately I had everything at hand, true spare-parts recycling. Building the thing was pretty straighforward, the biggest issue were the fuselage with its extension and the bulbous, dorsal fairing, and the extended fin.

 

The exhaust system was completely scratched from styrene profiles. I used the Bv155 and a P-47 explosion sketch as design benchmarks – but I give NO guarantee for realism! Some small details were added with white glue, which was also handy as a kind of fluid putty that would bridge some gaps in the piping.

  

Painting and markings

I had a clear benchmark, to my Mustang FR.6 ended up with upper sides in uniform Medium Sea Grey (Humbrol 165) and lower sides in PRU Blue (Humbrol 230). Since the Mustang has a similar layout as the Spitfire, I went for a high waterline - I think that this makes the aircraft more interesting than an all-grey upper side?

 

The basic tones were later highlighted through dry-brushing with lighter shades (Humbrol 145 and 167) and a thin black ink wash.

 

The interior incl. the landing gear was painted in Interior Green (Humbrol 78). The complex exhaust system received special attention with some graphite, as I wanted to present the pipes as painted, yet totally scorched and worn from the hot gases inside, so that they stand out in front of the all-blue background.

 

The markings come from a Special Hobby Spitfire F.23 which contains markings for several RAF 80 Squadron machines based in Hong Kong. I kept the aircraft rather sober, with minimal markings and just the 80 Squadron ‘Bell’ badge as individual highlight.

 

After some additional dry-brushing with medium grey overall, the kit was sealed with a coat of matt acrylic varnish.

  

A quick one and everything was kept very simple and straightforward, even though it might appear different. In the end the modified Mustang looks very nice and elegant, despite the extra plumbing and slightly distorted proportions. It actually looks like the illegitimate offspring between a P-51D and a Bv 155 in a dark night over the Channel...?

Now out of print, Great Cooking! With Beer, in addition to demonstrating beer-in-food, was/is a good snapshot of American beer culture in the late 1980s, when 'craft' beer was still called "microbrew."

 

Great Cooking! With Beer

Author: Jack Erickson

Paperback: 146 pages

Publisher: Redbrick Press (February 1989)

Language: English

ISBN-10: 0941397017

ISBN-13: 978-0941397018

 

▶ Back cover: here.

▶ Recipe for Beer-Cheese Dip: here.

 

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▶ "Since [Fritz] Maytag purchased the Anchor Brewery in 1965 and [Jack] McAuliffe opened the New Albion brewery in 1977, more than 200 microbreweries and brewpubs have opened in the United States and Canada. [...] In little over a decade, the microbrewing movement has revived the art of small-scale craft brewing and developed an appreciation for fine beer in North America. [...]

 

Cooking with beer is simple and fun — and the food tastes great! Great Cooking With Beer is designed for the cook who wants to learn about specialty beers and prepare a variety of foods — from salads and appetizers through main courses and mouthwatering desserts — all cooked with beer. "

 

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

▶ Photo by Yours For Good Fermentables.com.

▶ For a larger image, type 'L' (without the quotation marks).

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▶ Camera: Olympus Pen E-PL1.

— Lens: Olympus M.45mm F1.8

— Focal length: 45 mm

— Aperture: ƒ/2.2

— Shutter speed: 1/160

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▶ Commercial use requires explicit permission, as per Creative Commons.

I am back at home in Chez Jelltex; Mulder is meowing just before dawn, in which case its situation normal. My longer than expected hike the day before meant that my legs were aching to buggery, but it is better than them stopping working.

 

Jools has to be up and about to go to work, but lucky me is working from home, so I can lay in bed a while enjoying the moment, but then I can smell coffee brewing, so I had better face the world. There is coffee on the table, but the cats have gone out exploring after eating, and so once Jools has left, its just me. However, the cats come in one at a time to request more food. At least not all at once.

 

Molly must think I'm looking a little peaky, as she brings me in a partially eaten Goldfinch and a large mouse/small rat, which I don't look at too closely.

 

Work is pretty much as usual, there is stuff to do, mails to send, calls to write, fires to put out. The usual.

 

Cheese and toast for lunch whilst I work. Somehow the volume of work wasn't what I was expecting, I guess what it being an hour ahead in Dk and being Friday afternoon. By two, mails had stopped and I can see most of my colleagues offline. I pack up for the week and get my camera gear together as there was some photographing to do.

 

This weekend in September is Heritage Weekend, and that means getting into churches that usually are locked. In addition, another area of Pugin's house in Ramsgate had been renovated and opened, so it seemed a good idea to go there in the 90 minutes before it closed. I think it was just about worth it.

 

Jools comes home, changes and we get in the car and take the Sandwich road, pretty much the same way I used to go to the office in Ramsgate when I was just an technical assistant, not that long ago, but in terms of my journey, ages ago! Traffic was a little crazy, but that is to be expected, but in the warm sunny weather, it was very pleasant indeed.

 

We park near The Grange, and have about an hour to get the visit done. I go straight to the Presbytery, just about the first to be built in Britain since the middle ages, designed by Pugin, and now converted by the Landmark Trust and now available for holiday rental. They have done a great job, and it feels like a fine place for up to four people can have a great stay, and help support the good cause.

 

I go round snapping each room, climbing the two sets of stairs to see the bedroom at the top, then back down again. What I can say is that it feels more of a home thand homely than The Grange, I think I could happily stay here. Stay and maybe never leave, mind.

 

Jools goes to see inside The Grange, but I have been in before, so chat with a guide outside, and I tell her about my job in the survey business. She is really interested, or says she is anyway. I do go in and take a few shots, and see that with the new camera/lens combination, the shots are fabulous. Just wish I had more time to get round.

 

We go back to the car as its four, and the buildings and church are closing.

 

I now spring it onto Jools that we are heading into Canterbury, as there is a church open that evening, that should be interesting. She takes the news well, so we drive round the outskirts of the city so to approach the right part, park up close to the chapel. We make better time that I thought, so we have time for a pint in the Two Brewers near to St Augustine's Abbey. This is the life, finished for the weekend, en route to a chapel and drinking beer and eating cheese and onion crisps; living the dream.

 

From the pub is was a short walk through the underpass then along the city wall to the Zoar Chapel.

 

You read that right; Zoar. Seems that being a Baptist isn't enough, you can have Strict and/or Peculiar Baptists too, and this is the Chapel of the Particular Strict Baptists in the city. The chapel has had an interesting life too; a former bastion in the city wall, then converted for use as a water cistern before the conversion to a church in the 19th century.

 

We are welcomed, but not that warmly, or I might have imagined it, I mean they open the chapel on all four days of the weekend, so they must be proud of the chapel. And rightly so, all lines with white painted wood, almost round, and looking really very fine indeed. I get my shots, talk politely, then we make our way back to the car and home.

 

We have run out of time for that day, so return home ready to have some dinner, as our appetites are raging. And as you will come to expect, its insalata caprese once again, with cheese and pickle bread, thickly sliced and buttered. Add a bottle of red wine, and it is perfect.

 

The cats are happy too, we have fed them and as we slob around the house, they ask for attention, food or whatever. Outside the sun sets on a fine late summer evening, whilst the moon has already risen and looks about half full already.

 

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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.

 

Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.

 

As a child he was taken each Sunday by his mother to the services of the fashionable Scottish Presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind".

 

Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.

 

In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Button, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.

 

In 1834, Pugin became a Roman Catholic convert,[16] and was received into the Church in the following year.[17] Pugin's father Auguste-Charles Pugin, was a Frenchman who had come to England as a result of the French Revolution. It is probable that he, like many others, converted to the Anglican faith in order to get work (it was highly unlikely that any non-Anglican could obtain a government commission or tender for example).

British society at this time had many restrictions on any person not adhering to the state religion of the Anglican Church. Non-Anglicans could not attend University, for example as well as being unable to stand for parish or city councils, be an MP, serve as a policeman, in the armed forces or even on a jury. A number of reforms in the early 19th century changed this situation, the most important of which was the Roman Catholic Relief Act of 1829 which specifically abolished the restrictions on Catholics. After 1829 it became (in theory at least) possible to have a successful career while being a Catholic - this was the background to A W Pugin's conversion to the Roman Catholic Church.

However his conversion also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport.

 

In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had designed himself.

 

Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.

Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima (great hall), neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.

Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.

 

In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26] He is buried in his church next to The Grange, St Augustine's, Ramsgate.

On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.

 

en.wikipedia.org/wiki/Augustus_Pugin

 

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The Grange (aka St Augustine's Grange) in Ramsgate, Kent, on the coast in southern England was the home of the Victorian architect and designer August Pugin. He designed it in the Victorian Gothic style; it is a Grade I listed building.

 

Pugin bought the land for the site at West Cliff, Ramsgate, in 1841.[2] The house was built between 1843 and 1844 by the builder George Myers. Pugin's second wife died in 1844 and it was only after his third marriage to Jane Knill in 1848 that it became a family home.

The interior of the house was finally completed in 1850. It is built from the inside out in the sense that the layout of the rooms was considered before the outside of the building. This is in contrast to the Georgian style that preceded it. The style was influential on subsequent English architecture designed by architects like Edwin Lutyens.

Pugin died in the house in 1852 at the age of only 40. He is buried in the impressive Pugin chantry chapel in St Augustine's Church, next to the house, which was also designed by him and completed by his eldest son, Edward Pugin, who was also an architect.

 

en.wikipedia.org/wiki/The_Grange,_Ramsgate

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

www.kentchurches.info/church.asp?p=Cliffe

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

"Capitol Hill, in addition to being a metonym for the United States Congress, is the largest historic residential neighborhood in Washington, D.C., stretching easterly in front of the United States Capitol along wide avenues. It is one of the oldest residential neighborhoods in Washington, D.C., and, with roughly 35,000 people in just under 2 square miles (5 km2), it is also one of the most densely populated.

 

As a geographic feature, Capitol Hill rises near the center of the District of Columbia and extends eastward. Pierre (Peter) Charles L'Enfant, as he began to develop his plan for the new federal capital city in 1791, chose to locate the "Congress House" (the Capitol building) on the crest of the hill at a site that he characterized as a "pedestal waiting for a monument." The Capitol building has been the home of the Congress of the United States and the workplace of many residents of the Capitol Hill neighborhood since 1800.

 

The Capitol Hill neighborhood today straddles two quadrants of the city, Southeast and Northeast. A large portion of the neighborhood is now designated as the Capitol Hill Historic District.

 

The name Capitol Hill is often used to refer to both the historic district and to the larger neighborhood around it. To the east of Capitol Hill lies the Anacostia River, to the north is the H Street corridor, to the south are the Southeast/Southwest Freeway and the Washington Navy Yard, and to the west are the National Mall and the city's central business district.

 

The Capitol building is surrounded by the Capitol Hill Historic District, which is listed on the National Register of Historic Places (NRHP). The Capitol Hill Historic District was expanded in 2015 to the north to include the blocks bordered by 2nd Street, F Street, 4th Street, and just south of H Street, NE, collectively known as the Swampoodle Addition.

 

Washington, D.C., formally the District of Columbia, also known as just Washington or simply D.C., is the capital city and federal district of the United States. It is located on the east bank of the Potomac River, which forms its southwestern and southern border with the U.S. state of Virginia, and it shares a land border with the U.S. state of Maryland on its other sides. The city was named for George Washington, a Founding Father and the first president of the United States, and the federal district is named after Columbia, the female personification of the nation. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. It is one of the most visited cities in the U.S. with over 20 million annual visitors as of 2016.

 

The U.S. Constitution provides for a federal district under the exclusive jurisdiction of Congress; the district is not a part of any U.S. state (nor is it one itself). The signing of the Residence Act on July 16, 1790, approved the creation of the capital district located along the Potomac River near the country's East Coast. The City of Washington was founded in 1791, and Congress held its first session there in 1800. In 1801, the territory, formerly part of Maryland and Virginia (including the settlements of Georgetown and Alexandria), officially became recognized as the federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria; in 1871, it created a single municipal government for the remaining portion of the district. There have been efforts to make the city into a state since the 1880s, a movement that has gained momentum in recent years, and a statehood bill passed the House of Representatives in 2021.

 

The city is divided into quadrants centered on the Capitol, and there are as many as 131 neighborhoods. According to the 2020 census, it has a population of 689,545, which makes it the 23rd most populous city in the U.S. as of 2020, the third most populous city in the Mid-Atlantic, and gives it a population larger than that of two U.S. states: Wyoming and Vermont. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest (including parts of Maryland, Virginia and West Virginia), had a 2020 estimated population of 6.3 million residents; and over 54 million people live within 250 mi (400 km) of the District.

 

The three branches of the U.S. federal government are centered in the district: Congress (legislative), the president (executive), and the Supreme Court (judicial). Washington is home to many national monuments and museums, primarily situated on or around the National Mall. The city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profits, lobbying groups, and professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the American Red Cross, and others.

 

A locally elected mayor and a 13-member council have governed the district since 1973. Congress maintains supreme authority over the city and may overturn local laws. The District of Columbia does not have representation in Congress, although D.C. residents elect a single at-large congressional delegate to the House of Representatives who has no vote. District voters choose three presidential electors in accordance with the Twenty-third Amendment to the United States Constitution, ratified in 1961." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

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St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

www.kentchurches.info/church.asp?p=Cliffe

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

In addition to the big snowfall, it continued to both snow and freezing rain, which increased the weight on the Civic Center's roof, a structural engineer's worst nightmare occurred on January 18, 1978, when the poorly designed roof collapsed. Here's the scene out on the RR. A New Haven era signal is seen through a lot of ice sticking to everything. Mid-January 1978

I was in the area, checking up on the Heath Spotted Orchids, and the church was a five minute drive away, in the grounds of a former country house.

 

I park at the church and find it locked, as expected, but there were directions to a keyholder nearby, walking into the cobbled squares and converted estate buildings now executive housing.

 

I ring the bell: nothing

 

I ring again: nothing

 

I use the knocker: dog barks. Dog attacks the door.

 

There is angry voices. Or voice. There was the sound of the dog being put into a side room, and the struggle to close the door.

 

The front door opened: yes?

 

Can I have the church key, please?

 

Not sure if I still have it.

 

Why'd you want it?

 

To photograph the interior.

 

Who're with?

 

I'm with no one, I am photographing all parish churches in the county, and would like to do this one. I showed him my driving licence which should say under job title: obsessive and church crawler.

 

He seemed satisfied, and let me have the key.

 

Phew.

 

------------------------------------------------

 

Substantially rebuilt after a fire of 1598. The welcoming interior displays no chancel arch, although the doorways in the arcade show where the medieval rood screen ran the width of the church. The striking east window was designed by Wallace Wood in 1954. There is a good aumbry and piscina nearby. To the north of the chancel stands the excellent tomb chest of Sir John Tufton (d. 1624). The arcade into which it is built was lowered to allow a semi-circular alabaster ceiling to be inserted to set the composition off. Because it is completely free-standing it is one of the easiest tomb chests in Kent to study, with five sons kneeling on the south side and four daughters on the north . In addition there are complicated coats of arms and an inscription which records the rebuilding of the church by Tufton after the fire. On top of the chest lie Sir John and his wife, with their son Nicholas kneeling between their heads. Much of the monument is still covered with its original paint. The organ, which stands in the south aisle, may be the instrument on which Sir Arthur Sullivan composed 'The Lost Chord'. It originally stood in Hothfield Place where Sullivan was a frequent guest.

 

www.kentchurches.info/church.asp?p=Hothfield

 

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HOTHFIELD

IS the next parish northward from Great Chart, and is so called from the bothe, or heath within it. The greatest part of this parish lies within the hundred of Chart and Longbridge, and the remainder in that of Calehill. It is in the division of East Kent.

 

THE PARISH of Hothfield lies a little more than two miles from Ashford north-westward, the high road from which towards Lenham and Maidstone goes through it over Hothfield heath. It contains about 1250 acres, and fifty houses, the rents of it are about 1300l. per annum. It is not a pleasant, nor is it accounted a healthy situation, owing probably to the many low and watry lands in and about it. The river Stour, which rises at Lenham, runs along the southern side of the parish, which is watered likewise by several small streams, which rise about Charing and Westwell, from under the chalk hills, and join the Stour here. The heath, which contains near one half of the parish, consists mostly of a deep sand, and has much peat on it, which is continually dug by the poor for firing. On the east and west sides of the heath, the latter being called West-street, are two hamlets of houses, which form the scattered village of Hothfield. The Place-house stands on a hill, at a small distance from the corner of the heath southward, with some small plantations of trees about it, forming a principal object to the country round it. It is a square mansion, built of Portland stone, by the late earl of Thanet, on the scite of the antient mansion, close to the church; it has a good prospect round it. The adjoining grass grounds are extensive, and well laid out for the view over them; the water, which rises at no great distance from the house, becomes very soon a tolerable sized stream, and running on in sight of it, joins the Stour a little above Worting mill; these grass lands are fertile and good fatting land, like those mentioned before, near Godington, in Great Chart. The parsonage house, which is a neat dwelling of white stucco, stands at the southern corner of the heath, at the foot of the hill, adjoining the Place grounds, near West-street. Between the heath and Potter's corner, towards Ashford, the soil begins to approach much of the quarry stone.

 

Though the land in the parish is naturally poor, it is rendered productive by the chalk and lime procured from the down hills. The inhabitants have an unlimited right of commoning with those of the adjoining parish of Westwell, to upwards of five hundred acres of common, which affords them the means of keeping a cow and their poultry, which, with the liberty of digging peat, draws a number of certificated poor to reside here. There is not one dissenter in the parish.

 

Jack Cade, the noted rebel, in Henry the VI.th's reign, though generally supposed to be taken by Alexander Iden, esq. the sheriff, in a field belonging to Ripple manor, in the adjoining parish of Westwell, was discovered, as some say, in a field in this parish, still named from him, Jack Cade's field, now laid open with the rest of the grounds adjoining to Hothfieldplace.

 

The plant caryophyllata montena, or water avens, which is a very uncommon one, grows in a wood near Barber's hill, in this parish.

 

THE MANOR OF HOTHFIELD seems, in very early times, to have had the same owners as the barony of Chilham, and to have continued so, for a considerable length of time after the descendants of Fulbert de Dover were become extinct here. Bartholomew de Badlesmere, who in the 5th year of king Edward II. had a grant of this manor as well as of Chilham in see, appears to have held this manor of Hothfield by grand sergeantry of the archbishop, and accordingly, in the 8th year of it, at the enthroning of archbishop Walter Reynolds, he made his claim, and was allowed to perform the office of chamberlain for that day, and to serve up the water, for the archbishop to wash his hands; for which his fees were, the furniture of his bedchamber, and the bason and towel made use of for that purpose; (fn. 1) and in the next year he obtained of the king, a charter of free-warren for his demesne lands within this manor among others. After this the manor of Hothfield continued to be held by the like service, and continued in the same owners as that of Chilham, (fn. 2) down to Thomas lord Roos, who became entitled to the see of it, who for his attachment to the house of Lancaster, was, with others, attainted, in the 1st year of king Edward IV.'s reign, and his lands confiscated to the crown. But Margaret his mother, being possessed of it for her life, afterwards married Roger Wentworth, esq. whom she survived, and died possessed of it in the 18th year of that reign; upon which, by reason of the above attaint, the crown became entitled to it, the inquisition for which was found in the 4th year of that reign; immediately after which, the king granted it to Sir John Fogge, of Repton, who was comptroller of his household and one of his privy council, for his life. On king Richard III.'s accession to the crown, he took shelter in the abbey of Westminster, from whence he was invited by the king, who in the presence of a numerous assembly gave him his hand, and bid him be confident that from thenceforward he was sure to him in affection. This is rather mentioned, as divers chronicles have erroneously mentioned that he was an attorney, whom this prince had pardoned for forgery. He died possessed of it in the 17th year of Henry VII. where it remained till Henry VIII. granted it, at the very latter end of his reign, to John Tufton, esq. of Northiam, in Sussex, whose lands were disgavelled by the acts of 2 and 3 Edward VI. who afterwards resided at Hothfield, where he kept his shrievalty in the 3d year of queen Elizabeth. He was descended from ancestors who were originally written Toketon, and held lands in Rainham, in this county, as early as king John's reign; (fn. 3) one of whom was seated at Northiam, in Sussex, in king Richard the IId.'s reign, at which time they were written as at present, Tufton, and they continued there till John Tufton, esq. of Northiam, before-mentioned, removed hither. He died in 1567, and was buried in this church, leaving one son John Tufton, who resided at Hothfield-place, and in July, in the 16th year of queen Elizabeth, anno 1573, entertained the queen here, in her progress through this county. In the 17th year of that reign he was sheriff, and being a person of eminent repure and abilities, he was knighted by king James, in his 1st year, and created a baronet at the first institution of that order, on June 19, 1611. He married Olimpia, daughter and heir of Christopher Blower, esq. of Sileham, in Rainham, by whom he had three daughters; and secondly Christian, daughter and coheir of Sir Humphry Brown, a justice of the common pleas. He died in 1624, and was buried in this church, having had by her several sons and daughters. Of the former, Nicholas the eldest, succeeded him in title and estates. Sir Humphry was of Bobbing and the Mote, in Maidstone, and Sir William was of Vinters, in Boxley, both baronets, of whom further mention has already been made in the former parts of this history.

 

Sir Nicholas Tufton, the eldest son, was by letters patent, dated Nov. 1, anno 2 Charles I. created lord Tufton, baron of Tufton, in Sussex; and on August 5, in the 4th year of that reign, earl of the Isle of Thanet, in this county. He had four sons and nine daughters; of the former, John succeeded him in honors, and Cecil, was father of Sir Charles Tufton, of Twickenham, in Middlesex. John, the eldest son, second earl of Thanet, married in 1629 Margaret, eldest daughter and coheir of Richard, earl of Dorset, by his wife the lady Anne Clifford, sole daughter and heir of George, earl of Cumberland, and baroness of Clifford, Westmoreland, and Vescy, by which marriage these tithes descended afterwards to their issue. In the time of the commonwealth, after king Charles the 1st.'s death, he was, in 1654, appointed sheriff, and however inconsistent it might be to his rank, yet he served the office. He left six sons and six daughters, and was succeeded by Nicholas his eldest son, third earl of Thanet, who by the deaths of his mother in 1676, and of his cousin-german Alethea, then wife of Edward Hungerford, esq. who died s. p. in 1678, he became heir to her, and sole heir to his grandmother Anne, lady Clifford, and consequently to the baronies of Clifford, Westmoreland, and Vescy; dying s. p. he was succeeded as earl of Thanet and lord Clifford, &c. by his next brother John, who, on his mother's death, succeeded likewise by her will to her large estates in Yorkshire and Westmoreland, and to the hereditary in sheriffdoms of the latter and of Cumberland likewise, for it frequently happened in these hereditary sheriffdoms that female heirs became possessed of them, and consequently were sheriffs of those districts; but this was not at all an unusual thing, there being many frequent instances of women bearing that office, as may be seen in most of the books in which any mention is made of it, some instances of which the reader may see in the differtation on the office of sheriff, in vol. i. of this history. That part of their office which was incompatible for a woman to exercise, was always executed by a deputy, or shyre-clerk, in their name. But among the Harleian MSS. is a very remarkable note taken from Mr. Attorney-general Noys reading in Lincoln's inn, in 1632, in which, upon a point, whether the office of a justice of a forest might be executed by a woman; it was said, that Margaret, countess of Richmond, mother to king Henry VII. was a justice of peace; that the lady Bartlet, perhaps meant for Berkley, was also made a justice of the peace by queen Mary, in Gloucestershire; and that in Suffolk one ..... Rowse, a woman, did usually fit upon the bench at assizes and sessions among other justices, gladio cincta. John, earl of Thanet, died unmarried, as did his next brother earl Richard, so that the titles devolved to Thomas Tufton, who became the sixth earl of Thanet, and lord Clifford, which latter title was decreed to him by the house of peers in 1691. He left surviving issue five daughters and coheirs, the eldest of whom, Catherine, married Ed. Watson, viscount Sondes, son and heir of Lewis, earl of Rockingham; and the four others married likewise into noble families. He died at Hothfield in 1729, having by his will bequeathed several legacies to charitable purposes, especially towards the augmentation of small vicarages and curacies. He died without male issue, so that the titles of earl of Thanet and baron Tufton, and of baronet, descended to his nephew Sackville Tufton, eldest surviving son of his brother Sackville Tufton, fifth son of John, second earl of Thanet. But the title of baroness Clifford, which included those of Westmoreland and Vescy, upon the death of Thomas, earl of Thanet, without male issue, became in abeyance between his daughters and coheirs above-mentioned, and in 1734, king George II. confirmed that barony to Margaret, his third surviving daughter and coheir, married to Thomas Coke, lord Lovel, afterwards created earl of Leicester, which title is now again in abeyance by his death s. p. Which Sackville Tufton died in 1721, leaving Sackville the seventh earl of Thanet, whose eldest son of the same name succeeded him as eighth earl of Thanet, and rebuilt the present mansion of Hothfield-place, in which he afterwards resided, but being obliged to travel to Italy for his health, he died there at Nice in 1786, and was brought to England, and buried in the family vault at Rainham, in this county, where his several ancestors, earls of Thanet, with their countesses, and other branches of the family, lie deposited, from the time of their first accession to that title. He married Mary, daughter of lord John Philip Sackville, sister of the present duke of Dorset, by whom he had five sons and two daughters, Elizabeth; and Caroline married to Joseph Foster Barham, esq. Of the former, Sackville, born in 1769, succeeded him in honors; Charles died unmarried; John is M. P. for Appleby; Henry is M. P. for Rochester, and William. He was succeeded by his eldest son, the present right hon. Sackville Tufton, earl of Thanet, baron Tufton, lord of the honor of Skipton, in Craven, and baronet, and hereditary sheriff of the counties of Westmoreland and Cumberland, who is the present possessor of this manor and seat, and resides here, and is at present unmarried. (fn. 4)

 

The antient arms of Tufton were, Argent, on a pale, sable, an eagle displayed of the field; which coat they continued to bear till Nicholas Tufton, the first earl of Thanet, on his obtaining that earldom, altered it to that of Sable, an eagle displayed, ermine, within a bordure, argent; which coat was confirmed by Sir William Segar, garter, in 1628, and has been borne by his descendants to the present time. The present earl of Thanet bears for his coat of arms that last-mentioned; for his crest, On a wreath, a sea lion, seiant, proper; and for his supporters, Two eagles, their wings expanded, ermine.

 

SWINFORT, or Swinford, which is its more proper name, is a manor in this parish, lying in the southern part of it, near the river Stour, and probably took its name from some ford in former times over it here. However that be, it had formerly proprietors, who took their name from it; but they were never of any eminence, nor can I discover when they became extinct here; only that in king Henry V.'s reign it was in the possession of Bridges, descended from John atte Bregg, one of those eminent persons, whose effigies, kneeling and habited in armour, was painted in the window often mentioned before, in Great Chart church; and in this family the manor of Swinford continued till the latter end of king James I.'s reign, when it passed by sale from one of them to Sir Nicholas Tufton, afterwards created earl of Thanet, whose son John, earl of Thanet, before the 20th year of that reign, exchanged it for other lands, which lay more convenient to him, with his near neighbour Nicholas Toke, esq. of Godinton, in which family and name it has continued down, in like manner as that feat, to Nicholas Roundell Toke, esq. now of Godinton, the present possessor of it. A court baron is held for this manor.

 

FAUSLEY, or FOUSLEY, as it is now usually called, is the last manor to be described in this parish; its more antient name was Foughleslee, or, as it was usually pronounced, Faulesley; which name it gave to owners who in early times possessed and resided at it. John de Foughleslee, of Hothfield, was owner of it in the second year of king Richard II. and in his descendants this manor seems to have continued till about the beginning of queen Elizabeth's reign, when it passed by sale to Drury; from which name, at the latter end of it, this manor was conveyed to Paris, who immediately afterwards alienated it to Bull, who soon afterwards reconveyed it back again to the same family, whence, in the next reign of king James I. it was sold to Sir Nicholas Tufton, afterwards created earl of Thanet, in whose successors, earls of Thanet, it has continued down to the right hon. Sackville, earl of Thanet, the present owner of it.

 

Charities.

 

RICHARD PARIS, by deed in 1577, gave for the use of the poor, a rent charge of 16s. per annum, out of land called Hanvilles, in this parish; the trustees of which have been long ago deceased, and no new ones appointed since.

 

THOMAS KIPPS, gent. of Canterbury, by will in 1680, gave for the use of the same, an annual rent charge of 1l. out of lards in Great Chart.

 

RICHARD MADOCKE, clothier, of this parish, by will in 1596, ordered that the 11l. which he had lent to the parishioners of Hothfield, towards the rebuilding of their church, should, when repaid, be as a stock to the poor of this parish for ever.

 

SIR JOHN TUFTON, knight and baronet, and Nicholas his son, first earl of Thanet, by their wills in 1620 and in 1630, gave certain sums of money, with which were purchased eight acres of land in the parish of Kingsnoth, of the annual produce of 10l.

 

DR. JOHN GRANDORGE, by deed in 1713, gave a house and land in Newington, near Hythe, of the annual produce of 7l. which premises are vested in the earl of Thanet.

 

THOMAS, EARL OF THANET, and SACKVILLE TUFTON. Esq. grandfather of the present earl, by their deeds in 1720 and 1726, gave for a school mistress to teach 24 poor children, a rent charge and a house and two gardens, in Hothfield, the produce in money 20l. The premises were vested in Sir Penyston Lambe and Dr. John Grandorge, long since deceased; since which the trust has not been renewed; and the original writings are in the earl of Thanet's possession.

 

Such of the above benefactions as have been contributed by the Tufton family, have been ordered by their descendants to be distributed annually by the steward of Hothfield-place for the time being, without the interference of the parish officers, to such as received no relief from this parish; the family looking upon these rather as a private munisicence intended to continue under their direction.

 

The poor annually relieved are about twenty-five, casually as many.

 

HOTHFIELD is situated within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.

 

¶The church, which is small, is dedicated to St. Mary, and consists of three isles and a chancel, having a low spire steeple, covered with shingles at the west end, in which are five bells, and though it stands on a hill, is yet very damp. There is not any painted glass in the windows of it. On the north side in it, is a monument of curious workmanship, having the figures of a man and woman, in full proportion, lying at length on it; at three corners of it are those of two sons and one daughter, kneeling, weeping, all in white marble; round the edges is an inscription, for Sir John Tufton, knight and baronet, and Olympia his wife, daughter and heir of Christopher Blower, esq. On the monument are the arms of Tufton, with quarterings and impalements; on the sides are two inscriptions, one, that he re-edified this church after it was burnt, at his own charge, and under it made a vault for himself and his posterity, and after that he had lived eighty years, departed this life; the other enumerating his good qualities, and saying that by his will he gave perpetual legacies to this parish and that of Rainham. This monument is parted off from the north isle by a strong partition of wooden balustrades, seven feet high. The vault underneath is at most times several feet deep with water, and the few coffins which were remaining in it were some years since removed to the vaults at Rainham, where this family have been deposited ever since. On the north side of the chancel is a smaller one, formerly called St. Margaret's chapel, now shut up, and made no use of. In the south isle is a memorial for Rebecca, wife of William Henman, esq. obt. 1739, and Anna-Rebecca, their daughter, obt. 1752; arms, A lion, between three mascles, impaling a bend, cotized, engrailed. This church, which is a rectory, was always esteemed an appendage to the manor, and has passed accordingly, in like manner with it, down to the right hon. Sackville, earl of Thanet, lord of the manor of Hothfield, the present patron of it.

 

This rectory is valued in the king's books at 17l. 5s. and the yearly tenths at 1l. 14s. 6d.

 

There was a pension of ten shillings paid from it to the college of Wye. In 1588 here were communicants one hundred and ninety-three, and it was valued at eighty pounds. In 1640, communicants one hundred and ninety, and valued at only sixty pounds per annum. There is a modus of two pence an acre of the pasture lands in the parish. There are twelve acres of glebe. It is now worth about one hundred and twenty pounds per annum.

 

Richard Hall, of this parish, by will in 1524, ordered that his feoffees should enfeoffe certain honest persons in his house and garden here, set beside the pelery, to the intent that the yearly serme of them should go to the maintenance of the rode-light within the church.

 

This church was burnt down in the reign of king James I. and was rebuilt at the sole expence of Sir John Tufton, knight and baronet, who died in 1624. His descendant Thomas, earl of Thanet, who died in 1729, gave the present altar-piece, some of the pewing, and the pulpit.

 

www.british-history.ac.uk/survey-kent/vol7/pp514-526

Fantastic celtic detail

 

Available for purchase from www.ballaratheritage.com.au

 

VHR Statement of Significance

 

What is significant?

 

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery

 

Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.

 

Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.

 

The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.

 

The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.

 

The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.

 

By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.

 

The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.

 

The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.

 

Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')

 

Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.

 

The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.

 

How is it significant?

 

Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.

 

Why is it significant?

 

The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.

 

The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.

 

The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.

 

The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.

 

The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.

 

The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.

The boy's first car

And welcome to our annual trip round the churches of Kent during the Heritage Open Weekend as organised by English Heritage.

 

On a wet and cool morning, our first stop was just outside Dartford at Sutton-at-Hone, where we hoped it would be open. As it was, the door was unlocked and two volunteers met us and offered us tea and biscuits as well as our own tour round the church. A fine welcome.

 

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A fascinating church showing good quality medieval work and contrasting nineteenth-century rebuilding. The main chancel and nave date from the fourteenth century - a period of much rebuilding in this part of Kent - while the south aisle is separated from the nave by an unequivocally Victorian arcade. In April 1615 the church was accidentally burnt down by a man shooting pigeons (see also Charing) and all the furnishings date from after this period. Especially fine is the early seventeenth-century pulpit. The monument in the south aisle to Sir Thomas Smythe (d. 1625), an early official of the East India Company, is a good example of alabaster craftsmanship.

 

www.kentchurches.info/church.asp?p=Sutton+at+Hone

 

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SUTTON-AT-HONE

LIES the next parish south-eastward from Wilmington, and was once so considerable, as to give name to the whole lath. It was called in Latin, Suthtuna, from its situation south of the town of Dartford, and had the addition of At-Hone, from its lying low in the valley.

 

THIS PARISH contains about 3100 acres of land, of which 250 are wood. It is pleasantly situated as to the eastern part of it in the vale, through which a branch of the river Darent runs at the eastern boundary of it, near which the turnpike road from Dartford to Farningham, and so on to Sevenoke, leads through it, passing through Hawley and the village of Sutton; near it are most of the gentlemen's seats in it mentioned below, the parsonage, and vicarage. Hence the ground rises westward to the hill, having the church standing at one field's distance from the above road, still higher to Gilton-hill and Swanley, at the western boundary as the parish, at Birchwood corner, adjoining to the high road from Foot's Cray to Farningham. The soil of this parish is in general light, stony, and much inclined to gravel, though there is a good deal of chalk in several different parts of it; and there is some fertile lands in the southern part, adjoining to Horton; the western part, adjoining to the Farningham road, is very poor indeed, and such of it as is not coppice wood is mostly covered with heath and furze, especially about that part called the Warren.

 

Our HERBALISTS have taken notice of the following SCARCE HERBS and PLANTS in this parish, viz.

 

Ocymum sylvestre, or wild basil, found in plenty near St. John's. (fn. 1)

 

Millesolium flare rubro, red flowered yarrow, in the Hollydeans.

 

Ebulus, five sambucus humilis, dane wort, or dwarf elder, in the grounds near St. John's, and in the Netherway there.

 

Tapsus barbatus, mullein, or bigtaper, grows likewise iu plenty uear St. John's.

 

That curious naturalist, Abraham Hill, esq. lord of the manor of St. John's, about the year 1670, planted in an orchard, adjoining to his mansion here, the most curious fruits from Devonshire and Herefordshire, both apples and pears, used in those counties for making cyder and perry, with the intent of introducing them among the orchards of this county, many of which are still remaining here; among which are many trees of that scarce fruit, called the Kentish pippin.

 

In the book of Domesday, Levenot de Sudtone is said to have had the privileges of sac and soc within the lath of Sutton.

 

Robert Basing, in the reign of king John, gave to the Knights Hospitallers the MANORS of SUTTON-AT-HONE and of HALGELL, now HAWLEY, in this parish.

 

Elen de Saukevile, daughter of Ralph de Dene, gave all her land of Lageham, in Penshurst, to the manor of Sutton. Ralph de Penshurst gave more lands and rents there to this manor. Nicholas, son of Nicholas de Twytham, gave rents, with their appurtenances, in the parish of Sutton; and Gilbert, son of William Helles, gave more lands and rents to it. In the first year of king Edward, the prior of St. John had a confirmation of his liberties for his lands in Sutton-at-Hone, (fn. 2) &c. This manor seems, by the antient rentals of it, to have been formerly accounted but as an appendage to that possessed by the knights in Dartford, which was constantly stiled, Manerium de Derteford cum Sutton-at-Hone; which, besides the parishes of Dartford and Sutton, extended into those of Ash, Penshurst, Edenbridge, Chelsfield, and Nockholt, and into Limpsfield, in Surry.

 

The manor of Sutton continued part of the possessions of the Knights Hospitallers, who had a commandery established here. This was a convenient mansion, of which they had several on their different estates, in which there was a society of these knights placed, who were to take care of their rents and lands in the neighbourhood of it. They were allowed proper maintenance out of the revenues under their care, and the remainder was accounted for to the grand prior at London; (fn. 3) in which state it remained till their dissolution, in the 32d year of king Henry VIII. when by an act, passed specially for that purpose, all their lands and possessions were given to the king; who, that year, granted the office of receiver-general of the revenues of the late dissolved hospital of St. John of Jerusalem, in England, to Sir Maurice Denys, descended of a good family in Gloucestershire, who bore for his arms, Gules, three leopards heads, or, jessant fleurs de lis azure, over all a bend engrailed of the third; and he, from this grant, and having the grant of several of these possessions afterwards, acquired the addition of St. John's to his name. In like manner all other great estates and possessions, as well of the late monasteries as of attainted persons, were sought after by the courtiers and great men, who first begged the offices of bailiffs and receivers of them, to be more certainly acquainted with their value, and then got the grants of them in fee; after which, in his 35th year, he granted to Sir Maurice Denys St. John's, among other premises, this manor of Sutton-at-Hone, alias St. John's, the chapel of Sutton, and other lands and premises belonging to it, to hold in capite, by knights service.

 

Anno 4 queen Elizabeth, Sir Maurice Denys levied a fine of this manor, and two years after died possessed of it, as appears by the inquisition taken after his death. Lady Elizabeth Denys, his widow, who had been first the wife of Nicholas Stathan, mercer, of London, by whom she had no issue, then became possessed of it, and died in the 19th year of it; and by her will gave this manor to her only daughter, Elizabeth, the widow of Vincent Randyll, esq. and their two daughters, Catherine and Martha, who, on their mother's death, became possessed of it in undivided moieties. Martha Randyll carried her moiety in marriage to Thomas Cranfield, esq. of London, who bore for his arms, Or, on a pale azure, three fleurs de lis of the first; on whose death it came to their son, Sir Randyll Cranfield, who, in the 7th year of king Charles I. executed a writ of partition of this manor with Sarah countess of Leicester, and her son Sir John Smith, owners of the other moiety of it; and each of them possessing part of the demesnes, as well as part of the services, each moiety became a separate manor.

 

That which was allotted to Cranfield retained the name of St. John's, alias SUTTON MANOR, and included the antient mansion and chapel of the knightshere; and to this manor was allotted the court leet, usually held for it. Sir Randyll Cranfield, by his will, in 1635, gave this manor of St. John's, alias Sutton, to his son, Vincent Cranfield. esq. who, by deed and fine, laid in 1649, conveyed it to Mr. Thomas Hollis, merchant, of London; and he, with Elizabeth his wife, in 1660, passed it away, by deed and fine levied, to Abraham Hill, esq. merchant of London, who did not get possession of it till the year 1667. He afterwards resided at St. John's, where he died in 1721, and was buried in Sutton church. He was descended of a good family, who had been for some generations seated at Shilston, in Devonshire; one of whom, Robert Hill, esq. was sheriff of that county in the 7th year of king Henry VI. and representative in parliament for it in the 26th of that reign, and bore for his arms, Argent, a chevron between three water bougets, sable. One of his descendants, and fifth son of Robert Hill, esq. of Shilston, seated himself at Truro, in Cornwall, whose son Richard was an alderman of the city of London. He died in 1659, and was bu ried with much pomp in the church of St. Dionis Backchurch, London, leaving by Agnes his wife, a son, Abraham Hill, esq. before mentioned, who was a most ingenious and learned man, one of the first encouragers, and a fellow of the Royal Society, at the first institution of it. By his first wife Anne, daughter of Sir Bulstrode Whitlock, he left a son, Richard, and a daughter, Frances.

 

Richard Hill, esq. survived his father but a few weeks, and dying without issue, this manor devolved to his sister, Mrs. Frances Hill, who resided here, and died possessed of it, in 1736, unmarried, and lies buried in the south isle of Sutton church, with the rest of her family, having a most remarkable and singular epitaph on her monument and grave stone; she by her will gave it, as well as her other Kentish estates, near Tunbridge, to her kinsman, William Hill, esq. of Carwythinick, in Cornwall, who in the latter end of 1780, sold it to Mr. John Mumford, of Sutton place, who died in 1787, and by his will devised this manor to his eldest son, William Mumford, esq. of this parish, the present owner of it; and the mansion of it to his youngest son John Mumford, esq. who was sheriff in 1796, and now resides in it. Of the mansion the north side only remains, which was formerly the chapel belonging to it: this has long since been converted into the dwelling-house, and was almost rebuilt in the year 1755.

 

The OTHER MOIETY of the manor of St. John's, alias Sutton-at-Hone, since known by the name of SUTTON MANOR, was carried in marriage, by Catherine, the other daughter of Vincent Randyll, to Robert Wrote, esq. whose son, Francis Wrote, esq. of Gunton, in Suffolk, in the 10th year of king James, conveyed it to Sir William Swan, of Southfleet; and he, in the 14th year of the same reign, passed it away to George Cole, esq. of the Inner Temple, London, who, two years after, sold this moiety, together with the moiety of the chapel of the late priory of St. John's, with all tithes, oblations, &c. belonging to it, and other lands in Sutton and Wilmington, to Sir Thomas Smith, second son of Customer Smith, of Westenhanger, who was a great navigator, and entrusted in many weighty matters relating to the trade of this kingdom. He had been ambassador to the emperor of Russia, and afterwards resided at Brookeplace in this parish, where he died in 1625, as is conjectured, of the plague, which raged greatly here at that time. He bore for his arms, Azure, a chevron engrailed, or, between three lions passant guardant of the second; which he quartered with those of Judde, Chiche, Criol, Creveceur, Averenches, Chichele, and Stafford; having by will left many charitable benefactions to several parishes in this county, and entrusted them to the care of the Skinner's company, who pay them yearly. He lies buried in this church, under a most costly monument, having his effigies at full length recumbent on it. He left by his third wife, Sarah, daughter and heir of William Blount, esq. who was the next year married to Robert Sidney earl of Leicester; a son, John, afterwards knighted, who, together with his mother, Sarah, countess of Leicester, owners of one moiety of the manor of St. John's, executed their writ of partition of it with Sir Randyll Cranfield, owner of the other moiety, in the 7th year of Charles I. as has been already mentioned.

 

THAT PART, allotted to the countess of Leicester and her son, thus becoming a separate manor, with a court baron appendant to it, acquired the name of the manor of Sutton, and after the countess of Leicester's death, came, with Brook-place, into Sir John Smith's possession. He died possessed of Sutton manor and Brook-place, with much other land in this county, leaving by the lady Isabella, daughter of the earl of Warwick, one son, Robert, and a daughter, Isabella, married to John lord Robartes, of Truro.

 

¶Robert Smythe, esq. was of Bounds, in Bidborough, and of Sutton, and married the lady Dorothy Sidney, relict of Henry earl of Sunderland, by whom he had one son, Robert Smythe, esq. of Sutton-atHone, who was governor of Dover castle, and died in 1695, possessed of this manor and Brook-place, leaving Catherine his wife, daughter of William Stafford, of Blatherwick, in Northamptonshire, surviving, and two sons, Henry and William, (fn. 4) to whom this manor and seat descended, as heirs in gavelkind.

 

In the 10th year of king William, she, as guardian to her two insant sons, obtained an act of parliament for vesting this manor and seat, among others, in this county, in trustees to sell the same, who accordingly, in 1699, conveyed them to Sir John Le Thieullier, of London.

  

Charities.

FOUR ACRES of land were given for the repair of the church.

 

THOMAS TERREY, yeoman, of Shoreham, in 1628 gave by will, a house and land at Dean in Horton, to the poor, now of the annual produce of 3l. 5s.

 

Mrs. KATHERINE WROTE built, and gave to the use of this parish, an alms-house, containing 4 rooms on a floor, with separate gardens. On the front of these houses is this inscription: These alms houses were erected by Kath. Wrote, widow, late wife of Robt. Wrote, esq. A. D. 1597. And these two coats of arms: Three piles azure, on a chief of the 2d, a griffin passant; and, on a saltier azure, 5 swans impaling on a bend 3 birds. And she left by will a house, barn and garden, adjoining the north end of the above houses, for the repair of them, now of the annual produce of 3l. 10s.

 

SIR THOMAS SMITH gave by will in 1625, the yearly sum of 5l. 10s. for six loaves of good bread, of 4d. each, to be given every Sunday to fix of the poorest and most honest inhabiting householders of this parish, to be paid by the Skinners Company.

 

Mrs. CATHERINE BAMME, of Gillingham, gave by her deed in 1572, 20s. per annum for the use of the poor, to be paid out of a farm, called Darlands, in Gillingham, vested in lord Vere.

 

The tenant of the parsonage is bound, by his lease from the dean and chapter, to give 20 bushels of peas, and two bushels of wheat yearly to the poor.

 

ABRAHAM HILL, esq. and his heirs, as lords of the manor of St. John's, on the ground of which the alms-houses before-mentioned were built, have the right of nominating a poor person to the southernmost of them; he having, in 1720, built two more houses on the garden-ground of that house. His daughter, Mrs. Frances Hill, allotted a small field adjoining, for gardens and other uses of those houses.

 

THOMAS HARRIS, esq. in 1769, by will gave 5l. per annum to the poor, to buy linen cloth for the term of 50 years, vested in the heirs of John Mumford, esq. and now of that annual produce.

 

SUTTON-AT-HONE is within the ECCLESIASTICAL JURISDICTION of the deanry of Dartford, and diocese of Rochester. The church is a handsome building, consisting of two isles and a chancel, with a towersteeple at the west end, containing three bells. It is dedicated to St. John Baptist.

 

It was, on April 27, 1615, burnt down, by a person's firing off a gun in the church at a bird, that had taken shelter in it. From which time till April 21, 1617, all baptisms were solemnized at Darent.

 

Among other monuments and memorials in this church are the following:—In the chancel, a memorial for Thomas Gifford, M. D. obt. 1669, arms, a lion passant guardant on a chief, three stirrups; under the raised part of it, on which the altar stands, is a vault, in which several of the vicars and their families are buried. At the west end of the south isle, near the door, are memorials for the Staceys of Deptford, buried in a vault underneath, arms, on a fess 3 fleurs de lis between 3 birds. Against the south wall, a monument, with the figure of a woman in white marble, half length, in alto relievo, for Mrs. Frances Hill, daughter of Abraham Hill, esq. great grand daughter of William, lord Willoughby, of Parham, obt. unmarried 1736, æt. 78; arms, Hill. In the small south chancel, at the east end, a mural monument for Abraham Hill, esq. of St. John's, in this parish, the son of Richard Hill, esq. descended out of Devonshire; he was twice married, 1st, to Anne, daughter of Sir Bulstrode Whitlock, by Frances, daughter of William, lord Willoughby, of Parham; 2dly, to Elizabeth, daughter of Michael Pratt, esq. by the former he left Frances and Richard. He died 1721, æt. 88; arms, Hill, impaling azure a chevron ingrailed, between 3 falcons, or, and again impaling Pratt. Another monument for Richard Hill, esq. be fore-mentioned. He married Frances Eyres, and died in 1722, s. p. and she re-married in 1723, Francis Bathurst, esq. of Franks, in Horton. On the south side is a most stately monument, on which, under an arch richly ornamented, lies the figure of a man at full length in his robes, his head resting on a cushion, the whole finely executed, and over him an inscription for Sir Thomas Smith, of Sutton-place, in this parish, governor of the EastIndia and other trading companies, treasurer of the Virginian plantation, prime undertaker in 1612, of the discovery of the north-west passage, and some time ambassador to the emperor and great duke of Russia and Muscovy, &c. &c. obt. 1625; at the top, on each side, a celestial and terrestrial globe, and between them a large shield of arms, being Smith, azure a chevron ingrailed between 3 lions passant, guardant, or, quartering 8 other coats. A memorial for Henry Smith, esq. son and heir of Robert Smith, esq. great grandson of Sir Thomas Smith beforementioned. The said Henry left by Elizabeth, only daughter of Dr. John Lloyd, prebendary of Windsor, an only child, Sydney Stafford Smith. He died in 1706, æt. 29, leaving his widow surviving. Above, the arms of Smith impaling Lloyd, at the entrance to this chancel are 2 small antient folding doors of oak carved with gothic work, on the upper part of which are scrolls, and on each door a full face, carved with a tongue, through a buckle hanging out of the mouth, being an allusion to an antient family in this parish of the name of Puckletongue; under the pew in the north isle, belonging to Hawley-house, is a vault, in which lie several of the owners of that seat, especially of the family of Leigh, to the present time. In the church yard is a vault and monument for John Lethieullier, esq. of Sutton-place, and his two wives; he died s. p. in 1760; and on the north side a tomb, and under it a vault for the Percivals, of Hawley, in this parish; and on the south side are vaults for the Saundersons, of Gillingham, and the Searles, of Hackstable. (fn. 20)

 

King Henry I. granted the church of Sutton, with the chapels of Kingsdown and Wilmington, with the tythes of them in corn, cattle, pannage, mills, and all other things, to the priory of St. Andrew, in Rochester. (fn. 21)

 

Gundulph, bishop of Rochester, who was elected to this see in the time of the Conqueror, having divided the revenues of his church between himself and his convent, allotted this church, with the chapels belonging to it, to the share of the monks, which was confirmed by king Henry II. and afterwards by Henry, bishop of Rochester. (fn. 22)

 

Bishop Gilbert de Glanvill, in the reign of king Richard I. on the compromise of the great dispute, which he had with the priory, concerning the gifts which bishop Gundulph, his predecessor, had made to it, granted this church, with the chapel of Wilmington, to the priory, towards the support of their almonry; and ordained, that Gilbert, then rector, should be perpetual vicar of it, paying to the monks, as for the tithes of corn, four marcs yearly; and that, after his decease, or resignation, the perpetual vicar of Sutton should have cure of souls, and in the name of his vicarage, take for his maintenance, all the altarage, as well in small tythes as in oblations, and all obventions belonging to it, except the tythe of corn; and further, that he should possess the alms-land then belonging to it, or which any one might in future give to it, excepting the court-lodge, with the buildings and the meadow belonging to the monks there. And he further ordained, that the cellarer of the priory should sustain all the burthens of it, as well in respect to the bishop as the archdeacon, except synodals, which the vicar himself should pay. It appears by the decrees of archbishop Hubert and Richard, that this appropriation was merely conditional; and it seems never to have taken place; (fn. 23) for in the year 1253, Laurence, bishop of Rochester, appropriated and confirmed to the priory this church, with the chapels of Kingsdown and Wilmington, towards the support of the almonry, in recompence for their giving up their right in the churches of Frindsbury and Dartford, which he got appropriated to his own fee, (fn. 24) provided that the cure of souls in the said church and chapel should be served, and in no wife neglected, by a proper vicar, who should be from time to time provided by the bishop, and his successors, in the church of Sutton; and to proper vicars in the said chapels, to be presented to him and his successors, by the prior and convent. This appropriation was confirmed by John, bishop of Rochester, in 1478. (fn. 25)

 

In consequence of the above appropriation, the paparishes of Sutton and Wilmington continued one parsonage, with two distinct vicarages; which were, at the general dissolution, surrendered, together with the other possessions of the priory of Rochester, into the hands of the crown, and were two years afterwards, anno 33 king Henry VIII. settled, by that king on the new-erected dean and chapter of Rochester, part of whose possessions they still remain.

 

In the 15th year of king Edward I. the church of Sutton was valued at thirty-five marcs, and the vicarage at one hundred shillings. (fn. 26)

 

Walter, prior, and the convent of Rochester, in the 29th year of king Henry VIII. demised for the term of eighty-five years, to Nicholas Statham, gent. this parsonage, with the presentation to the vicarage, at the yearly rent of 13l. 6s. 8d. and three bushels of wheat, at Ladytide, to the poor of Sutton and Wilmington; the said Nicholas to repair the premises, and to find straw for thatching the churches of Sutton and Wilmington.

 

¶By the survey taken by order of the state in December 1649, of the manor and rectory of Sutton, parcel of the then late dean and chapter of Rochester, it appears, that it then consisted of the scite, containing two large barns, a small granary, and barn-yard of two roods of land; all which were estimated at two pounds per annum, and the tythes belonging to it at seventyeight pounds per annum. All which were let, by the dean and chapter, anno 14 king Charles I. to the trustees of Ambrose Beale, for twenty-one years, at 13l. 11s. 8d. The lessee was bound to repair the chancel, and to make the usual payment to the vicar of Sutton, of twenty bushels of peas annually, and two bushels of wheat; to the vicar of Wilmington, of wheat, rye, barley, peas, one quarter each, and twenty shillings and eight-pence in money; the vicarages of the churches being excepted out of the lease.

 

By virtue of the commission of enquiry into the value of church livings, in 1650, issuing out of chancery, it was returned, that Sutton at-Hone was a vicarage, worth sixty pounds per annum; master Robert Hazelwood then enjoying it. (fn. 27)

 

This vicarage was augmented by the dean and chapter, soon after the restoration, with the annual sum of ten pounds, besides which the vicar receives an old pension of four nobles, and four quarters of grain, viz. of wheat, rye, barley, and peas, one quarter of each, out of the parsonage; and two shillings annually from Sir Thomas Smith's charity.

 

The demesne lands belonging to the manor of St. John's, claim an exemption from tythes when in the owner's occupation, as having part of the revenues of the knights hospitallers, concerning which exemption a decree was made confirming it, anno 10 Elizabeth. (fn. 28)

 

There are twenty-four acres and a half of glebe land, widely dispersed in small pieces, belonging to this vicarage. It is valued in the king's books at ten pounds, and the yearly tenths at one pound. (fn. 29) The present value of the parsonage is near four hundred pounds per annum, and the yearly out goings about fifty pounds. Thomas Harris, lessee of this parsonage, who died in 1769, built near the yard, on part of the glebe, a small but neat parsonage house, in which Mr. William Mumford, the present lessee of it, till lately resided.

 

The court antiently held for the manor of this rectory, has been disused for a number of years.

 

There was an agreement concerning tythes entered into between the monks of Rochester, and the brotherhood of the knights of St. John's, in 1217; after much altercation, and an appeal to the pope, by which it was settled, that the monks should take the tythes of sheaves in the demesne lands, which the brotherhood possessed in Sutton, who were allowed a right to take all other tythes whatsoever arising therefrom. (fn. 30)

 

www.british-history.ac.uk/survey-kent/vol2/pp343-367

In addition to classes on stress management and healthy choices, our candidates were able to go through the same obstacles that our service members train on. Fun was had for all as they learned leadership, followership, and communication.

pictures by Bambu/bozigle factory

www.boziglefactory.com/

  

By gamers for gamers

 

Ropecon is the largest non-commercial role-playing convention in Europe. Each year it brings together both enthusiasts as well as professionals in the field of role-playing games. The theme for year 2017 is classics.

The three day convention offers a wide variety of programs from tabletop and live action role-playing games to card, miniature and board games. In addition to gaming centered programs, there is a plethora of lectures, panel discussions and workshops in interesting topics. Ropecon also hosts a historical dance ball, a foam weapon tournament and several other competitions. There is so much to see and experience that it is impossible to go through it all during the convention weekend. But the most important thing is to get into the Ropecon spirit, no matter which universe you are from.

 

Gi nathlam hí! See You at Ropecon!

Auto repair shop office occupies the left side of the rear addition to this old home, and the voluminous garage itself is attached to the back of that addition. A uniquely sprawling and massive commercial addition!

Here is the house with the master suite roughed in as well as the porch roof and reverse gables taking shape.

In addition to being a fabricator and sign maker, Hans is a very patient fellow. I approached him on the street and mentioned the Strangers project to him. He agreed to a photo, so I positioned him and went about getting ready.

 

Started by taking a meter reading on the background and adjusted the flash to about where I wanted it. No problem. I was thinking a vertical orientation would work best. But when I rotated my camera, the autofocus stopped working. In fact, the camera seemed to be largely dead. That was weird. Turned it off, then on back on. Again, it was fine until I rotated it to the vertical orientation. My camera, a 5D2, has a battery grip on it. Every now and then the knob that secures the grip to the camera body loosens enough to make the connection intermittent. But that wasn’t the problem. Tried a few other things, with no luck. Horizontal, fine. Vertical, not so much. At this point, Hans must have been thinking I’m an idiot. The thought occurred to me as well. Rinse and repeat was clearly not working and I could tell that my lovely lighting assistant (wife) was starting to lose her patience. What I hadn’t noticed was that the little recessed switch on the grip that activates the shutter button on the grip had somehow been turned off. So when I rotated the camera vertically and tried to use the shutter release on the grip, nothing happened. That’s one I won’t forget.

 

Thanks to Hans for being part of my strangers project, and for being so patient. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page www.flickr.com/groups/100strangers/.

 

Strobist info: 580EXII through a shoot-through umbrella camera right, triggered by a PW.

 

Downtown Kitchener

Item Number: 1269-46

Document Title: MAP OF NORTHERN ADDITION, SHAWNEE PARK, LOUISVILLE, KY; SCALE 50'=1" Project: 01269; Shawnee Park; Louisville; KY; 01 Parks, Parkways & Recreation Areas; Location:Olmsted National Historic Site, Brookline, MA

Category: PLAN Purpose:TOPO (Topographical)

Physical Characteristics:FAIR H 33 5/8, W 49" graphite --ink draft cloth

Dates: 11MAR1911 Notes:S.F. CRECELIUS, C.E.; O.B.

 

Please credit: Courtesy of the United States Department of the Interior, National Park Service, Frederick Law Olmsted National Historic Site.

Addition and Remodel in Los Angeles

www.jeremylevine.com

 

Photography by Steve Rice

to the arsenal

NRFB ladies from the same friend. Kyori is a replacement for me, lol.

The road to Borden takes you through the outskirts of Sittingbourne, and very unpromising it is, until the road through a housing estate turns back into a country lane, and on a slight rise you glimpse the church through mature trees.

 

Borden is a fine village, full of interesting houses, pubs and an old forge, but it was the church I had my eyes on.

 

An impressive building, and in fine condition, though I found the porch door locked.

 

I was photographing a row of four fine looking grave stones when a voice asked,

 

"can I help you?"

 

I am photographing the church, but the porch was locked.

 

I have a key, he said.

 

I introduced myself, and my new friend introduced himself as Phil.

 

I told Phill over and over how kind he had been in coming over to let me in.

 

And in return he heard how much I loved his church, and loved hearing his stories. So much so I failed to photograph the large wall painting on the north wall.

 

As you do.

 

I fell in love with the font cover and the mechanism for lifting it up, quite unusual for Kent I think, though more common in East Anglia. I snap it several times.

 

-------------------------------------------

 

A wonderful Norman tower shows the typical think-set proportions of the period. It is set off well by a good rood loft staircase at the south junction of nave and chancel. Good twelfth-century west door and Norman arch from tower to nave. The chancel was later extended north and south by the addition of the chapels, with the original quoins being clearly visible on the outside of the east wall. The church was heavily restored in the nineteenth century - but its two outstanding features survive. One, a fifteenth-century wall painting of St Christopher opposite the south door, is typically found in churches on main routes of travel. The other feature, a monument to Robert Plot (d. 1671), father of the well-known seventeenth-century historian, is the finest memorial of its date in Kent and shows St Michael slaying the Devil.

 

www.kentchurches.info/church.asp?p=Borden

 

-------------------------------------------

 

BORDEN

IS the next parish eastward from Newington. The name of which seems to be derived from the Saxon words Burg and dena, signifying a mansion or town among the woods.

 

THIS PARISH lies nearly midway between Newington and Sittingborne, and contains about 1550 acres of land, of which two hundred are wood. The high London road runs along the north side of it, whence the ground rises southward for about a mile, (leaving the house of Cryals at about half that distance) to the village of Borden, through which there is but little thoroughfare. It is plainly seen from the high road, encircled by orchards of fruit trees, with the church and Borden-hall standing within it, a little to the eastward is the vicarage, a neat pretty dwelling. The land about the village, and northward of it is very fertile, being mostly a hazely mould, the plantations of fruit here, though many are not so numerous as formerly, for being worn out, no new ones have been planted in their room, and several of them have been converted into hop-grounds. This part of the parish, though it may certainly be deemed pleasant, yet from the water from the wells not being good, is not accounted healthy; southward of the village the ground still rising, it grows very hilly, and the land poor and much covered with flint stones, and the soil chalky, which renders the water wholesome, and this part much more healthy; about half a mile southward from the village is the house of Sutton Barne, and a small distance eastward Wrens, now called Rains farm, and a small hamlet called Heart's Delight. On the opposite side from Sutton Barne is the hamlet of Wood, formerly, called Hode-street, situated on high ground; at a small distance eastward from which is a long tract of woodland, in which there is a great plenty of chesnut stubs, whence they are usually known by the name of chesnut woods. These woods reach down the side of the hill to the Detling road, and the western boundary of this parish.

 

In 1695, in the sinking of a cellar by Dr. Plot, at Sutton Barne, several Roman bricks were found, with their edges upward, much like those, he says, which had been turned up at the antient Roman Sullonicæ, near Ellestre, in Middlesex; (fn. 1) and near Hoadstreet was, about the same time, found an antient British coin.

 

In the fields southward of the village, the stones affect a globular form, where there are numbers of them, of different magnitudes; but the biggest of them was ploughed up at Sutton Barne, by Dr. Plot's tenant, exactly globular, and as big as the largest cannon ball.

 

In 1676, Dr. Thomas Taylor found in Fridwood, in this parish, belonging to his uncle Dr. Plot, an oak, which bore leaves speckled with white; such a one, Mr. Evelyn informs us, in his Discourse on Forest Trees, from Dr. Childrey, was found in Lanhadronpark, in Cornwall.

 

THE JURISDICTION of the paramount manor of Milton claims over this parish, subordinate to which is

 

THE MANOR OF SUTTON, alias SUTTON BARNE, as it is corruptly now called, its antient name being Sutton Baron, which addition it took, undoubtedly, from the court baron of the manor held for it. It is situated about a mile southward of the church and village of Borden, and in the reign of Richard II. was in the possession of Angelus Christopher, who with Margaret his wife, passed it away, in the 17th year of that reign, by fine then levied, to Henry Vanner, ci tizen of London, who paid them one hundred marcs of silver for the purchase of it. He sold it that year to John Wotton, clerk, master of the college of All Saints, in Maidstone, who reserving an annual rent of ten pounds from it, for the term of his life, conveyed it, in the 10th year of king Henry IV. to William Bereford, by whom it was alienated in the 19th year of king Henry VI. to Mr. John Grangeman, of this parish, whose son Nicholas Grangeman, in the 29th year of that reign, passed it away to Stephen and John Norton, one of whose descendants, Alexander Norton, esq. by his will, in the 4th and 5th year of king Philip and queen Mary, devised his estates here, among which this manor was included, to John Coty and Alice his wife, Thomas Plot and Elizabeth his wife, Thomas and Alexander Pettenden, Norton Greene, Thomas and Edward Norton, and their heirs, who being afterwards much at variance concerning their respective portions in them, they were divided, according to the judgment of Ambrose Gilberd, and Roger Manwood, as appears by their award.

 

But the manor of Sutton Barne, not being so conveniently to be divided among so many, they finally agreed that year, to pass it away to William Cromer, esq. and John Dryland; the former of whom, in the 2d year of queen Elizabeth, sold it, together with a wood, called Fridd-wood, in this parish, to Mr. Robert Plot, of Borden, one of the sons of Mr. Alexander Plot, of Stockbury, in which parish his ancestors had been settled in the reign of Edward IV. and bore for their arms, Vert, three quaterfoils, argent, each charged with a lion's head, erased, sable. His great grandson, of the same name, resided here, and made great additions to this seat. (fn. 2)

 

He was born here in 1641, and became a most learned antiquarian, and excellent natural historian, of which his histories of Oxfordshire and Staffordshire are sufficient proofs. Being educated at Oxford, he commenced LL. D. and became fellow, and afterwards secretary of the Royal Society, historiographer to king James II. Mowbray herald extraordinary, and lastly, register of the court of honor. He died in 1696, at Sutton Barne, and was buried in the church of Borden, where there is a handsome monument erected to his memory.

 

Dr.Plot left two sons, Robert and Ralph Sherwood, of Newington, the eldest of whom inherited this manor, and at his death gave it by his will to Mr. John Palmer, who had married his only daughter Rebecca. He survived her, and at his death devised it to his second wife, and Mr. John Lucas, of Milton, whose respective heirs, about the year 1767, joined in the sale of it to Abraham Chambers, esq. of London, who for some time resided at Sutton Barne, till he removed to Tonstall. He died in 1782, leaving by his wife, daughter of Mr.James, of London, four sons, and one daughter Maria Emely, who afterwards became jointly entitled to this manor, among his other estates in this county, and they, after some years possession of them, made a division of them, when this manor became the property of the eldest son, Samuel Chambers, esq. of Tonstall, who married one of the daughters of the hon. Philip Roper, and he is the present owner of this manor. A court baron is held for it.

 

CRIOLS, alias KYRIELLS, with an appendage to it, called Poyles, the very name of which has been long since forgotten, is a manor here, which in early times was in the possession of the eminent family of Criol, who fixed their name on it, as they did on other estates belonging to them in different parts of this county.

 

Bertram de Criol died possessed of it in the 23d year of king Edward I. anno 1294, whose son John de Criol dying in the 34th year of that reign, s. p. Joane his sister, married to Sir Richard de Rokesle, became his heir, and entitled her husband to this manor.

 

He left by her two daughters his coheirs, of whom Agnes, the eldest, married Thomas de Poynings, who in her right became possessed of it, and in his name and descendants it continued down to Sir Edward Poynings, governor of Dover-castle, and lord warden, and he died possessed of it in the 14th year of king Henry VIII. anno 1522, not only without legitimate issue, though he had several natural children, but without any collateral kindred, who could lay claim to his estates, so that this manor, among others, escheated to the crown. (fn. 3)

 

After which, king Henry VIII. granted this manor to Sir Thomas Wyatt, who in pursuance of an act passed for the purpose, in the 32d year of that reign, conveyed it back among other premises in the year following, in exchange to the king. After which it seems to have remained in the hands of the crown, till the year after the attainder and execution of his son Sir Thomas Wyatt, when queen Mary, in her second year, out of her royal bounty, granted it to his widow, the lady Jane Wyatt, to hold of her, as of her manor of Est Grenewich, by knight's service, and not in capite. This grant seems to have been only for the term of her life, and of her son George Wyatt, who was restored in blood in the 13th year of queen Elizabeth, during which time the reversion of it was granted by king James, in his 16th year, to Thomas Hooker and John Spencer, gent. who joining in a fine levied for that purpose, settled it on the heirs of Geo. Wyatt, esq. above-mentioned. He died in the possession of it in 1624, when Francis Wyatt, esq. of Boxley-abbey, was found to be his eldest son and heir, and accordingly succeeded to it. (fn. 4) He was afterwards knighted, and some years afterwards joining with lady Margaret his wife, conveyed it by sale to Mr. Isaac Seward, gent. from which name it afterwards passed into that of Baker, in which it remained till it was carried in marriage by Jane Baker to James Brewer, of West Farleigh, esq. who died in 1724, leaving an only daughter and heir Jane, who joined with her second husband, John Shrimpton, esq. in the conveyance of it, about the year 1750, to Mr. Robert Wollet, of Sheerness, who died in 1760, and his infant daughter, Sarah, afterwards marrying with Mr. Tho. March, entitled him to it. He rebuilt this seat, and afterwards resided in it. He died in 1797, leaving one son, Mr. Thomas Marsh, who is the present owner of it.

 

POSIERS is a small manor in this parish, which was antiently the inheritance of a family of that surname, who continued owners of it till the reign of king Henry VIII. about which time they became extinct here. After which it became the property of the family of Wolgate, whose seat was at Wolgate, now called Wilgate-green, in Throwley, where they resided for several generations. At length it became the property of Mr. Ralph Wolgate, who died possessed of it in 1642, leaving an only daughter and heir, who marrying with Mr. William Gennery, entitled him to the fee of this manor, with other estates in this parish. After which it was sold to Grove, of Tunstall, one of whom, John Grove, esq. of Tunstall, died possessed of it in 1755, leaving by Catherine his wife, daughter of Mr. Pearce, of Charing, two sons, Pearce and Richard, and a daughter Anne. He devised this manor to his second son Richard Grove, esq. of the Temple, London, and of St.John's college, Cambridge, who dying unmarried in 1792, devised it among the rest of his estates to W. Jemmet, gent. of Ashford, and W. Marshall, of London, and they joined in the sale of it to W. Wife, gent. of this parish, who is the present possessor of this manor, with that of Vigo, alias Gorts adjoining to it.

 

THERE was antiently a family which took its name from their possessions in this parish. Philip de Borden is mentioned in the chartulary of the abbey of St. Radigund, as having given half a seam of peas yearly from his manor in Borden to that abbey, and Osbert de Borden is recorded in a charter of king Henry III. and another of Henry IV. as having given pasture for sixty sheep to the monastery of St. Sexburg, in the Isle of Shepey.

 

There is A HAMLET in this parish, called Woodstreet, but formerly HOADE STREET, corruptly for Oade-street, the yoke of which in 1653, was held by William Genery, already mentioned before.

 

The family of Allen was formerly of good account in Borden, and resided at Hoad, or Oade street. John Allen resided here in the very beginning of queen Elizabeth's reign, and then held among other premises in this parish, the yoke of Boxfield. His descendant John Allen, gent. Of Oade street, died in 1679, and was buried in this church, they bore for their arms, Or, a chevron, between three blood-bounds, passant, sable, collared of the first; which coat was granted to Christopher Allen, by Sir William Segar, bart. (fn. 5) The Allens of Rochester, descended of the same stock, bore Parted per fess, a pale ingrailed, and three blood-bounds, passant, collared and counter changed.

 

A younger branch of the family of Forster, of Eve leigh, in Shropshire, was settled in Borden in the reign of king James I. Thomas Forster then residing here; but this family have been long ago extinct here. They bore for their arms, Per fess, indented and pale, argent and sable, two bugle borns strung in the first and fourth quarters, counterchanged.

 

Thomas Seager held in this parish in 1653, the yoke of Corbett, containing a house, called Banfies, and other lands in this parish, lately belonging to Thomas Reader; which name of Seager remained here till of late years, one of them having but lately owned a house here, called Borden-hall, alias Borden-court belonging to the rectory, of which a further account will be given hereafter.

 

The family of Napleton, which was possessed of good estates in many parishes of this county, resided here for some generations; but they have been for some time extinct. Several of them lie buried in this church. They bore for their arms, Or, a squirrel sejant, gules.

 

There is an estate in this parish, formerly called WRENS, but now usually Rains farm, which in 1664 was held of Tunstall manor, by Richard, son of Christopher Allen, esq. from which name it was passed away to Mr. Butler Lacy, and his daughters now possess it.

 

Charities.

THOMAS EVERARD, formerly vicar of this parish, gave by will in 1619, two pieces of land, containing about six acres, in Borden and Stockbury, for the use of the poor, of the annual value of 1l. 10s. and a silver cup for the use of the communion service.

 

MICHEAL GOODLARD, of Borden, gave a house, with an orchard and garden, to the use of the poor, of the annual produce of 4l.

 

A PERSON UNKNOWN, gave five seams of barley, to be paid yearly on a Good Friday out of the parsonage; and two bushels of wheat yearly on Easter-day, for the use of the poor farmers of this parish.

 

Mr. JOHN KENWARD gave one seam of malt, to be paid yearly on Ascension Thursday, out of some tithe-free land belonging to a farm at Oade-street, late Mrs. Hendresse's.

 

A PERSON UNKNOWN, gave five groats-worth of bread, to be paid yearly on Easter day, out of a house and orchard called Iron-latche, late belonging to Mr. Stephen Chapman, of Sittingborne.

 

MR. RALPH SHERWOOD, citizen of London, in 1700 gave a cushion and pulpit-cloth, and a cloth for the reading-desk.

 

MR. JOHN NAPLETON, and Elizabeth his wife, of this parish, gave a very handsome silver slaggon for the use of the communion.

 

MR. JOHN BROMFIELD, of Borden, in 1776, gave to the value of 10l. towards erecting the altar-piece.

 

MR. WILLIAM BARROW, of Borden, who died in 1707, devised the greatest part of his estates in this and many other parishes in this county, to four trustees, to the use of the poor widows and poor men of this parish, not entitled to receive alms, directing the rents of them to be distributed half yearly, the annual amount of them now being 609l. 17s. 6d.

 

The distribution of this charity was settled and established by a decree of the court of chancery, in the 8th year of queen Anne; by which it was ordered, that the income of this estate should be distributed half yearly to the poor men and poor widows of this parish, the poorest of it next above those who ought to be entitled to relief by the poor's rate; that the proportion of the distribution ought to be equal to all, and not less than 5l. in one year to each; that the trustees should account annually to a vestry of this parish, who should pass and allow the same, and should be allowed their costs and expences in the managing of it. According to which decree this charity is now managed.

 

Two of the trustees act yearly, one of whom makes the Ladyday distribution, and the other that at Michaelmas. The total annual rents now amount to the sum of 584l. 16s. besides forty acres of woodland, and the clear sum distributed, after all payments and deductions, amounts to about 200l. per annum.

 

The poor relieved annually, (exclusive of those by Mr. Barrow's charity) are about 28, casually 30.

 

BORDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of three isles and three chancels, with a square tower at the west end of it, in which there is a clock, and six bells. It is built mostly of flint, but as a mark of its antiquity, it has a Roman brick or two interspersed among them, and the mortar is composed of cockle-shells. What is very remarkable, in the steeple there are the remains of a chimney, which seems coeval with it. The door-case on the western side of the steeple is of Saxon architecture, with zigzag ornaments, as is that on the opposite or inner side, but of a much larger size. It is kept exceedingly clean and neat, and the greatest part of it has been lately ceiled, that part of it over the high chancel, at the expence of the lay impropriator. In the high chancel is a brass plate and essigies for William Fordinall, vicar, obt. anno 1490. Several of the family of Plot lie buried in the south chancel, and there are monuments for Robert Plot, anno 1669, and his son Dr. Robert Plot, anno 1696; and there are among others in this church memorials for the Seagars, Barrows, Napletons, and Allens, all of whom have been mentioned before.

 

The church of Borden was part of the possessions of the priory of Leeds, to which it was appropriated before the 8th of king Richard II. (fn. 6) In which situation it continued at the dissolution of it in the 31st year of Henry VIII. when it was, together with the other possessions of the priory, surrendered up into the king's hands.

 

It appears by the bailiff's accounts in the Augmentation-office, of the revenues of the late priory of Leeds, that this rectory with the lands in this parish belonging to it, was then of the annual value of 41l. 14s. 5d. Soon after which it was granted by the king to Greene, but it seems to have been only for a term, for king Edward VI. in his 6th year, granted it, with all messuages and woods belonging to it, to Sir John Norton, of Northwood, to hold in capite by knight's service. He alienated it to Margaret Roch, who died in the 1st year of queen Elizabeth, and was succeeded in it by Elizabeth her daughter and heir, whose husband, Robert Colt, possessed it in her right. She survived him and died possessed of it, in the 13th year of that reign, at which time it appears to have been accounted a manor, and to have consisted of a house called Borden-hall, with its appurtenances, and three acres of land, with the rectory, tithes, and glebe belonging to it, in Borden. Her son Roger Colt died three years afterwards, leaving his widow Mary surviving, who afterwards married John Norris, esq. His grandson, Sir John Colt, bart. left three sons, John, Rowland, and Henry, who became entitled to this rectory and advowson, with the manor and lands appertaining to it, as coheirs to their father, in gavelkind; the eldest son, John Colte, esq. was of Rickmansworth, in Hertsordshire, and left an only daughter and heir, Gentilles, who entitled her husband, Sir Benjamin Titchborne, (a younger son of Sir Benjamin Tichborne, bart. of Hampshire) to his undivided third part of them, and his son Colte Tichborne, esq. of Woodoaks, in Hertfordshire, (which had been the antient seat of the Coltes) conveyed it jointly with his sister Frances in 1743, to Joseph Musgrave, esq. Rowland and Henry, the two younger sons of Sir John Colte above-mentioned, in 1676 conveyed their respective thirds to Mr. Charles Seager, gent. of Tunstall, whose son and heir of the same name was of Borden-hall, gent. and dying in 1758, was buried, with others of his family in this church. They bore for their arms, Or, a chevron between three mullets, azure. He devised them by will to his sister Mrs. Mary Seager, who in 1765 conveyed her two undivided thirds to Joseph Musgrave, esq. son of Joseph Musgrave, esq. above-mentioned, who having inherited the other third part from his father, became possessed of the entire see of this rectory and advowson, with the manor of Borden-hall, and the lands and appurtenances belonging to it, of which he is the present owner. Joseph Musgrave, is of Kypier, in the bishopric of Durham, and is descended from Joseph Musgrave, esq. of that place, the eldest son of George, the youngest son of Sir Christopher Musgrave, by his second wife Elizabeth, daughter of Sir John Frank lyn, which Sir Christopher, by his first wife, was ancestor of the present Sir Philip Musgrave, of Edenhall, in Cumberland, and of Kempton park, in Middlesex, bart. and was younger brother of Sir Richard Musgrave, bart. grandson of Sir Richard, who was created a baronet anno 9 James I. He bears for his arms, Azure, six annulets, three, two, and one, or.

 

The vicarage of Borden is valued in the king's books at 8l. 10s. and the yearly tenths at seventeen shillings. It is now of the yearly certified value of 67l. 14s. Sir John Norton, and Alice his wife, gave an annuity of forty shillings, to be paid yearly out of the parsonage, to the vicar of Borden and his successors. In 1578 there were fifty-three dwelling-houses in this parish. Communicants one hundred and sixty. In 1640 it was valued at eighty pounds. Communicants two hundred and seven.

 

A part of the portion of tithes, already mentioned in the description of the parish of Stockbury, called Ambry Tanton, extends into this parish.

 

¶There seems to have been continual disputes between the abbot and convent of St. Augustine's, and the prior and convent of Leeds, relative to the church of Borden, which at last was finally settled between them, about the year 1204; the prior agreeing to pay one marc of silver to the church of St. Augustine.

 

www.british-history.ac.uk/survey-kent/vol6/pp68-80

Prandtauerkirche to Mary of Mount Carmel

Object ID: 20595 Heßstraße 1

The former monastery church of the adjoining Carmelite convent (see Prandtauerstraße 2) lies on the edge of the town square and was built instead of nine since at least 1367 existing houses in 1707. Contrary to earlier assumptions, was Jakob Prandtauer not the builder of the church, now Matthias Steindl is specified as creator. In doing so he oriented himself at the Linzer Carmelite church. After the monastery was abandoned in 1782, the church served amongst other things as part of a barracks and as depot. After the church 1918 came into possession of the city of Sankt Pölten, different uses were in discussion, including a concert hall, theater or museum. 1929, finally, it was renovated and is since then again in use as church.

de.wikipedia.org/wiki/Denkmalgesch%C3%BCtzte_Objekte_in_S...

 

(further information is available by clicking on the link at the end of page!)

History of the City St. Pölten

In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.

Tip

On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.

Prehistory

The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!

A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.

Roman period, migrations

The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.

The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.

The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.

Middle Ages

With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.

In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:

A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".

He must not be forced to rid himself of the accusation by a judgment of God.

A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.

From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.

The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.

Modern Times

In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.

That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.

To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.

A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.

Baroque

After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.

In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.

Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.

Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.

1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.

The 19th century

Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.

Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.

The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.

In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.

The 20th century

At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.

What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.

The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.

After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.

This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.

Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).

European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".

On the way into the 21st century

Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).

www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...

awesome box by Cadbury Schweppes Hudson

 

Many thanks to John M for this great addition :D

Shangri-La's Fijian Resort and Spa

Yanuca Island (pronounced Ya-NU-tha), Sigatoka, Fiji

 

Post WWII, Pan American Airways hired Pete Slimmer to set up commissary services in various Pacific locations including Fiji. In 1960, Pete moved his family to the Fiji Islands, where he helped pioneer Fiji's tourism industry. Pete Slimmer attended San Francisco City College, and graduated from the Hospitality Management program. Pete Slimmer was a gourmet cook, who helped found the Skylodge Retreat in Fiji in 1960. Irishman Paddy Doyle was a civil engineer who in 1958 arrived in Fiji to help build the jet runway and international airport at Nadi.

 

Slimmer and Doyle acquired some barracks which had been used by a construction crew during the 18 months it took to build the new jet strip at Nadi. That was in March 1960. They spent six months renovating and air-conditioning the barracks, building a swimming pool, hotel bar then started addiing rooms. They began with 40 beds, and by 1964 had 100. Slimmer and Doyle were key figures in several Fiji companies. in addition to the Skylodge was the duty-free liquor concession at the airport and the new Mocambo Hotel, not far from the Skylodge. The airport's construction crew barracks evolved into the simple but swinging Skylodge Hotel. The airline crews flying between Australia and United States were housed there for periods of rest. The Skylodge hotel attracted the flight crews from Pan Am, Canadian Pacific & Quantas. The hotel's bar never closed - as the crews came in during all hours of the day. Paddy Doyle worked the desk and was the frequent bartender.

 

From the Skylodge financial success Pete Slimmer, Paddy Doyle and a Pan Am pilot developed the Hotel Fijian, one of the first full service resorts in the South Pacific. They had two sites in mind — Yanuca Island (a 100 acre mangrove swamp) and Natadola Beach. Mr Doyle and Mr Slimmer managed to persuade sceptical Pan Am pilot George Wilson and formed Fiji Resorts Limited with Mr. Wilson as chairman. On January 1, 1964 Fiji Resorts Limited secured a 99 year lease on half of the Yanuca Island from the 23 members of the tokatoka Nakuruvakarua with Adi Lady Lala named chief negotiator and appointed to a directorship of Fiji Resorts Ltd.. Later Mr. Ratu Aisea Waka Vosailagi gained a directorship position of Fiji Resorts Ltd. In 1969 the landowners formally agreed to lease out the whole island to Fiji Resorts Ltd. The annual land lease was F$ 20,000. Also a 1% fee is imposed on the resort's revenue exceeding F$ 1,800,000.

 

For financing The Fijian Village Mr. Slimmer and Mr. Wilson persuaded funding from British Overseas Airways, Pan American Airlines and Qantas. A grant was also received from the Fiji Government. More than $1million was raised in 23 days. About 250 workers, mostly villagers, helped construct a causeway across the 150 yard channel which separated the island from the mainland. On June 25, 1966, a foundation stone for the first 36 of the 108 lagoon wing rooms was overseen by Sir Derek Jakeway, the last Governor of Fiji before Independence. The buildings were completed in 18 months at a cost of $1.7million.

 

A competition was held on the name of the new resort. The short list compiled were Yanuca Island Resort, The Driftwood, Fiji Driftwood Hotel, Blue Lagoon Island Resort, Black Marlin Bay Hotel, Hibiscus Island Hotel, Turtle Reef Hotel, Golden Cowrie Hotel, Lokalevu (Big Surf) Hotel and Lewena (Content) Hotel. Out of all these, one name stood out and was finally chosen — The Fijian. It sounded simple but was brilliant from a promotional, marketing and branding standpoint.

 

The Fijian was designed by Pete Wemberly, same architect who did the Sheraton Maui and the Samoan Intercontinental. The Fijian Hotel & Resort opened in September of 1968 and was the "It" destination in the South Pacific. The Hotel Fijian had such luxuries as Muzak, room refridgerators, air conditioning & automatic coffee makers. The 108 room resort boasted a golf course, tennis courts, horse stables, sail boats and featured diving & snorkeling. The traditional opening ceremony was on October 22, 1967. The resort was opened by the Bau chief’s father, the late Vunivalu and Governor General of Fiji Ratu Sir George Cakobau and Adi Litia Cakobau. The resort began business with Paddy Doyle as general manager. The restaurants were named Lagoon Restaurant, Golden Cowrie Restaurant and Black Marlin Bar.

 

The Slimmer/Doyle/Wilson interests were sold in 1974 to Malaysian-Chinese business magnate Robert Kuok. Kuok had introduced a luxury hotel brand in 1971, named Shangri-La, after the fictional utopia in which inhabitants enjoy unheard-of longevity. Robert Kuok is a highly respected businessman in Asia - a legendary Chinese entrepreneur, commodities trader, hotelier and property mogul. Kuok's wealth is rooted in palm oil and shipping. At age 94 Kuok's personal wealth was $18.9 billion according to the Forbes’ 2018 The World’s Billionaires list. With the change in ownership, the resort came under the management of the Kuok owned Shangri-La International Group and the davui conch shell was replaced by the Shangri-La logo. Over the years Shangri La invested heavily in the resort and with the additional expansion, the facility today boasts 442 rooms, suites and beach bures, two swimming pools, five restaurants, six bars, a Peter Thomson designed nine hole golf course, a popular wedding chapel, world-class spa, as well as duty-free shops and extensive sporting facilities. As of 2018 The Fijian is 51 years old and has been under Shangri La's ownership and management for 44 years. Kuok’s second son, Kuok Khoon Ean, 57, heads Shangri-La Asia Limited which owns 71.64% of the Shangri-La’s Fijian Resort. Paddy Doyle later developed the Crow's Nest along the Coral Coast at Karotoga. The Shangri-La’s Fijian Resort and Spa was a benchmark for setting standards for service and innovation as Fiji emerged as a world-class tourism destination.

 

Robert Kuok invested in Fiji because of a chance meeting with Ratu Penaia Ganilau in the 1940's and his experience trading sugar in Fiji. Mr. Kuok had travelled to Fiji and spent a lot of time at The Fijian Resort during his sugar business dealings. He snatched up the opportunity to purchase the resort in 1974. The hotel was then the second hotel in the Shangri-La chain — which today is 100 hotels strong. Robert Kuok's grandson, Kuok Meng Xiong, known as M.X to hotel staff, is the chairman of board of directors Fiji Resorts Limited.

 

Starting in 2017 the Shangri-La Group is investing $72 million to give the Yanuca Island property a major makeover. The first phase involved enhancing staff facilities which included a brand new kitchen, lockers, changing room and laundry. Phase two will see complete renovation of the ocean and coral wing.

 

In January, 2017 Francis Lee was appointed general manager at the Shangri-La’s Fijian Resort & Spa. Mr. Lee was the General Manager of the Hylandia by Shangri-La Hotel in Yunnan, China He replaces Craig Powell who has taken on a full time role as Director of Public Affairs for Fiji Resorts Ltd. In 2014 Shangri-La’s Fijian Resort and Spa announced the appointment of Craig Powell as General Manager. He replaced Michael Monks who was general manager since 2010. Powell is a Fiji islander who was born in Singapore but grew up in Fiji. He attended Ecole Les Roches Hospitality School, one of the top four hotel management schools worldwide. He graduated from Les Roches in 1994. In January 2018 Treasure Island Fiji appointed Craig Powell as its new General Manager. Monks, as of 2017, is the General Manager at Sunway Putra Hotel Kuala Lumpur.

 

Compiled by Dick Johnson / January, 2019

richardlloydjohnson@hotmail.com

 

Oak Square Addition - Exterior View, Tremont St., Brighton, Boston, MA. School building photographs circa 1920-1960 (Collection # 0403.002), City of Boston Archives

Not every new addition to the biodiversity in our garden is special, beautiful or even very welcome. This is Hylotrupes bajulus or European house borer (Huisboktor in Dutch). It has the habit of feeding on dead wood and its larvae can bore extensive tunnels into wooden beams. Their life cycle can be from 2 up to 10 years and during that time they can create much damage to wooden structures. Contrary to one of the popular names, Old House-borer, they do prefer more recent wood that still has some of the resins in it. The original wooden beams in our house date as far back as 1906 and are regularly well impregnated with borer protection so we should be OK for now. Our garage/garden shed might be another matter though but so far the culprit only tried to make its way up my wife's leg which by the way was still of flesh and blood when I last saw it. :-)

When this Soldiers’ Memorial Hall celebrated its centenary on 2 May 2021 part of the proceedings was the unveiling of a replica foundation stone.

During additions to the front of the original hall the foundation stone became “lost” to the public by being then in an enclosed space – the replica is placed on the northern exterior wall.

 

Belvidere Soldiers Memorial Hall was erected in memory of those who served in World War One.

 

Laying the Foundation Stone

Saturday, April 30, was the date chosen for the above function.

The contractor for the building, Mr J Kennedy of Strathalbyn has made rapid progress with the structure, which he expects to complete in June. The hall's internal dimensions will be 48 ft by 27, with two rooms at rear with movable partition, 12 ft by 27. The hall when finished should prove a handsome building.

 

Chairman of the hall committee (Mr Jno Cheriton), Brigadier General Leane, and the Rev Capt T P Wood took their seats.

 

Mr Cheriton in opening the proceeding … traced the history of the movement to erect a hall up to the present juncture, mentioning that it was only two years ago that a meeting was held to consider what means should be taken to perpetuate the district's contribution in manhood towards the fight for the preservation of liberty. Seventeen boys enlisted from Belvidere, five of whom made the supreme sacrifice. At that meeting it was decided to erect a Soldiers' Memorial Hall, and since that date money and material to the value of £830 had been raised which he considered a commendable achievement, but a further sum would still be required to complete the building.

 

The chairman then called upon General Leane to lay the foundation stone. Having declared the stone truly laid the speaker, who was heartily cheered, said. 'It was always a pleasure for him to be present and take part in a gathering such as that. As one who had seen the recent world war through all its stages, they would understand his feelings that day when he gazed upon a work such as this hall at Belvidere, being erected as a Soldiers' Memorial.

 

The Rev T P Wood said … As one who had helped as president of the Strathalbyn Branch of the RSA, in aiding the Belvidere residents in their project, he was pleased to see that their hall would soon be an accomplished fact and hoped that it would be beneficial in many ways as a meeting place for the residents of the district.

 

A sumptuous afternoon tea was next provided by the ladies' committee.

The foundation stone which measured 26 in x 16 in x 7½ in was generously given and inscribed by Mr A W Stewart of Torrensville.

During the afternoon a programme of sports was carried out.

The hall was opened by Captain H S Hudd MC, on 24 September 1921. [Ref: Southern Argus 5-5-1921: 29-9-1921]

 

*Picture Show at Belvidere

Thursday next will mark the date of the first Moving Picture Show to be held at Belvidere, and incidentally the first travelling entertainment to be held in the fine new hall. To Strathlight Pictures falls this privilege and honour, and to celebrate the auspicious occasion they are holding a dance at the conclusion of the pictures. An additional attraction will be the Strathlight Orchestra, which will play for the dance as well as the pictures. There should be a crowded house. [Ref: Southern Argus (Port Elliot) 1-12-1921]

 

*Tomorrow night at the Belvidere Hall, a dance is to follow a concert to be given by a Langhorne’s Creek concert party in aid jointly of the funds of the Belvidere Hall and the one to be erected at Langhorne’s Creek.

A good attendance and an enjoyable entertainment can be counted on if the weather if favourable. [Ref: Southern Argus (Port Elliot) 3-8-1922]

 

*Tomorrow night at Belvidere the annual concert of the local school is to be given in the memorial hall, a good programme having been provided for the occasion.

 

The first Fiat Car to come to this district has been purchased by Mrs P F Troubridge of Belvidere, who has secured a beautiful model of this very high class automobile, fitted with all the most up-to-date electric control devices. [Ref: Southern Argus (Port Elliot) 7-9-1922]

 

*September 9 - Last night the annual school concert was held in the Memorial Hall. Under the supervision of the teacher, Miss M Matheson, the sylvan operetta entitled “Playtime” was staged. Mrs Lellman acted as accompanist during the evening.

Supper was served at the conclusion of the concert, and a dance followed. The proceeds amounted to £9. [Ref: Southern Argus (Port Elliot) 14-9-1922]

 

*Belvidere Hall Anniversary

Saturday last will be a long-remembered occasion by a large number of old and present residents of the little community of Belvidere, about four miles from Strathalbyn, for on that day the people celebrated the 25th Anniversary of the opening of their Soldiers' Memorial Hall.

It was a very congenial crowd which sat down to the excellent festive board provided by the ladies of the district during the afternoon.

They prepared a wonderful spread and at the of closing there was still ample food on the table to "feed the multitude."

 

Prior to the opening of the proceedings, the big crowd was herded to the front of the building, where a photograph was taken for posterity.

Mr and Mrs H A Eckert took station at the entrance of the hall, and there extended a personal greeting to the 150 odd who were to be seated at the tables, and after being seated Mr Eckert (as chairman of the Hall Committee) welcomed the Mayor and Mayoress of Strathalbyn (Mr and Mrs C S Woolfitt), and asked the Mayor to open the proceedings.

Mr Woolfitt said he was pleased to see such a fine crowd of people present to celebrate the 25th anniversary of the opening of the Belvidere Soldiers' Memorial Hall. A lot of those present had come back after many years' absence from the district, and the present-day residents were more than pleased to see them back. He was pleased to learn that the Hall, which had been built 25 years ago, was free of debt. He also highly appreciated the two honour rolls which adorned the wall, and which showed how many of the local boys had realised their duty and offered their services.

 

Mr Eckert said that when the matter of celebrating the anniversary was being considered, many suggestions were put forward, and after discussion the present arrangements had been decided upon. There had been some wonderful "turnouts" in the hall, and at all of these the ladies had done splendid work under great difficulty. It was with the idea of adding to the conveniences of the building that functions were now being held. It was the aim of the committee to get some more money in hand to build a supper room, and as soon as this was permissible the work would be put in hand. They were in an excellent financial position, and were saving against the day when they could commence the desired additions. He was pleased to see so many old residents present. He paid a tribute to past officials and to the good they had accomplished. Speaking on what was being done in the area, he referred to the planting of pine trees in memory of soldiers from the district. The trees were all doing well.

 

After the Loyal Toast … Mr Shirley Cheriton proposed the "Belvidere Hall." Mr Cheriton said he remembered the time when the suggestion to build the hall had been mooted. Many of the old residents had ridiculed the idea, but in spite of that those interested had carried on.

People had only to look at the honour rolls on the walls to see what had been done by the young men of the district. He referred to the work of the women in connection with the hall. They had given their services unstintingly and the menfolk of Belvidere were most thankful to them.

 

In responding to the toast, Mr Sid Wakefield joined with the chairman in welcoming back all old residents.

The speaker in his usual humorous style told of the ups and downs of the community. "Business," he said, "had gone to the pack. Our hotel had been burned down! Our brickyards are gone! Our school has been closed! What are we to do?" Continuing, Mr Wakefield said they had not, fortunately, lost their old friendships. He gave a resume of what had led up to the building of the Memorial Hall. In the old days Mrs Clifford [from the hotel] had provided a big room in which to give farewells, etc, and in March of 1919, at a meeting convened by Mr Cheriton, it was proposed to build a hall. They had no money, but a site was selected, and by August of that same year the elected committee had £400 in hand.

Mr Ross donated the block favoured, and the necessary material for commencing operations was forthcoming. There were various functions held with the object of raising funds. The chief of which was the Queen competition. This competition brought in £900.

 

Tenders were called for the building of the hall, and Messrs Mel Stanton and Jim Kennedy secured the contract and “builded well.” Brigadier General Leane laid the foundation stone, and when the building was completed there was a debt of £400. The trustees again got busy and arranged dances, etc., and got out of trouble. Later the lighting was found to be inefficient, and then it was decided to purchase an electric lighting outfit, which cost them another £150. This was paid. The committee continued the running of dances for nine years, and until they had to cease on account of the last war. At that time they had money in hand, and with this War Savings Certificates were purchased. The hall was closed down for public functions of a money making nature, and thrown open for patriotic purposes,

Later the committee worked in conjunction with the Red Cross, and both did well. The time had now arrived when additions to the property were desirable.

 

A supper room with necessary conveniences was wanted badly, as well as dressing rooms, and the installation of these was the aim of the committee at the present time. The speaker hoped that in another five years' time he would be able to speak to a similar gathering at the opening of both those additions. The hall, he said in conclusion, had been a God send to the community as well as a benevolent society to others. (Applause).

 

Mr Sparrow quoted figures concerning what had been done by Belvidere people during the war period, and said that a total of £561 9/2 had been raised for different patriotic purposes. As soon as the necessary money and the building permits were to hand the work on the additions would be put in hand.

 

The "RSL" was the next toast proposed, and this was in the hands of Mr H C Dunn MP, who said it was a happy thought to combine the welcome home of old residents with that to returned soldiers. He referred to the work of the older folk who had laid the foundations for the great advance which had been made by Australia. The pioneers had left us a great country and the soldiers had fought to keep it for us. [Ref: Southern Argus (Port Elliot) 3-10-1946]

 

Prairie School apartment building.

Mrs. Reuben Weil Home, designed by architect - Albert Held.

I added a couple of ladies to the mix. Disney sale I added ILY 4Ever inspired by Ariel. Disney had a sale.

My 1st purchase from Sherri's Doll Show AA Curvy Barbie from the 2018 On The Ave convention. I've had her a few days.

I ordered a 3rd Looks for one of my SIS Chandra's.

Already in December of the year 1678 occurred in the then suburban "Leopoldstadt" the first cases of plague, but they were covered up and trivialized by the authorities. The disease spread rapidly in other suburbs, which were outside the imperial capital. Thus, the poorer classes belonged to its first victims. Although the number of deaths from month to month rose, all warnings and criticisms of pleague doctor, Paul de Sorbait, on the inadequate situation of the medical service and the hygiene remained unheard.

The dedicated physician had already published in January 1679 a "plague-order", which provided extensive measures to protect the population during an outbreak of plague. In this plague-order Paul de Sorbait described the former knowledge about the disease and described it: "the most part of those so caught by it, with bumps, glands, swelling marks or with splenic fever, brown and black spots and kale, pest lumps in addition to great interior heat and within a few days or hours fatally ends".

In July of the same year the "spark of pestilence" (Pestilenzfunken) jumped over the city walls: A terrible and great death began within the city of Vienna. A chronicler reported, "at last she (= plague) but took the audacity, penetrated into the city itself and caused a shocking defeat among the rich and aristocratic nobility in the palaces and stately buildings. There you saw whole carts full of noble and ignoble, rich and poor, young and old of both sexes, carried out by all alleys to the door."

The people in town were full horror and panic: The bodies lay for days on the road, because there was a lack of infirmary servants and gravediggers. Quick released prisoners then took over those services. Instead of single burials large pits were created outside of the city to accommodate the dead in mass graves. Those who could afford it, fled from the city. Emperor Leopold I and his family left Vienna on 17 August. He first went on a pilgrimage to Mariazell (Styria) and then fled to Prague. As there the plague also broke out, he retreated to Linz, where he remained until the final extinction of the plague in 1680.

The exact number of people who died in 1679 from the plague in Vienna probably never will be determined. The gigantic death rates of contemporary reports, oscillating between 70000 and 120000 dead, from the still preserved coroner's reports can not be proved. According to those records, the disease about 8,000 inhabitants would kill. But it is questionable whether in the prevailing confusion all cases of death were reported to the coroners and how many died on the run.

Plague in Vienna

Detail of the woodcut "Dance of Death"

Hans Holbein the Younger

(public domain)

The great dying - The plague or the "Black Death" in Europe

The plague is one of the severe acute bacterial infectious diseases that today already in case of suspicion are reportable. Only a little more than 100 years ago, at the occasion of the plague epidemics in Hong Kong and India set in the modern pest investigation: The Swiss tropical doctor Alexander Yersin discovered in 1894 the plague pathogen: The bacillus received after this researcher the name "Yersina pestis". Already at that time, the science recognized the role of certain rodents in the pathogenesis of plague epidemics and the participation of the rat flea or human flea as possibilities of transmission of plague to humans.

Since ancient times, the plague was one of the heaviest and most frequent epidemics. However, one designated for a long time also other epidemics such as smallpox or dysentery as pest because they equally were associated with high mortality. The term "pest" but meant in a figurative sense misfortune and ruin. The word therefore in the past has been avoided as far as possible, and the historians tried to express it with other words as "tiresome disease", "burning fever" or "contagion" (= contamination, infection).

In the years 1348 to 1352, Europe was overrun by the worst plague in history. The disease, which evolved to become a pneumonic plague, destroyed a third of the population at that time. According to the estimations, thus around 25 million people were fallen victim to the "Black Death". The pneumonic plague was not transmitted by flea bites - like the bubonic pest - but by highly infectious droplets containing bacilli with coughing and sneezing from person to person. In Vienna this plague epidemic reached its peak in 1349.

In the next 400 years followed at irregular intervals ever new plagues and spread fear, terror and death. Effective drugs were missing, and since the disease by the Catholic Church was interpreted as God's punishment, the population put itself under the protection of many plague saints, the Holy Trinity or the Virgin Mary. Eloquent testimonies of those efforts are still churches and chapels, pest altars, pest crosses and plague columns. The adoration of the Holy Trinity in the time of need of the 17th century especially by newly founded religious brotherhoods was disseminated - thus, also in Vienna in 1679 a Trinity Column was erected - the Plague Column at the Graben. As a monument to the last plague in Vienna in 1713 today reminds the Charles Church, which is, however, devoted to the plague saint Charles Borromeo.

As medical measures against a Pest disease recommended doctors sweating cures, bloodletting, chewing of juniper berries or Angelica roots, but also the administration of theriac, a popular drug of the Middle Ages. Frequently, garlic, laurel, rue, and a mixture of sulfur powder are listed in the prescriptions. The recipes, however, differ as to whether they are used for poor or rich Pest patients. One of the few effective medical attendances was the opening of the bumps (buboes) to drain the pus, which also the sufferers felt as a blessing. As a miracle drug was considered the applying of an impaled toad on the bumps, previously put in vinegar or wine bath. Such prepared toads were also attributed great healing power during the plague in 1679 in Vienna.

Quotes:

From Vienna "plague-order" of pest doctor Paul de Sorbait, 1679

"after the experience brings with it that cleanliness is a strange useful and necessary means, both to prevent the intrusion of infection, as well as the same to avert. Herentwegen (= hence) uncleanliness causes such evil and keeps it. So is our earnest command, that firstly no blood, viscera, heads and leggs of the killed cattle, nor herb leaves, crabs, snails, egg shells or other filth (= waste, manure) on those streets and squares (must be) poured out: ditto (Ingleichen) no dead dog, cats or poultry are thrown into the streets, but all of them carried out of the city".

From "Merck's Wienn" of preacher Abraham a Sancta Clara, 1680

"As a whole, there is not a lane or a road wich the raging death had not crossed. Throughout the month, in Vienna and around Vienna one saw nothing else but wearing the dead, conducting the dead, dragging the dead and burying the dead".

"From what the plague was caused but I know all of that/ that this poisonous arrow (= plague) mehristen Theil (= for the most part) from the hand of God is abgetruckt (= shot)/how its diverse testimony proves the divine Scripture (= Bible). From which apparently manifest and obvious/that the pestilence was a ruthe (= rod)/so the sublime hand of God wreaths I trust but leastwise the tree to show /from which God the rod braids. This tree is the sin".

 

* Song of dear Augustine

Oh du (you) lieber (dear) Augustin

S'money is gone, d'joy is gone,

Oh du lieber Augustin,

Everything is gone!

Oh, and even the rich Vienna

poor now as Augustine

Sighs with me in the same sense

Everything is gone!

Every day otherwise was a feast,

Now what? Plague, the plague!

Now only a huge nest of corpses,

That's the rest!

Oh du lieber Augustin,

Lie only down into the grave you,

Oh my dear Vienna

Everything is gone!

Text source: Rathauskorrespondenz

Plague in Vienna

Plague doctor - through these clothes the doctors during the plague epidemic of 1656 in Rome hoped to protect themselves from the pest contamination. They wore a wax jacket, a type of protective eyewear and gloves. In the beak there were "wolriechende Specerey (odoriferous specialties)".

(public domain)

www.wien-konkret.at/sehenswuerdigkeiten/pestsaeule/pest-i...

While the world may never know the noble sacrifices made to defeat Thanos, I honor the memories of the fallen with the addition of the Hot Toys Avengers: Endgame Black Widow figure into my one sixth figure collection, which if I'm being honest, is somewhere in the vicinity of 25% nothing but Black Widow.

 

It's actually been out in the real world since July 2020, so you can imagine by the time I received mine last week, I've had to time formulate some thoughts on the figure even before I received it.

 

This figure comes in a standard windowed cardboard box with a cardboard slip cover with glorious art work depicting the only worthy Avenger in the group.

 

You get the figure with open palm hands, six additional hands (pistol specific, baton specific, closed fists), two baton handles for storage in the backpack, two full size batons, a combined staff form for the batons, a pair of Glock 26s, and a stand. The actual contents of said box are a bit on the scant side, though quite honestly I'm not sure really sure what else you could have added.. maybe a few gesture specific hands?

 

Also, for the anal retentive readers, neither the batons or the Glocks have any paint on them. In fact, I was kind of confused at first that the Glocks were pure black... well turns out they were always pure black (at least going back to CW) so it's possible the silver painted ones we kept getting were overstock from years past. Detailing on the Glocks and the batons are pretty much what you'd expect - pretty much scaled down replicas of the real ones.

 

The Glocks have moving Slides, but no longer have removable magazines, undoubtedly due to cost savings as nobody ever really used that function for Widow.

 

If you've followed news of this figure, you've undoubtedly heard claims that Hot Toys FINALLY nailed Scarlett Johansson in this latest release.

 

Nope. No. Absolutely not. Nein. Hell no.

 

I feel much of this hype has to do with the most obvious change between the previous releases and this one - the use of sculpted hair. I get that many a collector avoided the other Widow figures due to their desire not to get involved in hair styling, and I get that.. The ironic thing is that if Hot Toys were to choose one sculpt to use rooted hair on, it would have been THIS one, as the hair is basically controlled in a pony tail.. missed opportunity, IMHO.

 

Speaking of hair, the tip of the flexible pony tail definitely could use more that Bronze. Sculpting on it is nice enough, including an ornamental braid that goes from the top of her head along the right side. Unlike Dr. Strange 2.0, the hair doesn't seem to add too much volume to her head.

 

Then there's the face itself, which I've shown in comparison to the IW and CW version (which, really are the same thing). Endgame Widow certainly has a healthier complexion compared to the IW version, seemingly a mixture between the CW and IW colours.

 

Even in sunlight you can the differences in colour, though in comparison to the real deal it's a bit too flushed. I feel the IW version wasn't actually that far off.

 

The actual shape of the face has improved, having more pronounced cheeks and a sharper chin. Having said that, the overall size of the face is generally just too wide compared to the real deal. They also gave her one hell of a jawline to make her more feminine, including a much smaller neck area. This all gives her a great profile, but causes her head to look too big from the front.

 

Then there's the eyes... the eyes aren't even close to the real thing. It's something that I've come to accept on Hot Toys sculpts, so it's not to say they're badly done. They just don't look like Scar Jo and for me, throw the whole face off.

 

Hot Toys also gave Nat a kind of constipated looking expression, but you know what? I'll take that over the dead eye stares of AoU and Winter Soldier.. at least there's some sort of soul in the figure. As expected, the face is expertly painted, a hallmark of Hot Toys products.

 

So in summary, there are certain aspects of the Sculpt where things have improved, and the right light can now bring out those improved features, but to call it as the definitive Scarlett Johansson Black Widow sculpt is too much of a stretch for me. It's just like the previous one - features make it easy to recognize as Scar Jo as Black Widow, but none are perfect.

 

The Body is an interesting discussion, though not as contested as the I don't know model names and all that, but to me the actual body itself hasn't changed, down to the rubber piece for her Clavicle and Bust Line... probably going back to Avengers. The padding is slightly different this time, though, probably to accommodate the newly designed suit. I'm guessing that unless it was done with my needs in mind, its likely that it was due to some manufacturing limitations and/or labour issues.

 

The outfit that Hot Toys gave the Widow figure is what I would call the Black Widow stunt outfit.

 

Based on appearances, it really should be made of whatever Captain America's costume is made from. While it would look cool, such a suit would likely cost more than what she actually got, while at the same time being effectively crap when it comes to articulation as it would be form fitting.

 

Instead, Hot Toys gave her a rubber body sock with harder plastic shoulder and knee guards glued on. To my untrained eyes and hands seems to be the stuff they made the BvS Batman suit from. Using this material, a suit that LOOKS like the one on screen is used, but has range of motion in mind. All the patterns and textures, for example, are present, but the Widows Bite are no longer removable from the body.

 

The end result is the form fitting nature of the suit is maintained, but the suit has ample give in the abdomen and hip area, along with stretch of the material itself, for improved range of motion over its predecessors. Again, maybe the padding was done with this in mind.. maybe it was a happy accident.

 

The articulation of the shoulders and arms are about the same as before, not quite enabling her to hold her arms out past 90 degrees from the resting position. Sadly, they never fixed the lack of ankle articulation.

 

All-in-all, I've found the Endgame body to be more poseable as compared to the CW and IW versions, and is probably on par with the AoU version without having that baggy look for her suit (or the flaking/tearing issues).

 

The materials used for the holster/belt, backpack, and boots appear to be unchanged from the IW release Hands are effectively reuses of the ones for the IW release, with the exception of the Quantum Tracker on the back of her left hand.

 

Paint work is the usual Hot Toys level of quality, which is kind of important when you're dropping $250 USD for a single figure.

 

In conclusion, an interesting figure. You're getting your usual Hot Toys level of paint and build quality. I like the new suit, even if seems like a cost cutting measure, because I'm giving Hot Toys the benefit of the doubt that they chose function over form, and I've been able to do a few things that none of the previous suits could do.. or at least do without fear of tearing.

 

Besides, the new Glocks let me check off that "cost cutting" box anyway.

 

Is it THE DEFINITIVE Black Widow though? I'd have to say no, unless your definition includes not having rooted hair. The lack of ankles is still a sore point, and more importantly, none of the Widows have screamed "HOLY CRAP THEY SHRUNK HER HEAD AND STUCK IT ON THIS FIGURE" though, again, they're getting closer (especially that profile view).

 

So, if getting a Hot Toys Widow into an action pose is your deal, then the Endgame version will probably do you right. But if you want a classy looking Widow, the CW version is still where its at.

Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg

Flower Girl, 1854)

Taken over 1907 from grand-ducal private ownership, inventory in 1031

 

Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg

Blumenmädchen, 1854)

Übernommen 1907 aus großherzoglichem Besitz, Inventar 1031

 

Collection

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

 

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

In order to get the boat with motor and trailer into the barn we needed to add about 6 feet. It was decided to go ahead and add 15 feet so we would have room to walk around the boat when fully under roof. In this picture the back of the barn has been removed.