The idea of a shrine of peace to serve as a memorial of the People Power Revolution came as an inspired thought to His Eminence Jaime Cardinal Sin two days after the dictator fled to exile in Hawaii.

 

The Cardinal was riding in the car together with Bishop Gabriel Reyes, then Auxiliary Bishop of Manila, en route to Camp Aguinaldo where they were to celebrate a Thanksgiving Mass. They came upon the intersection of EDSA and Ortigas, and Bishop Reyes pointed it out to the Cardinal as the spot where intrepid but gentle nuns and young men and women stood in front of the tanks and offered flowers to the soldiers.

 

At that corner, on an empty lot had stood two huge billboards of the Family Rosary Crusade, featuring the image of the Blessed Virgin Mary and the slogans, "The family that prays together stays together" and "A world at prayer is a world at peace." The felicitous coincidence could not but evoke the reality of Our Lady's presence at EDSA during the People Power Revolution.

 

Realizing this, the two could not help but recall the story of the "La Naval de Manila" and the Battle of Lepanto, which was fought on October 7, 1751. At this historic battle, Don Juan of Austria, with only a few ships defeated the Muslim Turks, whose ships had outnumbered theirs. Had the Turks won this battle, they could have overrun Europe, making the entire continent Muslim. The miraculous victory of the Christians was attributed to the intercession of the Blessed Mother to whom the people of Rome prayed unceasingly with their rosaries and in processions, asking for help to win the battle. To thank the Lord for the victory, Pope St. Pius V in 1572 instituted the feast of Our Lady of Victory. A year later, Pope Gregory X changed the name to the feast of Our Lady of the Rosary.

 

The Feast of La Naval de Manila was also instituted in thanksgiving to the Lord for another naval victory. During the Spanish times, the Protestant Dutch tried to conquer Manila. However, the Spanish fleet manned by Spaniards and Filipinos roundly defeated the far-superior naval force of the Dutch. This naval victory was attributed to our Blessed Mother of the Most Holy Rosary because as the naval battle was raging, the people of Manila continually prayed the rosary. This is the origin of the Feast of La Naval de Manila, which is celebrated (in a very special way in the Sto. Domingo Parish in Quezon City) on the first Sunday of October.

 

The EDSA Revolution was more miraculous than the Battle of Lepanto or the "La Naval de Manila." Thus did the idea of a memorial structure to thank the Lord and the Blessed Mother for the peaceful EDSA Revolution come to mind.

 

Cardinal Sin then set into motion a series of steps to turn his idea into reality. The owners of the land, the Ortigas and Gokongwei families, were approached and they donated the prime corner lot. The architectural and structural design for the church was undertaken by Architect Francisco Mañosa with preparatory work from National Artist Architect Leandro Locsin and Architect William Coscolluela.

 

Architect Mañosa designed the Shrine to evoke the freedom of movement and celebratory spirit of the original EDSA Revolution. The Shrine is to open out to the streets with the image of Our Lady of Queen of Peace, as sculpted in bronze by the late artist Virginia Ty-Navarro, forming the apex of the structure. The promenade is accessible through cascading stairs and ramps from EDSA and Ortigas Avenue. The center of this plaza faces the convergence of the two main roads and has become the site of the Eucharistic celebration held each year to commemorate the People Power Revolution.

 

Various works of art symbolize the spirit of freedom and peace at the Shrine's promenade area. At one end is the "Flame of Freedom," a sculpture done by artist Manny Casal of three hardy men bearing a cauldron of flame over their shoulders, representing the Philippines' three major islands, Luzon, Visayas and Mindanao. Throughout the plaza are the 14 Stations of the Cross as rendered in bronze by national artist Napoleon Abueva.

 

At one corner are the carillon bells, which were crafted by some friends from Holland from the bullets and cannons of the Second World War. At given intervals during the day, the bells chime familiar patriotic and religious tunes, mostly evoking sentiments of the People Power Revolution.

 

The main chapel spans the breadth of the entire intersection and is accessible from either avenue. At each side are chapels, one the San Lorenzo Ruiz chapel and the other the Chapel of Perpetual Adoration. Natural lighting is obtained from all sides, except the main altar wall, which draws light from the skylight above. This skylight is diffused by a stained glass ceiling designed by artist Eduardo Castrillo.

 

Within the main chapel, a floating glass sculpture of the Risen Christ by Ramon Orlina overlooks the main marble altar also created by Abueva. The upper walls are muted murals that depict and interpret the four-day revolution by 15 artists from Angono, Rizal, led by Nemi Miranda. The art works "Doves of Peace," also by Casal, rest gently on the holy water fonts by the entrances.

 

At the chapel of the perpetual adoration the Blessed Sacrament is dramatically exposed through the monstrance-sculpture done by Castrillo.

 

At the other side chapel named after the first Filipino saint, San Lorenzo Ruiz, there is a wall mural depicting the saint's life painted by artist Ben Alano.

 

These works by Filipino artists – architects, sculptors and painters – form a unique collection that pays tribute to the indomitable spirit of the Filipino people. These works inspire, elevate, comfort and cheer, and in their unifying purpose, bring the people who visit, pray and celebrate in the Shrine closer to God, the source of peace.

 

In time, the other rooms in the Shrine gave way to the needs of the people. Thus at the Ortigas side, a small room was built called Silid Leonarda, named after one of the Shrine's dedicated early community members, a Papal awardee, fondly called Tita Leony (Leonarda Torres) who died in 1996. Another room, Silid Assisi, was built at the EDSA side of the Shrine. In 1998, soon after the celebration of the anniversary of the EDSA Revolution in February, construction for the Serviam Hall on a portion of the promenade began. Within three weeks, the hall, named after the motto of Jaime L. Cardinal Sin which means "I serve," was inaugurated. The hall has fittingly become the venue of the Shrine's formation activities (Fullness of Life seminars, catechism for the sacraments of confirmation and matrimony, spiritual nourishment recollections of the Shrine's various groups.) Once again, Architect Mañosa designed the hall to blend with the original architecture of the Shrine, unobtrusive from afar because of its glass walls.

 

The construction of the original Shrine was almost complete by late November of 1989 and preparations were underway to have it inaugurated on December 8, 1978, the Solemnity of the Immaculate Conception.

 

But once again the country was rocked by threats to its democracy. An attempted coup d'etat broke out on November 29, 1989. The inauguration had to be postponed as the government thwarted the rebellion of a military reformist group. At the height of the uprising, some of the military rebels entered the Shrine, but did not do any damage to the unfinished structure.

 

His Eminence did not postpone the set inauguration certain that, with prayers to the Blessed Mother, the Shrine would be completed by December 8. The putschists finally surrendered on December 7. Amid the somber aftermath of the failed coup, but with quiet rejoicing among the faithful, the Shrine of Mary Queen of Peace (Our Lady of EDSA) Shrine was formally consecrated to God and dedicated to the Blessed Mother on December 15, 1989.

  

This is a recent illustration for a magazine.

Highlights from the Exhibition - From the Medieval to the Modern: Reformation, Transformation and Continuity.

 

Manuscript Copy of the Rathlin Catechism, 1720

PRONI Reference: D3577/1A

Manuscript version of 'The Rathlin Island' Catechism

Reproduced with kind permission from Deputy Keeper of the Records, PRONI

 

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

The level of his analytical skills had seriously decreased, he probably did not have the expertise to perform this function and the most terrible thing for me at the time was that I realized that after only a year and a half of experience, I had acquired more experience than him to handle the files under management.

I experienced this misfortune as a great injustice because not only on the subjects I did not master, he was of no help to me and I was not reassured because he showed no common sense. That's when I made several mistakes. My anger became visible. I must admit that I had a lot of difficulty respecting this person and following his recommendations. Finally, I tried to implicitly demonstrate to him that our team did not give him any credit.

 

"Hubris syndrome: the disease of power. Loss of sense of reality, intolerance to contradiction, piecemeal actions, obsession with one's own image and abuse of power: these are some of the symptoms of a newly identified mental illness that is reported to develop during the exercise of power. It's hubris syndrome. "dixit dictionary

 

I had to paint a quick picture of the evolution of the "millennium" to return very quickly to the virtues due to spiritual coaching. It seems essential to replace the old workings of an entrepreneurial world that is in trouble, with a new cure in the bud of the new incubators? Technology prevails over conventional workplaces to increase workers' incomes without any major leverage affecting revenues, creating a loss of organizational spirituality in many workplaces. Over the years in the research field, spirituality in the workplace has acquired a vital importance that would inspire employee confidence. The gap in university research is still present since this topic is still in the development stage and many empirical research studies have demonstrated a significant interaction between workplace spirituality and positive task results and job satisfaction. Peers who felt that the meaning of their work exists and who have a sense of connection and interaction in the work environment provided better performance and even added value through their dedication to improving the work environment.

 

I can imagine a spiritual coach on the trays of the new incubators, just as I imagine a crèche for the many couples who will come to work here, there is already an organic canteen and all that is missing is the spiritual coach. The psychologist with his antidepressants has become obsolete, like the treadmill or the fitness room replaced by yoga.

 

We must measure the effects of the revolution due to artificial intelligence and the arrival of robots, we have not yet understood that this is a tsunami that will sweep away an entire part of the old economy with its vertical enterprises and its systematizations that have become almost insolent, as they do not evaluate the change in mentalities?

 

I will voluntarily use a mystical vocabulary in such a way as to replace its meaning in the entrepreneurial world and would like to briefly recall its definition for sceptical or resistant minds to spiritual matter.

 

"doxa: All opinions received without discussion, as obvious, in a given civilization. "The spiritual doxa currently finds the obsolescence of its meaning in old catechism books, it precedes the episteme "All the regulated knowledge (world view, sciences, philosophies...) specific to a social group, at a time " the new century that is opening up to us, is perhaps placed in a form of episteme of the spiritual fact? The company would be the vase that would contain this alchemy specific to the development of the modern individual?

 

The awareness of this issue leads us directly to an antagonism, so it will be necessary to believe that such a heterogeneous assembly will immediately inspire a cloud of prejudices incompatible with this presentation. I would especially like to warn agnostic readers that this presentation does not wish to change their secular nature, nor does it wish to be a backdoor form of proselytism. The question asked may be worth a detour outside the contours of the moralizing doxa and religiously diverted from its initial message.

 

"In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it and over it." Johann Wolfgang von Goethe

  

Thought to be the most powerful hunter, with leadership and resourcefulness traits, the mountain lion is the guardian of the northern direction. He is associated with the color yellow and appears in both hunting and healing directional sets. Today, mountain lion fetishes are carved with great realism and detail and also in the more ancient, primitive style. Before the introduction of power tools, most mountain lions were represented with their tails up and over the back. Now carvers are able to carve long, flowing tails that extend behind the back or even curl in delicate swirls. The mountain lion can remind us to persevere, clarify our goals and move forward to achieving our dreams.

 

Many startups run in cult mode, it is clear that employees will do more for a guru, the vertical and elitist leader may have some worries to deal with within the coming decade. It is interesting to understand the so-called "millennium" generation, i. e. those born around the year 2000, to see with their eyes, to rub our eyes of the last century and remove the contours of our appearance, to look without make-up, appearance is not a criteria anymore, we can buy unknown brands and buy organic baskets without even going through a sign, we can even do our market in the company's hall and find everything in a box supplied by delivery people.

 

The generation that drives its shopping cart is dying with their old leaders and counterproductive authoritarianism. I find many values classified as religious, rarely as spiritual, the word is probably too positive to evoke the different churches, so I find all its new values very spiritual, they come from the spirit, the pure spirit and leave the price on the side, it seeks ethics, is the fabric of the clothing made with animals that have not suffered? Does the toy wood come from a forest which is well managed?

 

We are witnessing a revolution in mentalities and production methods between artificial intelligence and robots, it is an even more important revolution than the industrial revolution of the 19th century and perhaps even more so than the revolution of the nomadic man who became a farmer! The man-machine will forget all executive tasks and the subordinates will disappear in favour of more docile machines. There will therefore be a lot of exclusion and certainly major divisions, we are living off the premises in the riots in the suburbs. The company is becoming a temporary place, Nokia has flooded the planet with its phones and then disappeared, the brands no longer have a status of eternity and the management of the near future is already in the process of setting up in startups. I am not saying that the startup is a new paradise, I even think that the startup is somewhere a negation of the social progress made between 1920 and 1990. Why 1990? Because in 1990 the Anglo-Saxons and Germans changed their management methods. The British scuttled their industry to build a financial empire, a kind of tax haven at the gates of Europe and the Germans invented mini-jobs for 300 euros, a Mercedes is the price of a Ford to build!

 

My presentation would like to draw a line between spirituality and religious principles. I also wish to leave behind the traditional divisions between excessive secularism, fearing with stupor the supernatural fact and firmly committed to an old logic and perhaps already overtaken by recent societal developments. The business world is constantly changing. A company is a living social organism. It is the interaction of human beings who manufacture a product, i.e. who produce a good or provide a service. Like humans, living beings or nature in general, we can never fully understand such a social organism. It is not just a simple machine or a complicated device, but something living that follows an evolution.

 

I suggest introducing the concept of spirituality as part of a business, in the sense of undertaking together and perhaps under the aegis of an egregore, not religious but mental and respectful of the general harmony.

 

"A egregore (or eggregore) is, in esotericism, a concept designating a group spirit influenced by the common desires of several individuals united for a well-defined purpose. This force would need to be constantly nurtured by its members through established and defined rituals. »

 

The notion of egregore can be applied to the business world, in the definition taken from Wikipedia, I try to extract: "common group spirit of several individuals" it seems to resemble the definition of a company, not necessarily with vertical management and perhaps soon archaic?

 

The dogmas of the academic business elite are sinking into the void of psychoanalysis. We are at a turning point with our society, which also attracts ever wider circles in business life.

 

People's consciousness is growing rapidly. More and more people who are integrated into the work process feel overwhelmed or have the inner feeling that things cannot continue like this.

 

Older workers cannot cope with new digital developments, and young workers have no desire for a meaningless activity.

 

It is impossible to say that they prefer to live hidden under lazy skin. Quite the contrary! They are perfectly aware of the daily reality, but only if it makes sense to them. There are many employees, workers, executives who feel the same frustration with a hierarchy inherited from the old school of a previous century!

 

Spirituality could change outdated practices in the workplace. It would create interconnections that foster greater trust between a company's employees. Desktops are part of a particular work process that can lead to feelings of cooperation and sometimes lead to an overall organizational culture based on motivation. It is illustrated by a scientific response to human problems and depends essentially on the competence of psychologists. Psychologists often do not have answers to the problems of differentiation. They are the source of a deep sense of loneliness and this pathology usually leads employees to become depressed. Psychologists practice a levelling to promote a societal norm that reflects scientific projections. Practitioners generally use antidepressant medications to enslave individuals who experience this loneliness of mind. They are unanimously very close to Freudian psychoanalysis, rather agnostic. They generally lack a magical or symbolic part that is the basis of all civilizations. Ours feeds on Harry Potter or Halloween to compensate for this lack of symbolism in social relationships.

 

Hughes Songe

 

On Nov. 15, 2018 at 11:04, Hughes wrote:

 

Yes, it is a point of view that can be applied to a coach, spiritual or agnostic, he remains a coach.

 

It is interesting to develop why in 2018/28 we are in the midst of a revolution (artificial intelligence, robots) and how humanity finds itself in spirituality and why another coaching will be imposed! The spiritual coach is the future! As an architect, I imagine a kind of "chapel" that would be placed on the open Space and that we would leave our intimate "confessions" there. I am visionary and not formatted by an education that imposes a strict vision of spirituality on me, for me spirituality is in the subway and consists in getting up to let the other sit down, it consists in saying hello in a stairwell or smiling in the morning and distributing positive impressions to others and especially to myself. The negative, the doubt is the demon? The angel lives with hope and love for himself and others?

 

On Nov. 14, 2018 at 14:59, Priscilla wrote:

 

I'm reading what you wrote.

For me, a good coach is inspired by spirituality, that is to say, he would have a method that consists precisely in helping the consultant to find the balance between his daily life and his deep aspirations.

we're okay with that?

 

On Nov 13, 2018 at 14:45, Hughes wrote:

I just finished the work the day before yesterday Monday evening, I spent two hours between the break and one hour in the subway and then at Claire's from 8am until now. It's a little short to smooth everything out. As you have seen, I am rewriting the information received on German and American books. I add a spiritual and a little French touch to it. It is a long work to make these ten pages edible by agnostic minds and very formatted by Hautes Études Commerciales. I am also thinking of Hugues Couratier, my grandfather who graduated from this school in 1929...

 

Have a good reading

 

(Your comments can help me a lot to finalize tomorrow)

 

"AM I know he prefer Blue but seeing the hotness of Red Saber body in a wrestling match with only a loincloth with a bra is really intriguing tbh? With Red Saber personality, her boldness is enough to K.O. any men.Gilgamesh lost because of her hot body. TBH, any guy would die happily in a wrestling match with her. Hey, for all we know, Gil prefers blue Saber's... lesser endowments.flatlands fetish lol :D On the one hand Saber wrestled a lion.On the other hand Gilgamesh wrestled a divine bull sent from the heavens. On a mysterious third hand skills are still active, so Imperial Privelage would likely allow Saber to perform well enough to overcome him, assuming wrestling is included in the "other" aspect of the description. If that's what you mean by "no abilities" though, then Gil wins for having slightly superior strength and a lot more luck unless Saber performs a clever distraction with her performing abilities. Bane even prayed for Dick when he became Batman. Are they both contracted to Rin at the same time, or are there two distinct individual iterations of Rin and each one happens to be the master of one of them? Also, is/are Rin/the Rins watching? Is one of the Rins evil? Does Evil Rin have a different hairstyle? Abilities are not allowed so Red Saber can not use Imperial Privilege.Red Saber's master is black haired Rin and Gilgamesh's master is blonde haired Rin."We have 55 characters, I'd really like an even number."

it, just put Wolverine in again and see if they notice." Then Extra Saber should win, since FSN Rin is far and away the superior magus, since the concept of magecraft is way different in the Extra universe (where Blonde Rin is from). Though if you just want to ignore the Masters altogether, Gilgamesh would still win. You begin to suspect that your bowl is a portal to the Meat Dimension. More than likely they'd just make out anyway, but yeah, I figured that was the point of the question's imagery? Bane even prayed for Dick when he became Batman. -- Frostbite_Zero I just want to note...Gilgamesh becomes a zombie at an assertive woman. Look at Carnival Phantasm Just for laugh, watch the whole episode!

Red Saber wins with her personality. This show how bold she is. Red Saber is truly a bold woman indeed.yeah. it's a privilege to us to see that part. ahahaanyway thanks for the link. i tend to repeat that part when i'm bored lol.Official Praetor of Saber in the Fate/Extra Boards www.facebook.com/pages/Saber-FateExtra/286251641405745 HERCULES. Easily identified by a lion skin and a club, his favorite weapon, the ... MERCURY ... also sometimes holds the caduceus, a herald's staff with two...The Club of Hercules : Studies in the classical background of ...

www.amazon.fr/The-Club-Hercules-classical.../dp/B0014VL50...

Saint Emmanuel NGUYỄN VĂN TRIỆU

Priest

(1756-1798)

 

* Fulfiling Filial Duty...

 

As a priest of the east vicariate of Tonkin with all the works of a busy ministry, Fr. Emmanuel Nguyễn Văn Triệu still did not forget the old mother at home. In 1798, in the midst of King Cảnh Thịnh’s violent persecution, especially in the royal capital, he asked for permission to return to Phú Xuân to visit his mother. He stayed there for three months to build her a small house. It was his wish to fulfill his filial duty to his mother that he was arrested.

 

* For God, Not For Lord Trịnh.

 

Emmanuel Nguyễn Văn Triệu was born in 1756 in Kim Long village, Phú Xuân (presently Huế). His father was Corporal Nguyễn Văn Lương, a Catholic soldier fighting for Lord Nguyễn, who died in a battle against the Tây Sơn. Orphaned at a young age, he lived with his mother in Thợ Đúc, and entered the military in 1771 when he was only 15 years old. In 1774 Lord Trịnh captured Phú Xuân. When the Tây Sơn army started its invasion from the South and became the new ruler of Phú Xuân, guard Emmanuel Nguyễn Văn Triệu followed Lord Trịnh Khải evacuating to Thăng Long (presently Hanoi) in 1786.

 

In June that year, the Tây Sơn army advanced to the North with the banner of supporting the Lê’s reign and destroying the Trịnh. Trịnh Khải had to commit kamikaze. Then King Lê Cảnh Hưng passed away, and King Lê Chiêu Thống assumed the throne. The North again was thrown into a war between two opposing camps of Trịnh - Lê and Trịnh Bồng. Against this horrific background that made guard Nguyễn Văn Triệu to reconsider the purpose of his life and led him to a definite decision for his life.

 

At 30 years of age with 15 years in the military with innumerable ups and downs, Emmanuel Triệu came to a fork on the road and chose to leave military weapons behind to serve the Heavenly King and through whom to more effectively serve his family and mankind. At first he was under the tutelage of a Jesuit priest in Hà Nội, later he was sent to the Trung Linh seminary by Bishop Khâm of the east vicariate of Tonkin. In 1793 Bishop Alonzo Phê ordained him into the priesthood at the age of 37.

 

With a early and good training background together with a long military experience, and especially with God’s help, Fr. Emmanuel Triệu became a dedicated and effective. After six years of ministering in the east vicariate, he harvested many achievements and was admired by his superiors.

 

* The Road to Jail.

 

Under King Cảnh Thịnh’s reign (1792-1802) the political landscape became more chaotic. Nguyễn Ánh’s (King Gia Long) army headquartered in Gia Định became more powerful, and every year at the beginning of the windy season, he led his army to battle Huế. Helping Nguyễn Ánh was a number of French soldiers recruited by Bishop De La Motte. As the result, King Cảnh Thịnh became hateful to the Catholic faith, particularly at the end of 1797 when the king took hold of a letter sent by Nguyễn Ánh to Bishop Labartette Bình (bishop of the Diocese of the North) in Phú Xuân, the king became suspicious that the Catholic Church was helping his enemy.

 

The Catholic Minister of Education, Minister Hồ Cung Điều, many time explained to the king that: “The Catholic faith teaches loyalty to the king and duty to parents, not rebellion.” The king was swayed by the explanation. But finally in August 1798, under the Interior Minister named Lợi’s constant badgering advises against the Catholics, an edict of persecution was issued. Three months earlier, missing his mother Fr. Emmanuel Triệu returned to Thợ Đúc, Phú Xuân (Huế). It was an emotional mother-son reunion after 12 years of separation; his mother’s hair was turning gray while he was then 42 years of age and a priest. Fr. Emmanuel Triệu was moved by his mother’s living arrangement; she was living with another family. He decided to stay and, with the help of neighbors, he built a small home for his mother. While building a home for his mother, he visited and celebrated masses at surrounding communities where Christians really adored him.

 

On 8/7/1798, as ordered by the king’s edict just announced, four platoons of soldiers (50 soldiers to a platoon) made a surprise raid on four parishes in the royal capital. At Thợ Đúc parish, the soldiers were searching for pastor Nhơn who, forewarned by Minister Hồ Cung Điều, had escaped to safety. The minister did not know Fr. Emmanuel Triệu because he was new in town. Soldiers arrested a number of Christians including Fr. Emmanuel Triệu and interrogated them about priests. Fr. Emmanuel Triệu volunteered to give himself up, admitting that he was the person they were looking for. Soldiers handcuffed and took him away. Watching his mother crying in anguish, Fr. Emmanuel Triệu said a few words of goodbye to his mother: “God had given me the honor of giving witness for Him. Please stop crying and follow God’s will.”

 

* Overcoming Difficulties.

 

Following his arrest were 40 days and nights of trials in prison: cangue around his neck, handcuffs on his hands and shackles around his ankles; he was brought to the tribunal many times and beaten cruelly three times. When the mandarins questioned his personal life, he told them that he was born in Phú Xuân, and because of difficult conditions he had to make a living in the North, then studied catechism and became a priest. The mandarin asked: “Are your wife and children here or in the North? He replied: “I don’t have a wife. Because I am a priest, I stay single.”

On August 17, the mandarins were talking to condemn him to being trampled on by elephants, but one of them disagreed so the sentencing was delayed.

 

In prison, Fr. Emmanuel Triệu always kept his joy and faith in God. He was also consoled by visits from a priest who came in disguise to give him confessions. His mother also visited him many times. He comforted her and asked her to pray for his faith. Additionally he used all his spare time to prepare himself for martyrdom.

 

* The Hour of Glory.

 

The execution date was decided to be 9/17/1798. Early that morning, the mandarins asked him for the last time: “Do you want to abandon your priesthood and return to your hometown to live? If you agree I will ask for the king’s pardon.” Fr. Emmanuel Triệu emphatically replied: “Respectfully no. I am a priest, I rather die than quit my preaching.” Hence, at 10 o’clock in the morning, Fr. Emmanuel Triệu was escorted to the execution site along with 6 robbers who were also condemned to death on the same day. He walked calmly and seriously like a soldier before going to battles. Informed of the execution, Christians followed behind in droves. In front of him was a soldier holding a tablet inscribed with the following sentence:

“Triệu, Nguyễn Văn Lương’s son, preaches European religion and lures people to that disgusting religion. Therefore he must be executed.”

At Bãi Dâu, the execution site, Fr. Emmanuel Triệu knelt down to pray. Following tradition, the commanding mandarin gave him one piaster to buy his last meal. The priest refused, the mandarin then said: “You cannot look down on the king’s gift.” The priest said: “Anyone, please take the money for me, and give to the poor.” A soldier immediately slapped his face. The mandarin was furious at the soldier and scorned him: “It is not yet execution time, why are you so arrogant?” He then turned to the witness of faith, and asked him to sit, then said: “When the time comes, I’ll let you know.” Fr. Emmanuel Triệu immediately sat down and continued to pray.

 

A mainly Cl5 random stone and flint church with stone dressings. It incorporates stonework of tile earlier Norman church of circa 1140. The Cl5 square tower of random stone flint and brick has a castellated parapet a staircase turret and angle buttresses. There is some knapped flint chequer work at the base and some flat work ornamantation on the east side, The south-west buttress has words above a canopied niche, commemorating the wife of John de None fielder of the Manor in 1300 and builder of the tower. The Nave was built by the Barnardistons in 1420 and the roof is C16, a false hammerbeam flat above tile collar, as reconstructed by Lady Elizabeth Barnardiston circa C15. The south porch is C15 and bears the date on a wood panel in the apex of the Gable.

 

Tile north and south aisles are also Cl5. The south door has a wicket inset.

 

The Chancel, with a lead covered roof, is of the C14. The interior, probably one of the least restored churches in Suffolk, has a variety of original features.

Much original woodwork, some crudely primitive benches, square topped, some with linen fold panelling. There is a fine canopied pew built for the Barnardiston family in 1610 and incorporating part of the original chantry screen of circa

1430. The 3-decker octagonal pulpit with sounding-board and back and 2 tiers of arcading is also of circa 1610. The chancel screen is dated 1619. There are some family box pews of 1730. At the West end of the nave there is a musicians gallery and stepped benches for childrens' catechism at the ends of the aisles, both dated circa 1750. The altar rail and sanctuary panelling was erected by Sir Samuel Barnardiston in 1710. Under the nave and aisles are 4 vaults containing 54 lead coffins. The church is rich in mural and other monuments. The tombs of the Barnardiston family include the following. Sir Thomas and Elizabeth Barnardiston (d. 1503 and 1526.), with recumbent figures. 3 other Sir Thomas Baarnardistons have tombs, one (d. 1542) part of an Easter sepulchre, is now set up as a mural, the other (d. 1619) has recumbent figures and the 3rd (d. 16l0) has an elaborate canopy, with kneeling figures. Nathaniel Barnardiston (d, 1653) and his wife has a mural with half- length figures. In the North aisle there is a mural to Sir Philip Skippon (d. 16l9). The church clock with a single hand, situated on the East side of the tower, was made in Braintree in 1729.

 

britishlistedbuildings.co.uk

 

Bien sur que je suis de partie pris !

Quand je vois trois connards ( un n'est évidemment pas visible derrière l'appareiller photo ! ) faisant attendre des gosses dont un a déjà un couteau en main, qui sont presque mort de faim !

Regardez l’épaisseur de certains des bras, des os avec de la peau. Et le pire je suppose c'est qu'il va falloir attendre encore et faire dans les règles religieuses …Prière etc..

Des gros cons de frères de l'ordre de saint Augustin ? Je le devine pas sur une autre photo, ils ont appelé leur barque Augustino !

Y'a pas si « la religion est l'opium du peuple », pour l’Afrique cela a été du cyanure !

On peut admirer les constructions typiques de ces Ougandais en arrière-plan. Il y aura aussi d'ériger par ces pauvres bougres affamés une église sainte Vierge.

Nous sommes au bord du lac Koky, en 1906.Ouganda.

Désolé si je choque certaines personnes dans ceux qui lisent les commentaires, mais plus je vieillis moins je n'accepte/supporte ces idées de religions, toutes religions confondues !

Il paraît qu'il devrait m'arriver le contraire en vieillissant...

Avec la peur de la mort ! Je l'ai et cela me paraît normal.

Comment la religion pourrait m'aider ?

Heureusement que j'ai été amené à rencontrer des hommes d'églises dignes !

Pléonasme ?

Notamment celui qui m'a baptisé, et qui me donnait des cours de catéchisme, dont j'ai mis fin en cours de route, il a eu la délicatesse de ne pas insister !

De plus, il m'a avoué que lui il ne croyait pas non plus en Dieu, mais il était un fervent fidèle de Jésus Christ.

( En général personne ne me croit quand je dis cela, tant-pis …)

Je l'ai rencontré longtemps après, dans un bus parisien essayant de maintenir en bonne place des gamins émigrés bien vivace, il ne m'a pas reconnu, moi si, même avec son blouson de cuir, ces badges « No Futur », il continuait à un âge avancé non pas à convertir comme les trois cons cités plus haut, juste à vivre sa croyance en aidant son prochain. J'arrête de raconter ma vie et je me calme.

Je pense qu'il y a deux ethnies dans le groupe, et reconnaîtrez-vous celui qui a déjà vu un appareil photo, même peut être c'est-il lui meme vu en photo d’où ce superbe sourire !

Il fait un poing avec sa main, je ne sais pourquoi.

 

Of course I’m busy! When I see three assholes (one of them is obviously not visible behind the camera! ) making kids wait, one of whom already has a knife in hand, who are almost starving!

Look at the thickness of some of the arms, bones with skin. And the worst part, I guess, is that we’re going to have to wait and do it in the religious rules … Prayer etc.

Big assholes of brothers of the order of St.Augustine? I guess not on another photo, they called their boat Augustino!

It is not if «religion is the opium of the people», for Africa it was cyanide!

Typical Ugandan buildings can be seen in the background. There will also be a church built by these poor, hungry men.

We are on the shore of Lake Koky, in 1906.Ouganda.

Sorry if I shock some people in those who read the comments, but the older I get, the less I accept/support these ideas of religions, all religions combined!

It seems that the opposite should happen to me as I grow old...

With the fear of death! I have it and it seems normal to me.How could religion help me?

Fortunately, I was brought to meet worthy men of the church!

Is it a pleonasm?

Especially the one who baptized me, and who gave me catechism classes, which I ended along the way, he had the delicacy not to insist!

Moreover, he confessed to me that he did not believe in God either, but he was a fervent faithful in Jesus Christ. ( In general no one believes me when I say this, too bad …)

I met him a long time later, in a Parisian bus trying to keep in good place of the children emigrated well vivacious,

he did not recognize me if, even with his leather jacket, these badges «No Futur», he continued at an advanced age not to convert as the three assholes mentioned above, Just to live his belief by helping his neighbor!

I stop telling my life story and I calm down.

I think that there are two ethnic groups in the group, and will you recognize the one who has already seen a camera, even maybe it is himself seen in photo from where this beautiful smile!

He makes a fist with his hand, I don’t know why.

 

////////

Il semble que le « lac de Koki » soit le nom donné par les Autochtones à un endroit bien précis dans l'ensemble des petits lacs entourant le grand lac Victoria. Qui englobe bien l'Ouganda mais aussi tous les autres pays limitrophes.

 

It appears that “Koki Lake” is the name given by Aboriginal people to a specific location in all of the small lakes surrounding Great Lake Victoria. Which includes Uganda but all the other neighbouring countries.

Igtham is well know, at least the nearby moated manor house, Igtham Moat. The village is well travelled through, and many stop here because it is chocolate box picture perfect.

 

I stopped here at about half ten on a Saturday morning, the place should have been packed with tourists, maybe it will once the pub opens for lunch, but I was able to park in the picturesque village square, take a few shots of the timber-framed buildings, and walk up the hill to the church.

 

From the lych gate I could see the porch door open, so my hopes were raised, and indeed the church was open, un-manned, and the lights came on, triggered by a pressure pad in the porch.

 

This I did not know until the lights went out after ten minutes, I went out to find the light switches, returned and the lights were back on.

 

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

 

The church is built on a steep hillside and displays a rare brick-built north aisle. The chancel is full of unusual memorials, the most noteworthy of which is to Sir Thomas Cawne dating from the end of the fourteenth century. He is wearing armour and chain mail and lies under a canopy beneath a window that forms part of the same composition. In the churchyard is a nice nineteenth-century tomb designed by the famous architect William Burges. The other monuments of note at Ightham are all to the Selby family, the most famous of whom is Dorothy Selby (d. 1641) who is reputed to have had a connection with the Gunpower Plot, although the ambiguous inscription on her tomb is now believed to be no more than an appreciation of her needlework.

 

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

 

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

 

IGHTHAM.

WESTWARD from Wrotham lies IGHTHAM, so corruptly called for Eightham, which name it had from the eight boroughs or hams lying within the bounds of it, viz. Eightham, Redwell, Ivybatch, Borough-green, St. Cleres, the Moat, Beaulies, and Oldborough. (fn. 1) In the Textus Roffensis it is spelt EHTEHAM.

 

THE PARISH of Ightham for the most part is in the vale between the chalk and the sand or quarry hills, tho' it reaches above the former northward. Near the chalk hill, and for some distance southward the same soil prevails, thence it is an unsertile deep sand, and at the boundaries towards Shipborne a deep clay and heavy tillage land; from hence, and its situation, however healthy it may be, it is by no means a pleasant or a profitable one. The parish is very narrow, little more than a mile in width, but from north to south it extends near five miles, from Kingsdown, above the hills, to Shipborne, its southern boundary. At the foot of the chalk hill and north-west boundary of this parish, is the mansion of St. Clere, and not far from it Yaldham; about a mile from which is Ightham-court, and at a little distance further southward is the church and village, situated on the high road from Maidstone to Sevenoke and Westerham, which here crosses this parish by the hamlet of Borough-green, and the manor of Oldborough, or Oldbery, as it is now called, with the hill of that name, belonging to Richard James, esq. of this parish, in this part, and by Ivy-hatch plain, there is much rough uninclosed waste ground, the soil a dreary barren sand, consisting in this and the adjoining parish, of several hundred acres, being in general covered with heath and furze, with some scrubby wood interspersed among them. At the southern extremity of the parish, next to Shipborne, and adjoining to the grounds of Fairlawn, is the seat of the Moat, lowly situated in a deep and miry soil. A fair is kept yearly in this parish, upon the Wednesday in Whitsun week, which is vulgarly called Coxcombe fair.

 

The Roman military way seems to have crossed this parish from Ofham, and Camps directing its course westward through it. The names of Oldborough, now called Oldberry-hill, and Stone-street in it, are certain marks of its note in former times.

 

At Oldberry-hill there are the remains of a very considerable intrenchment, which is without doubt of Roman origin. It is situated on the top of the hill, and is now great part of it so overgrown with wood as to make it very difficult to trace the lines of it. It is of an oval form, and by a very accurate measurement, contains within its bounds the space of one hundred and thirty-seven acres. Just on the brow of the hill is an entrance into a cave, which has been long filled up by the sinking of the earth, so as to admit a passage but a very small way into it, but by antient tradition, it went much further in, under the hill.

 

The whole of it seems to have been antiently fortified according to the nature of the ground, that is, where it is less difficult of access by a much stronger vallum or bank, than where it is more so. In the middle of it there are two fine springs of water. The vast size of this area, which is larger even than that at Keston, in this county, takes away all probability of its having been a Roman station, the largest of which, as Dr. Horsley observes, that he knew of, not being near a tenth part of this in compass. It seems more like one of their camps, and might be one of their castra æstiva, or summer quarters, of which kind they had several in this county. An intrenchment of like form seems to have been at Oldbury hill, in Wiltshire, which the editor of Camden thought might possibly be Danish. There are remains of a Roman camp at Oldbury, in Gloucestershire, where the pass of the Romans over the Severn, mentioned by Antonine, is supposed to have been by Camden. And at Oldbury, near Manchester, in Warwickshire, are such like remains.

 

IGHTHAM was held in the reign of king Henry III. by Hamo de Crevequer, who died possessed of it in the 47th year of that reign, anno 1262, leaving Robert, his grandson, his heir. By his wife, Maud de Albrincis, or Averenches, he had also four daughters, Agnes, wife of John de Sandwich, Isolda, of Nicholas de Lenham; Elene, of Bertram de Criol; and Isabel, of Henry de Gaunt.

 

Robert de Crevequer left one son, William, who dying without issue, his inheritance devolved on the children of three of the daughters of Hamon de Crevequer, as above-mentioned, Agnes, Isolda, and Elene, and on the division of their inheritance, Ightham seems to have fallen to the share of Nicholas, son of Bertram de Criol, by his wife Elene, above-mentioned. He was a man greatly in the king's favour, and was constituted by him warden of the five ports, sheriff of Kent, and governor of Rochester castle. By Joane his wife, daughter and sole heir of William de Aubervill, he had Nicholas de Criol, who had summons to parliament, and died in the 31st year of king Edward the 1st.'s reign, possessed of this manor, which his heirs alienated to William de Inge, who held it in the first year of king Edward II. and procured free-warren for his lands in Eyghtham, (fn. 2) and in the 9th year of it, a market here, to be held on a Monday weekly, and one fair on the feast of the apostles, St. Peter and St. Paul. In which last year he was constituted one of the justices of the common pleas. (fn. 3) He bore for his arms, Or, a chevron vert. On his death, in the 15th year of that reign, anno 1286, Joane, his daughter, married to Eudo, or Ivo la Zouch, the son of William, lord Zouch, of Harringworth, by Maud, daughter of John, lord Lovel, of Tichmarsh, became entitled to it.

 

His descendants continued in the possession of this manor till the reign of king Henry VII. when it was alienated to Sir Robert Read, serjeant at law, afterwards made chief justice of the common pleas, (fn. 4) who died in the next reign of king Henry VIII. leaving by Margaret, one of the daughters and coheirs of John Alphew, esq. of Chidingstone, one son, Edmund, one of the justices of the king's bench, who died before him in 1501, and also four daughters, who became his coheirs, and on the partition of their inheritance this manor was allotted to Sir Thomas Willoughby, (fn. 5) in right of Bridget his wife, the eldest of them. He was in the 29th year of king Henry VIII. promoted to the office of chief justice of the common pleas, and in the 31st year of it, he, among others, procured his lands to be disgavelled by the act then passed for that purpose. He left Robert his son and heir, who alienated this manor to William James, third son of Roger James, of London, who was of Dutch parentage, and coming into England in the latter end of the reign of king Henry VIII. was first as being the descendant of Jacob Van Hastrecht, who was antiently seated at Cleve near Utrecht, called after the Dutch fashion Roger Jacobs, and afterwards Roger James, alias Hastrecht. This Roger James, alias Hastrecht, had several sons and one daughter. Of the former, Roger, the eldest, was of Upminster, in Essex, whose descendants settled at Ryegate, in Surry. William, was of Ightham, as before mentioned; Richard had a son, who was of Creshell, in Essex; John was of Woodnesborough, in this county, and George was of Mallendine, in Cliff, near Rochester. William-James, the third son of Roger as before-mentioned, resided at Ightham-court, as did his son William James, esq. who was a man much trusted in the usurpation under Oliver Cromwell, as one of the committee members for the sequestration of the loyalists estates, during which time he was in five years thrice chosen knight of the shire for Kent. His son Demetrius was knighted, whose son William James held his shrievalty for this county here in 1732. He left by his wife, daughter of Demetrius James, esq. of Essex, two sons, Richard his heir, and Demetrius, late rector of this parish, and a daughter married to Mr. Hindman. He died in 1780, and was succeeded by his eldest son Richard James, esq. now of Ightham-court, and the present possessor of this manor. He is colonel of the West-Kent regiment of militia, and is at present unmarried. The original coat of arms of this family of Haestrecht was, Argent, two bars crenelle, gules, in chief three pheons sable; which arms, without the pheons, are borne by the several branches of James, quartered with, Argent, a chevron between three fer de molins transverse, sable.

 

ST. CLERES, alias West Aldham, situated in the borough of the latter name, is a manor and seat in the north-west part of this parish, adjoining to Kemsing, which was formerly called by the latter name only, and was possessed by a family of the same denomination, who bore for their arms, Azure, a pile, or.

 

Sir Thomas de Aldham was owner of it in the reign of king Richard I. and was with that king at the siege of Acon, in Palestine. His descendant Sir Thomas de Aldham, possessed this manor of Aldham in the reign of king Edward II. and dying without male issue, his three daughters became his coheirs, the eldest of whom married Newborough, called in Latin de Novo Burgo, of Dorsetshire; Margery married Martin Peckham, and Isolda was the wife of John St. Clere, and on the division of their inheritance this manor fell to the share of John St. Clere, who possessed it in his wife's right. (fn. 6)

 

John de St. Clere, written in Latin deeds De Sancta Claro, died possessed of it in the beginning of king Edward III. leaving Isolda his wife surviving, on whose death John St. Clere, their son, succeeded to this manor, which from this family now gained the name of Aldham St. Cleres, and in process of time came to be called by the latter name only, and their descendants continued in possession of this manor till the beginning of the reign of king Henry VII. when it was alienated to Henry Lovel, who left two daughters his coheirs; Agnes, who married John Empson, cousin to Sir Richard Empson, the grand projector; and Elizabeth, married to Anthony Windsor.

 

John Empson conveyed his moiety of it, in the 8th year of king Henry VIII. to Sir Thomas Bulleyn, afterwards created earl of Wiltshire and Ormond, and father of the lady Anne Bulleyn, wife to Henry VIII. (fn. 7) and Anthony Windsor, in the 10th year of that reign, passed his moiety away by sale to Richard Farmer, who that year purchased of Sir Thomas Bulleyn the other part, and so became possessed of the whole of this manor of St. Cleres. In the 28th year of that reign, Richard Farmer conveyed it to George Multon, esq. of Hadlow who removed hither. He bore for his arms, Or, three bars vert; being the same arms as those borne by Sir John Multon, lord Egremond, whose heir general married the lord Fitzwalter, excepting in the difference of the colours, the latter bearing it, Argent, three bars, gules. His grandson Robert Multon, esq. was of St. Cleres, and lies buried with his ancestors in this church. He alienated this manor and estate, in the reign of Charles I. to Sir John Sidley, knight and baronet, a younger branch of those of Southfleet and Aylesford, in this county, who erected here a mansion for his residence, which is now remaining. He was descended from William Sedley, esq. of Southfleet, who lived in the reign of king Edward VI. and left three sons, of whom John was ancestor of the Sedleys, of Southfleet and Aylesford; Robert was the second son, and Nicholas the third son, by Jane, daughter and coheir of Edward Isaac, esq. of Bekesborne, afterwards married to Sir Henry Palmer, left one son, Isaac Sidley, who was of Great Chart, created a baronet in 1621, and sheriff of this county in the 2d year of Charles I. whose son Sir John Sidley, knight and baronet, purchased St. Cleres, as above-mentioned. (fn. 8) He left two sons, Isaac and John, who both succeeded to the title of baronet. The eldest son, Sir Isaac Sidley, bart. succeeded his father in this estate, and was of St. Cleres, as was his son, Sir Charles Sidley, bart. who dying without issue in 1702, was buried in Ightham church. By his will he devised this manor, with the seat and his estates in this parish, to his uncle John, who succeeded him in the title of baronet, for his life, with remainder to George Sedley, his eldest son, in tale male. But Sir Charles having been for some time before his death, and at the time of his making his will of weak understanding, and under undue influence, Sir John Sedley contested the validity of it, and it was set aside by the sentence in the prerogative court of Canterbury.

 

Soon after which Sir John, and his son George Sedley above-mentioned, entered into an agreement, by which Sir John Sedley waved his right as heir at law, and his further right to contest the will. In consequence of which an act of parliament was obtained for the settling in trustees the manor of West Aldham, alias St. Cleres, with its appurtenances, and the capital messuage called St. Cleres, in Ightham, and other messuages and lands in Ightham, Wrotham, Kemsing, Seal, &c. that they might be sold for the purposes of the agreement, which the whole of them were soon afterwards to William Evelyn, esq. the fifth son of George Evelyn, esq. of Nutfield, in Surry, who afterwards resided here, and in 1723 was sheriff of this county.

 

He married first the daughter and heir of William Glanvill, esq. and in the 5th year of king George I. obtained an act of parliament to use the surname and arms of Glanvill only, the latter being Argent, a chief indented azure, pursuant to the will of William Glanvill, esq. above-mentioned. By her he had an only daughter Frances, married to the hon. Edward Boscawen, next brother to Hugh, viscount Falmouth, and admiral of the British fleet. His second wife was daughter of Jones Raymond, esq. who died in 1761, by whom he had William Glanvill Evelyn, esq. who on his father's decease in 1766, succeeded to St. Cleres and the rest of his estates in this county. In 1757 he kept his shrievalty at St. Cleres, where he resides at present, and is one of the representatives in parliament for Hythe, in this county.

 

He married about the year 1760, Susan, one of the two daughters and coheirs of Thomas Borrett, esq. of Shoreham, late prothonotary of the court of common pleas, by whom he had a son, William Evelyn, esq. who died in 1788 at Blandford-lodge, near Woodstock, by a fall from his horse, æct. 21, and unmarried; and a daughter Frances, afterwards his sole heir, married in 1782 to Alexander Hume, esq. of Hendley, in Surry, brother of Sir Abraham Hume, who in 1797 had the royal licence to take and use the name and arms of Evelyn only, and he now resides at St. Clere.

 

THE MOAT is another borough in this parish, in which is the manor and seat of that name, lying at the southern extremity of it next to Shipborne, which in the reign of king Henry II. was in the possession of Ivo de Haut, and his descendant, Sir Henry de Haut, died possessed of it in the 44th year of Edward III. as appears by the escheat roll of that year. His son, Sir Edmund de Haut, died in his life-time, so that his grandson, Nicholas Haut, became his heir, and succeeded him in the possession of this estate. (fn. 9)

 

He was sheriff in the 19th year of king Richard II. and kept his shrievalty at Wadenhall, in this county. He left two sons, William, who was of Bishopsborne; and Richard Haut, who succeeded him in this estate, and was sheriff in the 18th and 22d years of king Edward IV. keeping both his shrievalties at this seat of themoat; but having engaged, with several others of the gentry of this county, with the duke of Buckingham, in favor of the Earl of Richmond, he was beheaded at Pontefract, anno 1 Richard III. and afterwards attainted in the 3d year of that reign, and his estates confiscated. (fn. 10) Quickly after which, this manor and seat were granted by that king to Robert Brakenbury, lieutenant of the tower of London, and that year sheriff of this county. He kept possession of the Moat but a small time, for he lost his life with king Richard in the fatal battle of Bosworth, fought that year on August 22, and on the Earl of Richmond's attaining the crown was attainted by an act then passed for the purpose, and though his two daughters were restored in blood by another act four years afterwards, yet the Moat was immediately restored to the heirs of its former owner Richard Haut, whose attainder was likewise reversed, and in their descendants it remained till the latter end of the reign of king Henry VII. when it appears by an old court roll to have been in the possession of Sir Richard Clement, who kept his shrievalty at the Moat in the 23d year of king Henry VIII and bore for his arms, A bend nebulee, in chief three fleurs de lis within a border, gobinated. He died without any legitimate issue, and was buried in the chancel of this church. Upon which his brother, John Clement, and his sister, married to Sir Edward Palmer, of Angmering, in Sussex, became his coheirs, but the former succeeded to the entire fee of this estate.

 

John Clement died without male issue, leaving an only daughter and heir Anne, who carried the Moat in marriage to Hugh Pakenham, and he, in the reign of king Edward VI. joining with Sir William Sydney, who had married Anne, his only daughter and heir passed it away to Sir John Allen, who had been of the privy council to king Henry VIII. and lord mayor of London in the year 1526 and 1536. He was of the company of mercers, a man of liberal charity. He gave to the city of London a rich collar of gold, to be worn by the succeeding lord-mayors: also five hundred marcs as a stock for sea coal, and the rents of those lands which he had purchased of the king, to the poor of London for ever; and during his life he gave bountifully to the hospitals, prisons, &c. of that city. He built the mercers chapel in Cheapside, in which his body was buried, which was afterwards moved into the body of the hospital church of St. Thomas, of Acon, and the chapel made into shops by the mercer's company. He bore for his arms, In three roundlets, as many talbots passant, on a chief a lion passant guardant between two anchors. (fn. 11)

 

He left a son and heir Sir Christopher Allen, whose son and heir, Charles Allen, esq. succeeded his father in this estate, and resided at the Moat, which he afterwards sold at the latter end of the reign of queen Elizabeth to Sir William Selby, younger brother of Sir John Selby, of Branxton, in Northumberland. He resided here in the latter part of his life, and died greatly advanced in years in 1611, unmarried, and was buried in this church, bearing for his arms, Barry of twelve pieces, or and azure. He by his will gave this estate to his nephew, Sir William Selby, who resided here, and died likewise without issue, and by his will, for the sake of the name gave the Moat to Mr. George Selby, of London, who afterwards resided here, and was sheriff in the 24th year of king Charles I. and bore for his arms, Barry of eight pieces, or and sable. He died in 1667, leaving several sons and daughters. Of whom William Selby, esq. the eldest son, succeeded to this estate, and was of the Moat. He married Susan, daughter of Sir John Rainey, bart. of Wrotham, by whom he had several children, of whom John Selby, esq. the eldest son, was of the Moat, and by Mary his wife, one of the three daughters and coheirs of Thomas Gifford, esq. left two sons, William, who succeeded him in this seat and estate at Ightham, and John Selby, esq. who was of Pennis, in Fawkham, and died unmarried.

 

William Selby resided at the Moat, of which he died possessed in 1773, leaving his wife Elizabeth, daughter of Mr. Burroughs, surviving, who afterwards possessed this seat and resided here. She died in 1788, and her only son, William Selby, esq. of Pennis, having deceased in 1777, and his only daughter and heir likewise, Elizabeth Borough Selby, by Elizabeth his wife, one of the daughters of John Weston, esq. of Cranbrook, under age, and unmarried in 1781. This seat, with her other estates in this county, devolved to John Brown, esq. who has since taken the name of Selby, and now resides at the Moat, of which he is the present possessor.

 

The park, called Ightham park, has been already mentioned under the parish of Wrotham, to which the reader is referred.

 

It appears by the visitation of 1619, that there was a branch of the Suliards, of Brasted, then residing in this parish.

 

John Gull resided in this parish in the reign of king Henry VIII. and died here in 1547.

 

Charities.

HENRY PEARCE gave by will in 1545, to be distributed to the poor in bread yearly the annual sum of 6s. 8d. charged on land now vested in Cozens, and she gave besides to be distributed to the poor in bread at Easter yearly, 40l. now of the annual produce of 2l. and for the providing of books for poor children to learn the catechism, the sum of 10l. now of the annual produce of 10s.

 

HENRY FAIRBRASSE gave by will in 1601, to be distributed in like manner, the annual sum of 1l. to be paid out of land now vested in William Hacket.

 

WILLIAM JAMES, ESQ. gave by will in 1627, to be distributed in bread to the poor every Sunday, the annual sum of 2l. 12s. to be paid out of lands now vested in Rich. James, esq.

 

GEORGE PETLEY gave by will in 1705, to be distributed in like manner, every Sunday, 2s. the annual sum of 5l. 4s. to be paid out of land vested in William Evelyn, esq.

 

ELIZABETH JAMES, gave by will in 1720, for the education of poor children, the annual sum of 5l. to be paid out of land now vested in Elizabeth Solley.

 

IGHTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such in the deanry of Shoreham.

 

¶The church is dedicated to St. Peter. Under an arch on the north side of it, there is a tomb of free stone, having on it a very antient figure at full length of a man in armour, ornamented with a rich belt, sword and dagger, his head resting on two cushions, and a lion at his feet, over his whole breast are his arms, viz. A lion rampant, ermine, double queued. This is by most supposed to be the tomb of Sir Thomas Cawne, who married Lora, daughter and heir of Sir Thomas Morant. He was originally extracted from Staffordshire: he probably died without issue, and his widow remarried with James Peckham, esq. of Yaldham. His arms, impaling those of Morant, were in one of the chancel windows of this church.

 

The rectory is valued in the king's books at 15l. 16s. 8d. and the yearly tenths at 1l. 11s. 8d. It is now of the yearly value of about 200l.

 

The patronage of this rectory seems to have been always accounted an appendage to the manor of Ightham, as such it is now the property of Richard James, esq. of Ightham-court.

 

www.british-history.ac.uk/survey-kent/vol5/pp33-45

No; only such as by true faith are ingrafted into him, and receive all his benefits (Matt 1:21†; 7:13–14, 21†; 7:24†; 22:14; Mark 16:16†; John 1:12–13; 3:36; 17:9†; Isa 53:11; Ps 2:12; Rom 11:19–20; 3:22†; Heb 4:2–3; 5:9†; 10:39; 11:6†).The text of the catechism is reproduced from, “The Heidelberg Catechism. A.D. 1563,” in Philip Schaff and David S. Schaff, eds., The Creeds of Christendom (1931; repr., Grand Rapids: Baker, 1996), 3:307–55.

www.masonicforum.ro/?cmd=displaystory&story_id=73&amp....

 

www.masonic-lodge-of-education.com/mosaic-pavement.html

 

The Mosaic Pavement

by GABRIEL VASILE OLTEAN

Expert Inspector of NGLR for Western Region; Past Worshipful Master, ZAMOLXIS Lodge, no. 182, Deva

 

"The interior decoration of a masonic lodge comprises ornaments, accessories and insignia. The ornaments are: the mosaic on the floor - respresenting spirt and matter, the shining star and the laced edge, which remind us always the first of the presence of God and the second of the protective wall" - cites Charles W Leadbeater from the ritual of mixed masonry in his work "Freemasonry - Rites and Initiations."

 

In the center of the Temple, on the ground, there is a rectangular floor, with black and white tiles, called the mosaic pavement (theoretically, cubes seen perspectivally), where a relgaion obtains between the sides, either 2:1 (the long square) or 1.618.../1 (the golden number), thus coming up with a surface proportional to the total area of the Lodge. Thus we see that practically the moasica, placed in the center of the Lodge is a microcosmic representation of the whole of creation and is by itself a sacred central area - whence the interdiction to ever step on the mosaic when the work of the Lodge is underway. The pavement symbolizes the indisociable operative complementarity of the two cosmic principles: the initiate must know how no longer let himself be dominated by the confrontation between positive and negative forces, to know (it is indispensable) how to use it, to master it so as to work constructively.

 

In Ancient Egypt, the mosaic was never stepped on except by a candidate and the masters of ceremony, and only at precise moments (by the Past Worshipful Master for the fulfilment of his tasks, by the First Expert when he took the light of the sacred fire, or by the sexton when he spread frankincense on the altar of the Temple. An extremely important aspect of the mosaic pavement is that, being placed in the middle of the Temple, framed by the three colonettes (which represent the Worshipful Master, the Senior and Junior Wardens), must be avoided by walking in a square, in a symbolic sense. The current of energy cross the floor, some along the length, some along the width, in lines that remind of the warp of a canvas.

Upon opening the work, the Trestle Board is depicted on this pavement, which varies with the first three degrees. The mosaic pavement signifies different things according to the traditional mode of work in the lodge, or the masonic rite employed.

 

The French Rite specifies that the pavement adorned the threshold of the geat porch of the Temple and showed that this is one of the ornaments of the Lodge, being the emblem of the intimate union among masons. Here it was explained to the Apprentice that he "could not stand on the mosaic pavement to contemplate the interior of the edifice". This started above from the seventh step, as we can well conclude by an attentive research of the Trestle Boards of the first two degrees.

 

The Rectified Scottish Rite speaks too little of this pavement, noting that "the mosaic pavement adorns the threshold of the great veranda of the Temple. It covers the entry to the subterranean part of the Temple between the two columns, to a crypt that held holy idols and especially the pledge of the alliance between the chosen people and the Creator: the Royal Ark (Ark of the Covenant).

 

The Ancient and Accepted Scottish Rite does not describe in any way this ornament. As to the decoration of the Lodge, it is said however "the floor of the lodge is the pavement in alternative black and white squares. When it is thus decorated, a pavement is achieved wit the shape of a long square, placed in the center of the Lodge, decorated on the model of the latter".

 

The York Rite affirms that "the mosaic pavement represents the floor of the Temple of Solomon", having the added laced edge. It is obvious enough that it is about a symbolic contribution in what regards the floor of the Lodge, because in the Bible the floor of the Temple isn't described as an series of black and white squares: "and the floor of the Temple was made from cypress planks" (3 Kings 6:15).

 

Whereas in the Emulation Rite (the Anglo-Saxon Rites are more precise in their descriptions) specifies that "the mosaic pavement may rightly be considered the wondrous tiling of a freemason Lodge due to its diversity and regularity. Thus the diversity of beings and objects in the world surfaces, as well the ensouled ones as those that are not". In the complementary course of the Rite of Emulation (in the fifth part) it is specified: "our lodge is adorned with mosaic pavement to mark the uncertainty of all terrestrial vanities... as we step on this mosaic, our thought must return to the original idea that we imitate and act as honorable men and masons". Mosaic pavement is presented as an image of faith, harmony, understanding..

Outside the definitions offered by different masonic rites, the mosaic pavement may be approached under many aspect, two of which seem edifying to us:

• The floor of the Lodge,

• The route of squares for the tracing of planes,

When we approach the mosaic pavement as floor of the Lodge, we are forced to distinguish between the pavement of operative and speculative Lodges.

 

In the first case, we specify that Lodges were usually annexes to the construction site, attached to the construction on the Southern side of the Work (to receive more light and to have the wall of the edifice for protection. It is extremely clear and evident that in this case no floor was imposed (nor would any be functional). The tiling that constitutes the mosaic is fragile in contradiction with the dimensions (weight) of the tools of freemasons (sledgehammers were very heavy). If we are talking about a surface for permanent cutting and polishing of rock, we can easily imagine that the floor of such a place was permanently covered by fragments, remains, abrasive dust. Not in the last place, we must note the fact that mosaic was principally fixed in especially prepared mortar in which designs were first marked that etched the image or drawing that was the purpose of the mosaic.

In the other approach, that of the speculative Lodges, a symbolic rug laid in squares may be laid on the floor, or it may be build from alternating black and white tiles, the decision being that of the Lodge. The notionc of mosaic pavement cannot be discussed before the appearance of Grand Lodges.

 

As a route of squares - as network of right angles - to trace planes is another mode of approach specific to operative lodges, which must distinguish:

A directory route of the edifice that must be understood after we describe the Medieval constructin site at the beginning of the work: on a leveled and cleared surface (treated with charcoal), a scheme of the main lines of the edifice was traced with the help of a rope covered in chalk. There are documents to this effect that attest the describe practice, which reminds of certain answers from the masonic catechism. To the question: "how do you serve your Master?", there is the answer: "with charcoal, chalk and clay".

 

A technical assistance set of squares would be another variant of this approach. An amenably arranged surface, spread in regular squares through lines traced for inumerable uses, the first and most important being that of assembly table. It also served to establish easily a series of angles, in an approximate way that was sufficient for a mason (taking four divisions on a line, and on the perpendicular seven at one extremity, a reasaonbly 60° angle is obtained). In fact, we can imagine the banal math copybook paper that has helped us trace with more facility (and more precision) the geometrical shapes that tortured (or didn't) us in the geometry problems in elementary school.

 

The black and white, chessboard-like pavement is thus the mosaic pavement. In what pertains to the term "mosaic", there are two different opinions, one refering to Moses and one to the technique of decoration. Each school has its pros and cons, more or less logical and valid.

 

"The canvas of ours lives is a mixed thread, the good together with the bad" wrote Shakespeare. Anything is characterized by a combination of good and bad, light and shadow, joy and sadness, positive and negative, yin and yang. What is good for me may be bad for you, pleasure is generated by pain, etc.

 

Following the thread of the current Paper, we may say with certainty that the mosaic is not mart of the elements of Judaic architecture and that the mosaic pavement is a contribution of modern speculative Masonry, operative lodges never having been squared this way. It is obvious that the current exposition is not and does not wish to be an exhaustive work. It is a somewhat complex approach of an important symbol in the decoration of the masonic Temple and it wishes in fact to the a paper addressing an open question:

- The mosaic pavement is the floor of the Lodge (as the rituals consider it) or is it the space limited by the three pillars Power, Wisdom, and Beauty?

A good thought accompanied by the triple brotherly accolade!

 

Copyright Forum Masonice

Igtham is well known, at least the nearby moated manor house, Igtham Moat. The village is well travelled through, and many stop here because it is chocolate box picture perfect.

 

I stopped here at about half ten on a Saturday morning, the place should have been packed with tourists, maybe it will once the pub opens for lunch, but I was able to park in the picturesque village square, take a few shots of the timber-framed buildings, and walk up the hill to the church.

 

From the lych gate I could see the porch door open, so my hopes were raised, and indeed the church was open, un-manned, and the lights came on, triggered by a pressure pad in the porch.

 

This I did not know until the lights went out after ten minutes, I went out to find the light switches, returned and the lights were back on.

 

Upon entering the church, your eyes are drawn to large and impressive memorials on the right hand side of the Chancel, two lying armoured male figures have relaxed for four hundred years, on the east wall, a severe female glares down as she has done since the 17th century.

 

And in an alcove on the north side, a 14th century knight, covered in armour lies with a lion at his feet.

 

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The church is built on a steep hillside and displays a rare brick-built north aisle. The chancel is full of unusual memorials, the most noteworthy of which is to Sir Thomas Cawne dating from the end of the fourteenth century. He is wearing armour and chain mail and lies under a canopy beneath a window that forms part of the same composition. In the churchyard is a nice nineteenth-century tomb designed by the famous architect William Burges. The other monuments of note at Ightham are all to the Selby family, the most famous of whom is Dorothy Selby (d. 1641) who is reputed to have had a connection with the Gunpower Plot, although the ambiguous inscription on her tomb is now believed to be no more than an appreciation of her needlework.

 

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

 

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IGHTHAM.

WESTWARD from Wrotham lies IGHTHAM, so corruptly called for Eightham, which name it had from the eight boroughs or hams lying within the bounds of it, viz. Eightham, Redwell, Ivybatch, Borough-green, St. Cleres, the Moat, Beaulies, and Oldborough. (fn. 1) In the Textus Roffensis it is spelt EHTEHAM.

 

THE PARISH of Ightham for the most part is in the vale between the chalk and the sand or quarry hills, tho' it reaches above the former northward. Near the chalk hill, and for some distance southward the same soil prevails, thence it is an unsertile deep sand, and at the boundaries towards Shipborne a deep clay and heavy tillage land; from hence, and its situation, however healthy it may be, it is by no means a pleasant or a profitable one. The parish is very narrow, little more than a mile in width, but from north to south it extends near five miles, from Kingsdown, above the hills, to Shipborne, its southern boundary. At the foot of the chalk hill and north-west boundary of this parish, is the mansion of St. Clere, and not far from it Yaldham; about a mile from which is Ightham-court, and at a little distance further southward is the church and village, situated on the high road from Maidstone to Sevenoke and Westerham, which here crosses this parish by the hamlet of Borough-green, and the manor of Oldborough, or Oldbery, as it is now called, with the hill of that name, belonging to Richard James, esq. of this parish, in this part, and by Ivy-hatch plain, there is much rough uninclosed waste ground, the soil a dreary barren sand, consisting in this and the adjoining parish, of several hundred acres, being in general covered with heath and furze, with some scrubby wood interspersed among them. At the southern extremity of the parish, next to Shipborne, and adjoining to the grounds of Fairlawn, is the seat of the Moat, lowly situated in a deep and miry soil. A fair is kept yearly in this parish, upon the Wednesday in Whitsun week, which is vulgarly called Coxcombe fair.

 

The Roman military way seems to have crossed this parish from Ofham, and Camps directing its course westward through it. The names of Oldborough, now called Oldberry-hill, and Stone-street in it, are certain marks of its note in former times.

 

At Oldberry-hill there are the remains of a very considerable intrenchment, which is without doubt of Roman origin. It is situated on the top of the hill, and is now great part of it so overgrown with wood as to make it very difficult to trace the lines of it. It is of an oval form, and by a very accurate measurement, contains within its bounds the space of one hundred and thirty-seven acres. Just on the brow of the hill is an entrance into a cave, which has been long filled up by the sinking of the earth, so as to admit a passage but a very small way into it, but by antient tradition, it went much further in, under the hill.

 

The whole of it seems to have been antiently fortified according to the nature of the ground, that is, where it is less difficult of access by a much stronger vallum or bank, than where it is more so. In the middle of it there are two fine springs of water. The vast size of this area, which is larger even than that at Keston, in this county, takes away all probability of its having been a Roman station, the largest of which, as Dr. Horsley observes, that he knew of, not being near a tenth part of this in compass. It seems more like one of their camps, and might be one of their castra æstiva, or summer quarters, of which kind they had several in this county. An intrenchment of like form seems to have been at Oldbury hill, in Wiltshire, which the editor of Camden thought might possibly be Danish. There are remains of a Roman camp at Oldbury, in Gloucestershire, where the pass of the Romans over the Severn, mentioned by Antonine, is supposed to have been by Camden. And at Oldbury, near Manchester, in Warwickshire, are such like remains.

 

IGHTHAM was held in the reign of king Henry III. by Hamo de Crevequer, who died possessed of it in the 47th year of that reign, anno 1262, leaving Robert, his grandson, his heir. By his wife, Maud de Albrincis, or Averenches, he had also four daughters, Agnes, wife of John de Sandwich, Isolda, of Nicholas de Lenham; Elene, of Bertram de Criol; and Isabel, of Henry de Gaunt.

 

Robert de Crevequer left one son, William, who dying without issue, his inheritance devolved on the children of three of the daughters of Hamon de Crevequer, as above-mentioned, Agnes, Isolda, and Elene, and on the division of their inheritance, Ightham seems to have fallen to the share of Nicholas, son of Bertram de Criol, by his wife Elene, above-mentioned. He was a man greatly in the king's favour, and was constituted by him warden of the five ports, sheriff of Kent, and governor of Rochester castle. By Joane his wife, daughter and sole heir of William de Aubervill, he had Nicholas de Criol, who had summons to parliament, and died in the 31st year of king Edward the 1st.'s reign, possessed of this manor, which his heirs alienated to William de Inge, who held it in the first year of king Edward II. and procured free-warren for his lands in Eyghtham, (fn. 2) and in the 9th year of it, a market here, to be held on a Monday weekly, and one fair on the feast of the apostles, St. Peter and St. Paul. In which last year he was constituted one of the justices of the common pleas. (fn. 3) He bore for his arms, Or, a chevron vert. On his death, in the 15th year of that reign, anno 1286, Joane, his daughter, married to Eudo, or Ivo la Zouch, the son of William, lord Zouch, of Harringworth, by Maud, daughter of John, lord Lovel, of Tichmarsh, became entitled to it.

 

His descendants continued in the possession of this manor till the reign of king Henry VII. when it was alienated to Sir Robert Read, serjeant at law, afterwards made chief justice of the common pleas, (fn. 4) who died in the next reign of king Henry VIII. leaving by Margaret, one of the daughters and coheirs of John Alphew, esq. of Chidingstone, one son, Edmund, one of the justices of the king's bench, who died before him in 1501, and also four daughters, who became his coheirs, and on the partition of their inheritance this manor was allotted to Sir Thomas Willoughby, (fn. 5) in right of Bridget his wife, the eldest of them. He was in the 29th year of king Henry VIII. promoted to the office of chief justice of the common pleas, and in the 31st year of it, he, among others, procured his lands to be disgavelled by the act then passed for that purpose. He left Robert his son and heir, who alienated this manor to William James, third son of Roger James, of London, who was of Dutch parentage, and coming into England in the latter end of the reign of king Henry VIII. was first as being the descendant of Jacob Van Hastrecht, who was antiently seated at Cleve near Utrecht, called after the Dutch fashion Roger Jacobs, and afterwards Roger James, alias Hastrecht. This Roger James, alias Hastrecht, had several sons and one daughter. Of the former, Roger, the eldest, was of Upminster, in Essex, whose descendants settled at Ryegate, in Surry. William, was of Ightham, as before mentioned; Richard had a son, who was of Creshell, in Essex; John was of Woodnesborough, in this county, and George was of Mallendine, in Cliff, near Rochester. William-James, the third son of Roger as before-mentioned, resided at Ightham-court, as did his son William James, esq. who was a man much trusted in the usurpation under Oliver Cromwell, as one of the committee members for the sequestration of the loyalists estates, during which time he was in five years thrice chosen knight of the shire for Kent. His son Demetrius was knighted, whose son William James held his shrievalty for this county here in 1732. He left by his wife, daughter of Demetrius James, esq. of Essex, two sons, Richard his heir, and Demetrius, late rector of this parish, and a daughter married to Mr. Hindman. He died in 1780, and was succeeded by his eldest son Richard James, esq. now of Ightham-court, and the present possessor of this manor. He is colonel of the West-Kent regiment of militia, and is at present unmarried. The original coat of arms of this family of Haestrecht was, Argent, two bars crenelle, gules, in chief three pheons sable; which arms, without the pheons, are borne by the several branches of James, quartered with, Argent, a chevron between three fer de molins transverse, sable.

 

ST. CLERES, alias West Aldham, situated in the borough of the latter name, is a manor and seat in the north-west part of this parish, adjoining to Kemsing, which was formerly called by the latter name only, and was possessed by a family of the same denomination, who bore for their arms, Azure, a pile, or.

 

Sir Thomas de Aldham was owner of it in the reign of king Richard I. and was with that king at the siege of Acon, in Palestine. His descendant Sir Thomas de Aldham, possessed this manor of Aldham in the reign of king Edward II. and dying without male issue, his three daughters became his coheirs, the eldest of whom married Newborough, called in Latin de Novo Burgo, of Dorsetshire; Margery married Martin Peckham, and Isolda was the wife of John St. Clere, and on the division of their inheritance this manor fell to the share of John St. Clere, who possessed it in his wife's right. (fn. 6)

 

John de St. Clere, written in Latin deeds De Sancta Claro, died possessed of it in the beginning of king Edward III. leaving Isolda his wife surviving, on whose death John St. Clere, their son, succeeded to this manor, which from this family now gained the name of Aldham St. Cleres, and in process of time came to be called by the latter name only, and their descendants continued in possession of this manor till the beginning of the reign of king Henry VII. when it was alienated to Henry Lovel, who left two daughters his coheirs; Agnes, who married John Empson, cousin to Sir Richard Empson, the grand projector; and Elizabeth, married to Anthony Windsor.

 

John Empson conveyed his moiety of it, in the 8th year of king Henry VIII. to Sir Thomas Bulleyn, afterwards created earl of Wiltshire and Ormond, and father of the lady Anne Bulleyn, wife to Henry VIII. (fn. 7) and Anthony Windsor, in the 10th year of that reign, passed his moiety away by sale to Richard Farmer, who that year purchased of Sir Thomas Bulleyn the other part, and so became possessed of the whole of this manor of St. Cleres. In the 28th year of that reign, Richard Farmer conveyed it to George Multon, esq. of Hadlow who removed hither. He bore for his arms, Or, three bars vert; being the same arms as those borne by Sir John Multon, lord Egremond, whose heir general married the lord Fitzwalter, excepting in the difference of the colours, the latter bearing it, Argent, three bars, gules. His grandson Robert Multon, esq. was of St. Cleres, and lies buried with his ancestors in this church. He alienated this manor and estate, in the reign of Charles I. to Sir John Sidley, knight and baronet, a younger branch of those of Southfleet and Aylesford, in this county, who erected here a mansion for his residence, which is now remaining. He was descended from William Sedley, esq. of Southfleet, who lived in the reign of king Edward VI. and left three sons, of whom John was ancestor of the Sedleys, of Southfleet and Aylesford; Robert was the second son, and Nicholas the third son, by Jane, daughter and coheir of Edward Isaac, esq. of Bekesborne, afterwards married to Sir Henry Palmer, left one son, Isaac Sidley, who was of Great Chart, created a baronet in 1621, and sheriff of this county in the 2d year of Charles I. whose son Sir John Sidley, knight and baronet, purchased St. Cleres, as above-mentioned. (fn. 8) He left two sons, Isaac and John, who both succeeded to the title of baronet. The eldest son, Sir Isaac Sidley, bart. succeeded his father in this estate, and was of St. Cleres, as was his son, Sir Charles Sidley, bart. who dying without issue in 1702, was buried in Ightham church. By his will he devised this manor, with the seat and his estates in this parish, to his uncle John, who succeeded him in the title of baronet, for his life, with remainder to George Sedley, his eldest son, in tale male. But Sir Charles having been for some time before his death, and at the time of his making his will of weak understanding, and under undue influence, Sir John Sedley contested the validity of it, and it was set aside by the sentence in the prerogative court of Canterbury.

 

Soon after which Sir John, and his son George Sedley above-mentioned, entered into an agreement, by which Sir John Sedley waved his right as heir at law, and his further right to contest the will. In consequence of which an act of parliament was obtained for the settling in trustees the manor of West Aldham, alias St. Cleres, with its appurtenances, and the capital messuage called St. Cleres, in Ightham, and other messuages and lands in Ightham, Wrotham, Kemsing, Seal, &c. that they might be sold for the purposes of the agreement, which the whole of them were soon afterwards to William Evelyn, esq. the fifth son of George Evelyn, esq. of Nutfield, in Surry, who afterwards resided here, and in 1723 was sheriff of this county.

 

He married first the daughter and heir of William Glanvill, esq. and in the 5th year of king George I. obtained an act of parliament to use the surname and arms of Glanvill only, the latter being Argent, a chief indented azure, pursuant to the will of William Glanvill, esq. above-mentioned. By her he had an only daughter Frances, married to the hon. Edward Boscawen, next brother to Hugh, viscount Falmouth, and admiral of the British fleet. His second wife was daughter of Jones Raymond, esq. who died in 1761, by whom he had William Glanvill Evelyn, esq. who on his father's decease in 1766, succeeded to St. Cleres and the rest of his estates in this county. In 1757 he kept his shrievalty at St. Cleres, where he resides at present, and is one of the representatives in parliament for Hythe, in this county.

 

He married about the year 1760, Susan, one of the two daughters and coheirs of Thomas Borrett, esq. of Shoreham, late prothonotary of the court of common pleas, by whom he had a son, William Evelyn, esq. who died in 1788 at Blandford-lodge, near Woodstock, by a fall from his horse, æct. 21, and unmarried; and a daughter Frances, afterwards his sole heir, married in 1782 to Alexander Hume, esq. of Hendley, in Surry, brother of Sir Abraham Hume, who in 1797 had the royal licence to take and use the name and arms of Evelyn only, and he now resides at St. Clere.

 

THE MOAT is another borough in this parish, in which is the manor and seat of that name, lying at the southern extremity of it next to Shipborne, which in the reign of king Henry II. was in the possession of Ivo de Haut, and his descendant, Sir Henry de Haut, died possessed of it in the 44th year of Edward III. as appears by the escheat roll of that year. His son, Sir Edmund de Haut, died in his life-time, so that his grandson, Nicholas Haut, became his heir, and succeeded him in the possession of this estate. (fn. 9)

 

He was sheriff in the 19th year of king Richard II. and kept his shrievalty at Wadenhall, in this county. He left two sons, William, who was of Bishopsborne; and Richard Haut, who succeeded him in this estate, and was sheriff in the 18th and 22d years of king Edward IV. keeping both his shrievalties at this seat of themoat; but having engaged, with several others of the gentry of this county, with the duke of Buckingham, in favor of the Earl of Richmond, he was beheaded at Pontefract, anno 1 Richard III. and afterwards attainted in the 3d year of that reign, and his estates confiscated. (fn. 10) Quickly after which, this manor and seat were granted by that king to Robert Brakenbury, lieutenant of the tower of London, and that year sheriff of this county. He kept possession of the Moat but a small time, for he lost his life with king Richard in the fatal battle of Bosworth, fought that year on August 22, and on the Earl of Richmond's attaining the crown was attainted by an act then passed for the purpose, and though his two daughters were restored in blood by another act four years afterwards, yet the Moat was immediately restored to the heirs of its former owner Richard Haut, whose attainder was likewise reversed, and in their descendants it remained till the latter end of the reign of king Henry VII. when it appears by an old court roll to have been in the possession of Sir Richard Clement, who kept his shrievalty at the Moat in the 23d year of king Henry VIII and bore for his arms, A bend nebulee, in chief three fleurs de lis within a border, gobinated. He died without any legitimate issue, and was buried in the chancel of this church. Upon which his brother, John Clement, and his sister, married to Sir Edward Palmer, of Angmering, in Sussex, became his coheirs, but the former succeeded to the entire fee of this estate.

 

John Clement died without male issue, leaving an only daughter and heir Anne, who carried the Moat in marriage to Hugh Pakenham, and he, in the reign of king Edward VI. joining with Sir William Sydney, who had married Anne, his only daughter and heir passed it away to Sir John Allen, who had been of the privy council to king Henry VIII. and lord mayor of London in the year 1526 and 1536. He was of the company of mercers, a man of liberal charity. He gave to the city of London a rich collar of gold, to be worn by the succeeding lord-mayors: also five hundred marcs as a stock for sea coal, and the rents of those lands which he had purchased of the king, to the poor of London for ever; and during his life he gave bountifully to the hospitals, prisons, &c. of that city. He built the mercers chapel in Cheapside, in which his body was buried, which was afterwards moved into the body of the hospital church of St. Thomas, of Acon, and the chapel made into shops by the mercer's company. He bore for his arms, In three roundlets, as many talbots passant, on a chief a lion passant guardant between two anchors. (fn. 11)

 

He left a son and heir Sir Christopher Allen, whose son and heir, Charles Allen, esq. succeeded his father in this estate, and resided at the Moat, which he afterwards sold at the latter end of the reign of queen Elizabeth to Sir William Selby, younger brother of Sir John Selby, of Branxton, in Northumberland. He resided here in the latter part of his life, and died greatly advanced in years in 1611, unmarried, and was buried in this church, bearing for his arms, Barry of twelve pieces, or and azure. He by his will gave this estate to his nephew, Sir William Selby, who resided here, and died likewise without issue, and by his will, for the sake of the name gave the Moat to Mr. George Selby, of London, who afterwards resided here, and was sheriff in the 24th year of king Charles I. and bore for his arms, Barry of eight pieces, or and sable. He died in 1667, leaving several sons and daughters. Of whom William Selby, esq. the eldest son, succeeded to this estate, and was of the Moat. He married Susan, daughter of Sir John Rainey, bart. of Wrotham, by whom he had several children, of whom John Selby, esq. the eldest son, was of the Moat, and by Mary his wife, one of the three daughters and coheirs of Thomas Gifford, esq. left two sons, William, who succeeded him in this seat and estate at Ightham, and John Selby, esq. who was of Pennis, in Fawkham, and died unmarried.

 

William Selby resided at the Moat, of which he died possessed in 1773, leaving his wife Elizabeth, daughter of Mr. Burroughs, surviving, who afterwards possessed this seat and resided here. She died in 1788, and her only son, William Selby, esq. of Pennis, having deceased in 1777, and his only daughter and heir likewise, Elizabeth Borough Selby, by Elizabeth his wife, one of the daughters of John Weston, esq. of Cranbrook, under age, and unmarried in 1781. This seat, with her other estates in this county, devolved to John Brown, esq. who has since taken the name of Selby, and now resides at the Moat, of which he is the present possessor.

 

The park, called Ightham park, has been already mentioned under the parish of Wrotham, to which the reader is referred.

 

It appears by the visitation of 1619, that there was a branch of the Suliards, of Brasted, then residing in this parish.

 

John Gull resided in this parish in the reign of king Henry VIII. and died here in 1547.

 

Charities.

HENRY PEARCE gave by will in 1545, to be distributed to the poor in bread yearly the annual sum of 6s. 8d. charged on land now vested in Cozens, and she gave besides to be distributed to the poor in bread at Easter yearly, 40l. now of the annual produce of 2l. and for the providing of books for poor children to learn the catechism, the sum of 10l. now of the annual produce of 10s.

 

HENRY FAIRBRASSE gave by will in 1601, to be distributed in like manner, the annual sum of 1l. to be paid out of land now vested in William Hacket.

 

WILLIAM JAMES, ESQ. gave by will in 1627, to be distributed in bread to the poor every Sunday, the annual sum of 2l. 12s. to be paid out of lands now vested in Rich. James, esq.

 

GEORGE PETLEY gave by will in 1705, to be distributed in like manner, every Sunday, 2s. the annual sum of 5l. 4s. to be paid out of land vested in William Evelyn, esq.

 

ELIZABETH JAMES, gave by will in 1720, for the education of poor children, the annual sum of 5l. to be paid out of land now vested in Elizabeth Solley.

 

IGHTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such in the deanry of Shoreham.

 

¶The church is dedicated to St. Peter. Under an arch on the north side of it, there is a tomb of free stone, having on it a very antient figure at full length of a man in armour, ornamented with a rich belt, sword and dagger, his head resting on two cushions, and a lion at his feet, over his whole breast are his arms, viz. A lion rampant, ermine, double queued. This is by most supposed to be the tomb of Sir Thomas Cawne, who married Lora, daughter and heir of Sir Thomas Morant. He was originally extracted from Staffordshire: he probably died without issue, and his widow remarried with James Peckham, esq. of Yaldham. His arms, impaling those of Morant, were in one of the chancel windows of this church.

 

The rectory is valued in the king's books at 15l. 16s. 8d. and the yearly tenths at 1l. 11s. 8d. It is now of the yearly value of about 200l.

 

The patronage of this rectory seems to have been always accounted an appendage to the manor of Ightham, as such it is now the property of Richard James, esq. of Ightham-court.

 

www.british-history.ac.uk/survey-kent/vol5/pp33-45

First Lutheran was established in 1863, by German Lutheran settlers, as the first Lutheran church in the city of Green Bay. First celebrated its 150th anniversary in Sept. 2013.

 

First Lutheran is a member of the Wisconsin Evangelical Lutheran Synod (WELS), a Bible-based church body of about 380,000 individuals working together in 1,273 churches throughout the 50 states and in 12 countries around the world.

 

First Lutheran’s present facilities were dedicated in 1957. The Gothic-style building features a bell tower decorated with carvings of the four Evangelists. The main entrance is enhanced by carvings of the 12 Apostles. The theme of the stained-glass windows is “God’s Plan of Salvation.” The Altar, of Italian marble, features the Lamb of God motif.

 

EDUCATION

First Lutheran provides tuition support for our children who attend a neighboring WELS Lutheran Elementary School.

 

First Lutheran provides ChristLight (Sunday School) (age five up through 5th gr.) and catechism instructions (6th-8th gr.) on Wed. evenings, materials for home studies, and adult Bible Classes on Sundays. First Lutheran also provides Bible Information Classes, as requested, for those interested in our teachings, and possible membership.

 

First Lutheran is a Federation member of our Fox Valley Lutheran High School in Appleton. Fox Valley Lutheran has about 580 students.

 

Green Bay is a city in the U.S. state of Wisconsin. The county seat of Brown County, it is at the head of Green Bay (known locally as "the bay of Green Bay"), a sub-basin of Lake Michigan at the mouth of the Fox River. As of the 2020 Census, Green Bay had a population of 107,395, making it the third-most populous city in Wisconsin, after Milwaukee and Madison, and the third-largest city on Lake Michigan, after Chicago and Milwaukee.

 

Green Bay is the principal city of the Green Bay Metropolitan Statistical Area, which covers Brown, Kewaunee, and Oconto counties. Green Bay is the home city of the National Football League (NFL)'s Green Bay Packers.

 

Samuel de Champlain, the founder of New France, commissioned Jean Nicolet to form a peaceful alliance with Native Americans in the western areas, whose unrest interfered with the French fur trade, and to search for a shorter trade route to China through Canada. Nicolet and others had learned from other First Nations of the Ho-Chunk (Winnebago) people, who identified as "People of the Sea", and believed they must reside on or near an Ocean. Champlain had also heard about natural resources in the area, including fertile soil, forests, and animals. Nicolet began his journey for this new land shortly before winter in 1634. In what later became a French fur-trading route, he sailed up the Ottawa River, through Lake Nipissing and down the French River to Lake Huron, then through the straits of Michilimackinac into Lake Michigan. He is believed to have landed at Red Banks, near the site of the modern-day city of Green Bay, Wisconsin.

 

Nicolet founded a small trading post here in 1634, originally named La Baye or La Baie des Puants (French for "the Bay of Stinking Waters"). Nicolet's settlement was one of the oldest European permanent settlements in America.

 

When Nicolet arrived in the Green Bay area, he encountered the Menominee, who occupied this territory. He also met the Ho-Chunk (also known as the Winnebago), a people who spoke a Siouan language.

 

The Winnebago hunted and fished, and also cultivated corn, beans, squash, and tobacco. Wild rice, which they had incorporated as a dietary staple, grew in abundance along the riverbanks. The women regularly harvested and cooked this, along with a wide variety of nuts, berries, and edible roots which they gathered in the woods. The men typically hunted and fished for food, and the women processed game and other foods in cooking. They prepared and made clothing from the furs, as well as using other parts of animals to make tools, cord, etc. Women also had a role in the political process, as no action could be taken without agreement of half of the women. Nicolet stayed with this tribe for about a year, becoming an ally. He helped open up opportunities for trade and commerce with them before returning to Quebec.

 

A few months after Nicolet returned to Quebec, Champlain died. His death halted other journeys to La Baie Verte (French for "The Green Bay"). Père Claude Allouez sent Nicolas Perrot to La Baie. After this, the French avoided the area for some decades, because of the intensity of First Nations and European conflicts in the east. In 1671, a Jesuit Mission was set up in the area. A fort was added in 1717 and gradually associated development took place. The town was incorporated in 1754.

 

Great Britain took control of some French areas during the Seven Years' War, known as the French and Indian War in some areas of North America. They took control of this town in 1761. After the British defeated the French in 1763, France ceded its lands east of the Mississippi in North America.

 

The first permanent settlers were Charles de Langlade and his family from Quebec, who moved to Green Bay in 1765. They are considered the first European settlers in the present-day state of Wisconsin. Langlade, called the "Founder and Father of Wisconsin", was a métis or mixed-race, son of a French-Canadian father and an Ottawa woman. He grew up with his mother's family among the Ottawa people and became a war chief. The Ottawa were allies of the French during the French and Indian War, and Langlade is credited with planning the ambush of British General Braddock and George Washington. His family was followed to Green Bay by the Grignons, Porliers and Lawes, who brought French-Canadian culture with them. Colorful "jack-knife Judge" Reaume dispensed British justice in the territory after Great Britain took it over following the war. These early ethnic French settlers set the tone for many who followed.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761 and gaining control of all of Wisconsin in 1763. Like the French, the British were interested in little but the fur trade. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey," however British fur traders referred to it as "Green Bay," because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities. In 1791, two free African Americans set up a fur trading post among the Menominee at present day Marinette.

 

The Green Bay area was still under British control until the 1783 treaty formally ended the American Revolutionary War. Following the War of 1812, which in part was over disputes related to the border with Canada, the United States built Fort Howard on the Fox River in 1816 to protect its northern border. Doty, Whitney, Arndt, Baird and Martin were among the many British-American settlers whose numbers pushed French culture into the background.

 

The Erie Canal was completed in 1825, linking New England with the Great Lakes. This led to the advance of Green Bay as a trading center. The end of the Black Hawk War in 1832 also gave impetus to settlement of the region. Most of the settlers were farmers from New England who began using the Erie Canal to pour into Wisconsin. As more and more New England settlers arrived, Green Bay developed into a trading center for this population.

 

Wisconsin's first newspaper, The Green Bay Intelligencer, was started in 1833 by Albert Ellis and John V. Suydam. The borough of Green Bay, created in 1838, is the center of the present-day city. The borough combined the town of Astor (a company town of the American Fur Company) with Navarino, platted by Daniel Whitney. Before Wisconsin became a state in 1848, its commerce was based on the fur trade, which became dominated by John Jacob Astor's American Fur Company. After statehood, there was a shift away from fur trading toward lumbering. "For a short time in 1860s and 1870s, iron smelting in charcoal kilns rivaled the timber industry while the port handled increasing amounts of fuel, feed, and lumber. Today's major local industry had its start in 1865 when the first paper mill was built."

 

By 1850 the town had a population of 1,923. The town was incorporated as the city of Green Bay in 1854. The Green Bay Area Public School District was founded in 1856. Throughout the 1850s, word spread of America's cheap land and good soil, bringing in an influx of Belgian people, German, Scandinavian, Irish and Dutch immigrants, each adding to the culture. The greatest concentration of newcomers came from Belgium. They cleared the land to farm and build their homes.

 

The railroad arrived in the 1860s. The three railroads that would reach Green Bay were the Chicago & North Western (C&NW), SOO Line, (SOO), and the Milwaukee Road (MILW). These railroads were highways which allowed people and products to travel all over the state, increasing business and trade opportunities. The area was able to grow and enrich itself with the use of the plentiful timber resources. This led to the paper industry becoming the major employer in Green Bay, and opened up the port for international trade.

 

Large numbers of Belgians immigrated to Green Bay in the thirty-year period between 1880 and 1910. Significant numbers of English immigrants, many having lived first in Canada, also moved to Green Bay during this period, usually arriving as large families. There was also a small Dutch community in Green Bay at this time. Green Bay had a larger portion of first generation immigrants from France than any other city in Wisconsin at this time as well.

 

In 1934, President Franklin D. Roosevelt came to Green Bay to honor its tercentenary.[18] By 1950, the city had a population of 52,735. In 1964, the Town of Preble was consolidated with the city of Green Bay.

 

Wisconsin is a state in the Upper Midwestern region of the United States. It borders Minnesota to the west, Iowa to the southwest, Illinois to the south, Lake Michigan to the east, Michigan to the northeast, and Lake Superior to the north. Wisconsin is the 25th-largest state by land area and the 20th-most populous.

 

The bulk of Wisconsin's population live in areas situated along the shores of Lake Michigan. The largest city, Milwaukee, anchors its largest metropolitan area, followed by Green Bay and Kenosha, the third- and fourth-most-populated Wisconsin cities, respectively. The state capital, Madison, is currently the second-most-populated and fastest-growing city in the state. Wisconsin is divided into 72 counties and as of the 2020 census had a population of nearly 5.9 million.

 

Wisconsin's geography is diverse, having been greatly impacted by glaciers during the Ice Age with the exception of the Driftless Area. The Northern Highland and Western Upland along with a part of the Central Plain occupy the western part of the state, with lowlands stretching to the shore of Lake Michigan. Wisconsin is third to Ontario and Michigan in the length of its Great Lakes coastline. The northern portion of the state is home to the Chequamegon-Nicolet National Forest. At the time of European contact, the area was inhabited by Algonquian and Siouan nations, and today it is home to eleven federally recognized tribes. During the 19th and early 20th centuries, many European settlers entered the state, most of whom emigrated from Germany and Scandinavia. Wisconsin remains a center of German American and Scandinavian American culture, particularly in respect to its cuisine, with foods such as bratwurst and kringle. Wisconsin is home to one UNESCO World Heritage Site, comprising two of the most significant buildings designed by Wisconsin-born architect Frank Lloyd Wright: his studio at Taliesin near Spring Green and his Jacobs I House in Madison.

 

The Republican Party was founded in Wisconsin in 1854. In more recent years, Wisconsin has been a battleground state in presidential elections, notably in 2016 and 2020.

 

Wisconsin is one of the nation's leading dairy producers and is known as "America's Dairyland"; it is particularly famous for its cheese. The state is also famous for its beer, particularly and historically in Milwaukee, most notably as the headquarters of the Miller Brewing Company. Wisconsin has some of the most permissive alcohol laws in the country and is well known for its drinking culture. Its economy is dominated by manufacturing, healthcare, information technology, and agriculture—specifically dairy, cranberries, and ginseng. Tourism is also a major contributor to the state's economy. The gross domestic product in 2020 was $348 billion.

 

The history of Wisconsin encompasses the story not only of the people who have lived in Wisconsin since it became a state of the U.S., but also that of the Native American tribes who made their homeland in Wisconsin, the French and British colonists who were the first Europeans to live there, and the American settlers who lived in Wisconsin when it was a territory.

 

Since its admission to the Union on May 29, 1848, as the 30th state, Wisconsin has been ethnically heterogeneous, with Yankees being among the first to arrive from New York and New England. They dominated the state's heavy industry, finance, politics and education. Large numbers of European immigrants followed them, including German Americans, mostly between 1850 and 1900, Scandinavians (the largest group being Norwegian Americans) and smaller groups of Belgian Americans, Dutch Americans, Swiss Americans, Finnish Americans, Irish Americans and others; in the 20th century, large numbers of Polish Americans and African Americans came, settling mainly in Milwaukee.

 

Politically the state was predominantly Republican until recent years, when it became more evenly balanced. The state took a national leadership role in the Progressive Movement, under the aegis of Robert M. "Fighting Bob" La Follette and his family, who fought the old guard bitterly at the state and national levels. The "Wisconsin Idea" called for the use of the higher learning in modernizing government, and the state is notable for its strong network of state universities.

 

The first known inhabitants of what is now Wisconsin were Paleo-Indians, who first arrived in the region in about 10,000 BC at the end of the Ice Age. The retreating glaciers left behind a tundra in Wisconsin inhabited by large animals, such as mammoths, mastodons, bison, giant beaver, and muskox. The Boaz mastodon and the Clovis artifacts discovered in Boaz, Wisconsin show that the Paleo-Indians hunted these large animals. They also gathered plants as conifer forests grew in the glaciers' wake. With the decline and extinction of many large mammals in the Americas, the Paleo-Indian diet shifted toward smaller mammals like deer and bison.

 

During the Archaic Period, from 6000 to 1000 BC, mixed conifer-hardwood forests as well as mixed prairie-forests replaced Wisconsin's conifer forests. People continued to depend on hunting and gathering. Around 4000 BC they developed spear-throwers and copper tools such as axes, adzes, projectile points, knives, perforators, fishhooks and harpoons. Copper ornaments like beaded necklaces also appeared around 1500 BC. These people gathered copper ore at quarries on the Keweenaw Peninsula in Michigan and on Isle Royale in Lake Superior. They may have crafted copper artifacts by hammering and folding the metal and also by heating it to increase its malleability. However it is not certain if these people reached the level of copper smelting. Regardless, the Copper Culture of the Great Lakes region reached a level of sophistication unprecedented in North America. The Late Archaic Period also saw the emergence of cemeteries and ritual burials, such as the one in Oconto.

 

The Early Woodland Period began in 1000 BC as plants became an increasingly important part of the people's diet. Small scale agriculture and pottery arrived in southern Wisconsin at this time. The primary crops were maize, beans and squash. Agriculture, however, could not sufficiently support these people, who also had to hunt and gather. Agriculture at this time was more akin to gardening than to farming. Villages emerged along rivers, streams and lakes, and the earliest earthen burial mounds were constructed. The Havana Hopewell culture arrived in Wisconsin in the Middle Woodland Period, settling along the Mississippi River. The Hopewell people connected Wisconsin to their trade practices, which stretched from Ohio to Yellowstone and from Wisconsin to the Gulf of Mexico. They constructed elaborate mounds, made elaborately decorated pottery and brought a wide range of traded minerals to the area. The Hopewell people may have influenced the other inhabitants of Wisconsin, rather than displacing them. The Late Woodland Period began in about 400 AD, following the disappearance of the Hopewell culture from the area. The people of Wisconsin first used the bow and arrow in the final centuries of the Woodland Period, and agriculture continued to be practiced in the southern part of the state. The effigy mound culture dominated Southern Wisconsin during this time, building earthen burial mounds in the shapes of animals. Examples of effigy mounds still exist at High Cliff State Park and at Lizard Mound County Park. In northern Wisconsin people continued to survive on hunting and gathering, and constructed conical mounds.

 

People of the Mississippian culture expanded into Wisconsin around 1050 AD and established a settlement at Aztalan along the Crawfish River. While begun by the Caddoan people, other cultures began to borrow & adapt the Mississippian cultural structure. This elaborately planned site may have been the northernmost outpost of Cahokia, although it is also now known that some Siouan peoples along the Mississippi River may have taken part in the culture as well. Regardless, the Mississippian site traded with and was clearly influenced in its civic and defensive planning, as well as culturally, by its much larger southern neighbor. A rectangular wood-and-clay stockade surrounded the twenty acre site, which contained two large earthen mounds and a central plaza. One mound may have been used for food storage, as a residence for high-ranking officials, or as a temple, and the other may have been used as a mortuary. The Mississippian culture cultivated maize intensively, and their fields probably stretched far beyond the stockade at Aztalan, although modern agriculture has erased any traces of Mississippian practices in the area. Some rumors also speculate that the people of Aztalan may have experimented slightly with stone architecture in the making of a man-made, stone-line pond, at the very least. While the first settler on the land of what is now the city supposedly reported this, he filled it in and it has yet to be rediscovered.

 

Both Woodland and Mississippian peoples inhabited Aztalan, which was connected to the extensive Mississippian trade network. Shells from the Gulf of Mexico, copper from Lake Superior and Mill Creek chert have been found at the site. Aztalan was abandoned around 1200 AD. The Oneota people later built agriculturally based villages, similar to those of the Mississippians but without the extensive trade networks, in the state.

 

By the time the first Europeans arrived in Wisconsin, the Oneota had disappeared. The historically documented inhabitants, as of the first European incursions, were the Siouan speaking Dakota Oyate to the northwest, the Chiwere speaking Ho-Chunk (Winnebago) and the Algonquian Menominee to the northeast, with their lands beginning approximately north of Green Bay. The Chiwere lands were south of Green Bay and followed rivers to the southwest. Over time, other tribes moved to Wisconsin, including the Ojibwe, the Illinois, the Fauk, the Sauk and the Mahican. The Mahican were one of the last groups to arrived, coming from New York after the U.S. congress passed the Indian Removal Act of 1830.

 

The first European known to have landed in Wisconsin was Jean Nicolet. In 1634, Samuel de Champlain, governor of New France, sent Nicolet to contact the Ho-Chunk people, make peace between them and the Huron and expand the fur trade, and possibly to also find a water route to Asia. Accompanied by seven Huron guides, Nicolet left New France and canoed through Lake Huron and Lake Superior, and then became the first European known to have entered Lake Michigan. Nicolet proceeded into Green Bay, which he named La Baie des Puants (literally "The Stinking Bay"), and probably came ashore near the Red Banks. He made contact with the Ho-Chunk and Menominee living in the area and established peaceful relations. Nicolet remained with the Ho-Chunk the winter before he returned to Quebec.

 

The Beaver Wars fought between the Iroquois and the French prevented French explorers from returning to Wisconsin until 1652–1654, when Pierre Radisson and Médard des Groseilliers arrived at La Baie des Puants to trade furs. They returned to Wisconsin in 1659–1660, this time at Chequamegon Bay on Lake Superior. On their second voyage they found that the Ojibwe had expanded into northern Wisconsin, as they continued to prosper in the fur trade. They also were the first Europeans to contact the Santee Dakota. They built a trading post and wintered near Ashland, before returning to Montreal.

 

In 1665 Claude-Jean Allouez, a Jesuit missionary, built a mission on Lake Superior. Five years later he abandoned the mission, and journeyed to La Baie des Puants. Two years later he built St. Francis Xavier Mission near present-day De Pere. In his journeys through Wisconsin, he encountered groups of Native Americans who had been displaced by Iroquois in the Beaver Wars. He evangelized the Algonquin-speaking Potawatomi, who had settled on the Door Peninsula after fleeing Iroquois attacks in Michigan. He also encountered the Algonquin-speaking Sauk, who had been forced into Michigan by the Iroquois, and then had been forced into central Wisconsin by the Ojibwe and the Huron.

 

The next major expedition into Wisconsin was that of Father Jacques Marquette and Louis Jolliet in 1673. After hearing rumors from Indians telling of the existence of the Mississippi River, Marquette and Joliet set out from St. Ignace, in what is now Michigan, and entered the Fox River at Green Bay. They canoed up the Fox until they reached the river's westernmost point, and then portaged, or carried their boats, to the nearby Wisconsin River, where they resumed canoeing downstream to the Mississippi River. Marquette and Joliet reached the Mississippi near what is now Prairie du Chien, Wisconsin in June, 1673.

 

Nicolas Perrot, French commander of the west, established Fort St. Nicholas at Prairie du Chien, Wisconsin in May, 1685, near the southwest end of the Fox-Wisconsin Waterway. Perrot also built a fort on the shores of Lake Pepin called Fort St. Antoine in 1686, and a second fort, called Fort Perrot, on an island on Lake Peppin shortly after. In 1727, Fort Beauharnois was constructed on what is now the Minnesota side of Lake Pepin to replace the two previous forts. A fort and a Jesuit mission were also built on the shores of Lake Superior at La Pointe, in present-day Wisconsin, in 1693 and operated until 1698. A second fort was built on the same site in 1718 and operated until 1759. These were not military posts, but rather small storehouses for furs.

 

During the French colonial period, the first black people came to Wisconsin. The first record of a black person comes from 1725, when a black slave was killed along with four Frenchmen in a Native American raid on Green Bay. Other French fur traders and military personnel brought slaves with them to Wisconsin later in 1700s.

 

None of the French posts had permanent settlers; fur traders and missionaries simply visited them from time to time to conduct business.

 

In the 1720s, the anti-French Fox tribe, led by war chief Kiala, raided French settlements on the Mississippi River and disrupted French trade on Lake Michigan. From 1728 to 1733, the Fox fought against the French-supported Potawatomi, Ojibwa, Huron and Ottawa tribes. In 1733, Kiala was captured and sold into slavery in the West Indies along with other captured Fox.

 

Before the war, the Fox tribe numbered 1500, but by 1733, only 500 Fox were left. As a result, the Fox joined the Sauk people.

 

The details are unclear, but this war appears to have been part of the conflict that expelled the Dakota & Illinois peoples out onto the Great Plains, causing further displacement of other Chiwere, Caddoan & Algonquian peoples there—including the ancestors of the Ioway, Osage, Pawnee, Arikara, A'ani, Arapaho, Hidatsa, Cheyenne & Blackfoot.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761, gaining control of all of Wisconsin in 1763, and annexing the area to the Province of Quebec in 1774. Like the French, the British were interested in little but the fur trade. One notable event in the fur trading industry in Wisconsin occurred in 1791, when two free African Americans set up a fur trading post among the Menominee at present day Marinette. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. In 1766 the Royal Governor of the new territory, Robert Rogers, engaged Jonathan Carver to explore and map the newly acquired territories for the Crown, and to search for a possible Northwest Passage. Carver left Fort Michilimackinac that spring and spent the next three years exploring and mapping what is now Wisconsin and parts of Minnesota.

 

Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey", however British fur traders referred to it as "Green Bay", because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" eventually stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established at this time as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities.

 

The United States acquired Wisconsin in the Treaty of Paris (1783). Massachusetts claimed the territory east of the Mississippi River between the present-day Wisconsin-Illinois border and present-day La Crosse, Wisconsin. Virginia claimed the territory north of La Crosse to Lake Superior and all of present-day Minnesota east of the Mississippi River. Shortly afterward, in 1787, the Americans made Wisconsin part of the new Northwest Territory. Later, in 1800, Wisconsin became part of Indiana Territory. Despite the fact that Wisconsin belonged to the United States at this time, the British continued to control the local fur trade and maintain military alliances with Wisconsin Indians in an effort to stall American expansion westward by creating a pro-British Indian barrier state.

 

The United States did not firmly exercise control over Wisconsin until the War of 1812. In 1814, the Americans built Fort Shelby at Prairie du Chien. During the war, the Americans and British fought one battle in Wisconsin, the July, 1814 Siege of Prairie du Chien, which ended as a British victory. The British captured Fort Shelby and renamed it Fort McKay, after Major William McKay, the British commander who led the forces that won the Battle of Prairie du Chien. However, the 1815 Treaty of Ghent reaffirmed American jurisdiction over Wisconsin, which was by then a part of Illinois Territory. Following the treaty, British troops burned Fort McKay, rather than giving it back to the Americans, and departed Wisconsin. To protect Prairie du Chien from future attacks, the United States Army constructed Fort Crawford in 1816, on the same site as Fort Shelby. Fort Howard was also built in 1816 in Green Bay.

 

Significant American settlement in Wisconsin, a part of Michigan Territory beginning in 1818, was delayed by two Indian wars, the minor Winnebago War of 1827 and the larger Black Hawk War of 1832.

 

The Winnebago War started when, in 1826, two Winnebago men were detained at Fort Crawford on charges of murder and then transferred to Fort Snelling in present-day Minnesota. The Winnebago in the area believed that both men had been executed. On June 27, 1827, a Winnebago war band led by Chief Red Bird and the prophet White Cloud (Wabokieshiek) attacked a family of settlers outside of Prairie du Chien, killing two. They then went on to attack two keel-boats on the Mississippi River that were heading toward Fort Snelling, killing two settlers and injuring four more. Seven Winnebago warriors were killed in those attacks. The war band also attacked settlers on the lower Wisconsin River and the lead mines at Galena, Illinois. The war band surrendered at Portage, Wisconsin, rather than fighting the United States Army that was pursuing them.

 

In the Black Hawk War, Sac, Fox, and Kickapoo Native Americans, otherwise known as the British Band, led by Chief Black Hawk, who had been relocated from Illinois to Iowa, attempted to resettle in their Illinois homeland on April 5, 1832, in violation of Treaty. On May 10 Chief Black Hawk decided to go back to Iowa. On May 14, Black Hawk's forces met with a group of militiamen led by Isaiah Stillman. All three members of Black Hawk's parley were shot and one was killed. The Battle of Stillman's Run ensued, leaving twelve militiamen and three to five Sac and Fox warriors dead. Of the fifteen battles of the war, six took place in Wisconsin. The other nine as well as several smaller skirmishes took place in Illinois. The first confrontation to take place in Wisconsin was the first attack on Fort Blue Mounds on June 6, in which one member of the local militia was killed outside of the fort. There was also the Spafford Farm Massacre on June 14, the Battle of Horseshoe Bend on June 16, which was a United States victory, the second attack on Fort Blue Mounds on June 20, and the Sinsinawa Mound raid on June 29. The Native Americans were defeated at the Battle of Wisconsin Heights on July 21, with forty to seventy killed and only one killed on the United States side. The Ho Chunk Nation fought on the side of the United States. The Black Hawk War ended with the Battle of Bad Axe on August 1–2, with over 150 of the British Band dead and 75 captured and only five killed in the United States forces. Those crossing the Mississippi were killed by Lakota, American and Ho Chunk Forces. Many of the British Band survivors were handed over to the United States on August 20 by the Lakota Tribe, with the exception of Black Hawk, who had retreated into Vernon County, Wisconsin and White Cloud, who surrendered on August 27, 1832. Black Hawk was captured by Decorah south of Bangor, Wisconsin, south of the headwaters of the La Crosse River. He was then sold to the U.S. military at Prairie du Chien, accepted by future Confederate president, Stephen Davis, who was a soldier at the time. Black Hawk's tribe had killed his daughter. Black Hawk moved back to Iowa in 1833, after being held prisoner by the United States government.

 

The Francois Vertefeuille House in Prairie du Chien was built in the 1810s by fur traders. A rare example of the pièce-sur-pièce à coulisse technique once common in French-Canadian architecture, it is one of the oldest buildings in the state and is listed on the National Register of Historic Places.

 

The Cornish immigrants who worked in Wisconsin's lead mines build simple stone cabins from limestone. Six cabins are preserved at the Pendarvis Historic Site in Mineral Point.

The resolution of these Indian conflicts opened the way for Wisconsin's settlement. Many of the region's first settlers were drawn by the prospect of lead mining in southwest Wisconsin. This area had traditionally been mined by Native Americans. However, after a series of treaties removed the Indians, the lead mining region was opened to white miners. Thousands rushed in from across the country to dig for the "gray gold". By 1829, 4,253 miners and 52 licensed smelting works were in the region. Expert miners from Cornwall in Britain informed a large part of the wave of immigrants. Boom towns like Mineral Point, Platteville, Shullsburg, Belmont, and New Diggings sprang up around mines. The first two federal land offices in Wisconsin were opened in 1834 at Green Bay and at Mineral Point. By the 1840s, southwest Wisconsin mines were producing more than half of the nation's lead, which was no small amount, as the United States was producing annually some 31 million pounds of lead. Wisconsin was dubbed the "Badger State" because of the lead miners who first settled there in the 1820s and 1830s. Without shelter in the winter, they had to "live like badgers" in tunnels burrowed into hillsides.

 

Although the lead mining area drew the first major wave of settlers, its population would soon be eclipsed by growth in Milwaukee. Milwaukee, along with Sheboygan, Manitowoc, and Kewaunee, can be traced back to a series of trading posts established by the French trader Jacques Vieau in 1795. Vieau's post at the mouth of the Milwaukee River was purchased in 1820 by Solomon Juneau, who had visited the area as early as 1818. Juneau moved to what is now Milwaukee and took over the trading post's operation in 1825.

 

When the fur trade began to decline, Juneau focused on developing the land around his trading post. In the 1830s, he formed a partnership with Green Bay lawyer Morgan Martin, and the two men bought 160 acres (0.6 km2) of land between Lake Michigan and the Milwaukee River. There they founded the settlement of Juneautown. Meanwhile, an Ohio businessman named Byron Kilbourn began to invest in the land west of the Milwaukee River, forming the settlement of Kilbourntown. South of these two settlements, George H. Walker founded the town of Walker's Point in 1835. Each of these three settlements engaged in a fierce competition to attract the most residents and become the largest of the three towns. In 1840, the Wisconsin State Legislature ordered the construction of a bridge over the Milwaukee River to replace the inadequate ferry system. In 1845, Byron Kilbourn, who had been trying to isolate Juneautown to make it more dependent on Kilbourntown, destroyed a portion of the bridge, which started the Milwaukee Bridge War. For several weeks, skirmishes broke out between the residents of both towns. No one was killed but several people were injured, some seriously. On January 31, 1846, the settlements of Juneautown, Kilbourntown, and Walker's Point merged into the incorporated city of Milwaukee. Solomon Juneau was elected mayor. The new city had a population of about 10,000 people, making it the largest city in the territory. Milwaukee remains the largest city in Wisconsin to this day.

 

Wisconsin Territory was created by an act of the United States Congress on April 20, 1836. By fall of that year, the best prairie groves of the counties surrounding Milwaukee were occupied by New England farmers. The new territory initially included all of the present day states of Wisconsin, Minnesota, and Iowa, as well as parts of North and South Dakota. At the time the Congress called it the "Wiskonsin Territory".

 

The first territorial governor of Wisconsin was Henry Dodge. He and other territorial lawmakers were initially busied by organizing the territory's government and selecting a capital city. The selection of a location to build a capitol caused a heated debate among the territorial politicians. At first, Governor Dodge selected Belmont, located in the heavily populated lead mining district, to be capital. Shortly after the new legislature convened there, however, it became obvious that Wisconsin's first capitol was inadequate. Numerous other suggestions for the location of the capital were given representing nearly every city that existed in the territory at the time, and Governor Dodge left the decision up to the other lawmakers. The legislature accepted a proposal by James Duane Doty to build a new city named Madison on an isthmus between lakes Mendota and Monona and put the territory's permanent capital there. In 1837, while Madison was being built, the capitol was temporarily moved to Burlington. This city was transferred to Iowa Territory in 1838, along with all the lands of Wisconsin Territory west of the Mississippi River.

 

Wyman calls Wisconsin a "palimpsest" of layer upon layer of peoples and forces, each imprinting permanent influences. He identified these layers as multiple "frontiers" over three centuries: Native American frontier, French frontier, English frontier, fur-trade frontier, mining frontier, and the logging frontier. Finally the coming of the railroad brought the end of the frontier.

 

The historian of the frontier, Frederick Jackson Turner, grew up in Wisconsin during its last frontier stage, and in his travels around the state he could see the layers of social and political development. One of Turner's last students, Merle Curti used in-depth analysis of local history in Trempealeau County to test Turner's thesis about democracy. Turner's view was that American democracy, "involved widespread participation in the making of decisions affecting the common life, the development of initiative and self-reliance, and equality of economic and cultural opportunity. It thus also involved Americanization of immigrant." Curti found that from 1840 to 1860 in Wisconsin the poorest groups gained rapidly in land ownership, and often rose to political leadership at the local level. He found that even landless young farm workers were soon able to obtain their own farms. Free land on the frontier therefore created opportunity and democracy, for both European immigrants as well as old stock Yankees.

 

By the mid-1840s, the population of Wisconsin Territory had exceeded 150,000, more than twice the number of people required for Wisconsin to become a state. In 1846, the territorial legislature voted to apply for statehood. That fall, 124 delegates debated the state constitution. The document produced by this convention was considered extremely progressive for its time. It banned commercial banking, granted married women the right to own property, and left the question of African-American suffrage to a popular vote. Most Wisconsinites considered the first constitution to be too radical, however, and voted it down in an April 1847 referendum.

 

In December 1847, a second constitutional convention was called. This convention resulted in a new, more moderate state constitution that Wisconsinites approved in a March 1848 referendum, enabling Wisconsin to become the 30th state on May 29, 1848. Wisconsin was the last state entirely east of the Mississippi River (and by extension the last state formed entirely from territory assigned to the U.S. in the 1783 Treaty of Paris) to be admitted to the Union.

 

With statehood, came the creation of the University of Wisconsin–Madison, which is the state's oldest public university. The creation of this university was set aside in the state charter.

 

In 1847, the Mineral Point Tribune reported that the town's furnaces were producing 43,800 pounds (19,900 kg) of lead each day. Lead mining in southwest Wisconsin began to decline after 1848 and 1849 when the combination of less easily accessible lead ore and the California Gold Rush made miners leave the area. The lead mining industry in mining communities such as Mineral Point managed to survive into the 1860s, but the industry was never as prosperous as it was before the decline.

 

By 1850 Wisconsin's population was 305,000. Roughly a third (103,000) were Yankees from New England and western New York state. The second largest group were the Germans, numbering roughly 38,000, followed by 28,000 British immigrants from England, Scotland and Wales. There were roughly 63,000 Wisconsin-born residents of the state. The Yankee migrants would be the dominant political class in Wisconsin for many years.

 

A railroad frenzy swept Wisconsin shortly after it achieved statehood. The first railroad line in the state was opened between Milwaukee and Waukesha in 1851 by the Chicago, Milwaukee, St. Paul and Pacific Railroad. The railroad pushed on, reaching Milton, Wisconsin in 1852, Stoughton, Wisconsin in 1853, and the capital city of Madison in 1854. The company reached its goal of completing a rail line across the state from Lake Michigan to the Mississippi River when the line to Prairie du Chien was completed in 1857. Shortly after this, other railroad companies completed their own tracks, reaching La Crosse in the west and Superior in the north, spurring development in those cities. By the end of the 1850s, railroads crisscrossed the state, enabling the growth of other industries that could now easily ship products to markets across the country.

 

Nelson Dewey, the first governor of Wisconsin, was a Democrat. Born in Lebanon, Connecticut, Dewey's father's family had lived in New England since 1633, when their ancestor, Thomas Due, had come to America from Kent County, England. Dewey oversaw the transition from the territorial to the new state government. He encouraged the development of the state's infrastructure, particularly the construction of new roads, railroads, canals, and harbors, as well as the improvement of the Fox and Wisconsin Rivers. During his administration, the State Board of Public Works was organized. Dewey was an abolitionist and the first of many Wisconsin governors to advocate against the spread of slavery into new states and territories. The home Dewey built near Cassville is now a state park.

 

Between 1848 and 1862, Wisconsin had three Democratic governors, all of whom were in office prior to 1856, four Republican governors, all of whom were in office after 1856, and one Whig governor, Leonard J. Farwell, who served from 1852 to 1854. Under Farwell's governorship, Wisconsin became the second state to abolish capital punishment.

 

In the presidential elections of 1848 and 1852, the Democratic Party won Wisconsin. In the elections of 1856, 1860, and 1864, the Republican Party won the state.

 

Between the 1840s and 1860s, settlers from New England, New York and Germany arrived in Wisconsin. Some of them brought radical political ideas to the state. In the 1850s, stop-overs on the underground railroad were set up in the state and abolitionist groups were formed. Some abolitionist and free-soil activists left the Whig and Democratic parties, running and in some cases being elected as candidates of the Liberty Party and Free Soil Party. The most successful such group was the Republican Party. On March 20, 1854, the first county meeting of the Republican Party of the United States, consisting of about thirty people, was held in the Little White Schoolhouse in Ripon, Wisconsin. Ripon claims to be the birthplace of the Republican Party, as does Jackson, Michigan, where the first statewide convention was held. The new party absorbed most of the former Free Soil and Liberty Party members.

 

A notable instance of abolitionism in Wisconsin was the rescue of Joshua Glover, an escaped slave from St. Louis who sought refuge in Racine, Wisconsin in 1852. He was caught in 1854 by federal marshals and put in a jail at Cathedral Square in Milwaukee, where he waited to be returned to his owner. A mob of 5,000 people led by Milwaukee abolitionist Sherman Booth, himself a "Yankee" transplant from rural New York, sprung Glover from jail and helped him escape to Canada via the underground railroad.

 

In the 1850s, two-thirds of immigrants to Wisconsin came from the eastern United States, the other one-third being foreign-born. The majority of the foreign born were German immigrants. Many Irish and Norwegian immigrants also came to Wisconsin in the 1850s. Northern Europeans, many of whom were persecuted in their home countries because of their support for the failed bourgeois Revolutions of 1848, often chose Wisconsin because of the liberal constitution of human rights such as the state's unusual recognition of immigrants' right to vote and rights to citizenship.

 

Yankee settlers from New England started arriving in Wisconsin in the 1830s spread throughout the southern half of the territory. They dominated early politics. Most of them started as farmers, but the larger proportion moved to towns and cities as entrepreneurs, businessmen and professionals.

 

Historian John Bunker has examined the worldview of the Yankee settlers in the Wisconsin:

 

Because they arrived first and had a strong sense of community and mission, Yankees were able to transplant New England institutions, values, and mores, altered only by the conditions of frontier life. They established a public culture that emphasized the work ethic, the sanctity of private property, individual responsibility, faith in residential and social mobility, practicality, piety, public order and decorum, reverence for public education, activists, honest, and frugal government, town meeting democracy, and he believed that there was a public interest that transcends particular and stick ambitions. Regarding themselves as the elect and just in a world rife with sin, air, and corruption, they felt a strong moral obligation to define and enforce standards of community and personal behavior....This pietistic worldview was substantially shared by British, Scandinavian, Swiss, English-Canadian and Dutch Reformed immigrants, as well as by German Protestants and many of the "Forty-Niners."

 

The color guard of the Wisconsin 8th Infantry with Old Abe

Wisconsin enrolled 91,379 soldiers in the Union Army during the American Civil War. 272 of enlisted Wisconsin troops were African American, with the rest being white. Of these, 3,794 were killed in action or mortally wounded, 8,022 died of disease, and 400 were killed in accidents. The total mortality was 12,216 men, about 13.4 percent of total enlistments. Many soldiers trained at Camp Randall currently the site of the University of Wisconsin's athletic stadium.

 

The draft implemented by President Lincoln in 1862 was unpopular in some Wisconsin communities, particularly among German and Luxembourgish immigrants. In November 1862, draft riots broke out in Milwaukee, Port Washington, and West Bend, which were quelled by deploying U.S. troops in the cities.

 

Most Wisconsin troops served in the western theater, although several Wisconsin regiments fought in the east, such as the 2nd Wisconsin Volunteer Infantry Regiment, 6th Wisconsin Volunteer Infantry Regiment, and 7th Wisconsin Volunteer Infantry Regiment, which formed part of the Iron Brigade. These three regiments fought in the Northern Virginia Campaign, the Maryland Campaign, the Battle of Fredericksburg, the Battle of Chancellorsville, the Gettysburg Campaign, the Battle of Mine Run, the Overland Campaign, the Siege of Petersburg, and the Appomattox Campaign.

 

The 8th Wisconsin Volunteer Infantry Regiment, which fought in the western theater of war, is also worthy of mention, having fought at the Battle of Iuka, the Siege of Vicksburg, the Red River Campaign, and the Battle of Nashville. The 8th Wisconsin is also known for its mascot, Old Abe.

 

Agriculture was a major component of the Wisconsin economy during the 19th century. Wheat was a primary crop on early Wisconsin farms. In fact, during the mid 19th century, Wisconsin produced about one sixth of the wheat grown in the United States. However, wheat rapidly depleted nutrients in the soil, especially nitrogen, and was vulnerable to insects, bad weather, and wheat leaf rust. In the 1860s, chinch bugs arrived in Wisconsin and damaged wheat across the state. As the soil lost its quality and prices dropped, the practice of wheat farming moved west into Iowa and Minnesota. Some Wisconsin farmers responded by experimenting with crop rotation and other methods to restore the soil's fertility, but a larger number turned to alternatives to wheat.

 

In parts of northern Wisconsin, farmers cultivated cranberries and in a few counties in south central Wisconsin, farmers had success growing tobacco, but the most popular replacement for wheat was dairy farming. As wheat fell out of favor, many Wisconsin farmers started raising dairy cattle and growing feed crops, which were better suited to Wisconsin's climate and soil. One reason for the popularity of dairy farming was that many of Wisconsin's farmers had come to the state from New York, the leading producer of dairy products at the time. In addition, many immigrants from Europe brought an extensive knowledge of cheese making. Dairying was also promoted by the University of Wisconsin–Madison's school of agriculture, which offered education to dairy farmers and researched ways to produce better dairy products. The first test of butterfat content in milk was developed at the university, which allowed for consistency in the quality of butter and cheese. By 1899, over ninety percent of Wisconsin farms raised dairy cows and by 1915, Wisconsin had become the leading producer of dairy products in the United States, a position it held until the 1990s. The term America's Dairyland appeared in newspapers as early as 1913 when the state's butterfat production became first in the nation. In 1939 the state legislature enacted a bill to add the slogan to the state's automobile license plates. It continues to be the nation's largest producer of cheese, no longer focusing on the raw material (milk) but rather the value-added products. Because of this, Wisconsin continues to promote itself as "America's Dairyland", Wisconsinites are referred to as cheeseheads in some parts of the country, including Wisconsin, and foam cheesehead hats are associated with Wisconsin and its NFL team, the Green Bay Packers.

 

The first brewery in Wisconsin was opened in 1835 in Mineral Point by brewer John Phillips. A year later, he opened a second brewery in Elk Grove. In 1840, the first brewery in Milwaukee was opened by Richard G. Owens, William Pawlett, and John Davis, all Welsh immigrants. By 1860, nearly 200 breweries operated in Wisconsin, more than 40 of them in Milwaukee. The huge growth in the brewing industry can be accredited, in part, to the influx of German immigrants to Wisconsin in the 1840s and 1850s. Milwaukee breweries also grew in volume due to the destruction of Chicago's breweries during the great Chicago fire. In the second half of the 19th century, four of the largest breweries in the United States opened in Milwaukee: Miller Brewing Company, Pabst Brewing Company, Valentin Blatz Brewing Company, and Joseph Schlitz Brewing Company. In the 20th century Pabst absorbed Blatz and Schlitz, and moved its brewery and corporate headquarters to California. Miller continues to operate in Milwaukee. The Jacob Leinenkugel Brewing Company opened in Chippewa Falls, Wisconsin in 1867 and continues to operate there to this day.

 

Agriculture was not viable in the densely forested northern and central parts of Wisconsin. Settlers came to this region for logging. The timber industry first set up along the Wisconsin River. Rivers were used to transport lumber from where the wood was being cut, to the sawmills. Sawmills in cities like Wausau and Stevens Point sawed the lumber into boards that were used for construction. The Wolf River also saw considerable logging by industrious Menominee. The Black and Chippewa Rivers formed a third major logging region. That area was dominated by one company owned by Frederick Weyerhaeuser. The construction of railroads allowed loggers to log year round, after rivers froze, and go deeper into the forests to cut down previously unshippable wood supplies. Wood products from Wisconsin's forests such as doors, furniture, beams, shipping boxes, and ships were made in industrial cities with connects to the Wisconsin lumber industry such as Chicago, Milwaukee, Sheboygan, and Manitowoc. Milwaukee and Manitowoc were centers for commercial ship building in Wisconsin. Many cargo ships built in these communities were used to transport lumber from logging ports to major industrial cities. Later a growing paper industry in the Fox River Valley made use of wood pulp from the state's lumber industry.

 

Logging was a dangerous trade, with high accident rates. On October 8, 1871, the Peshtigo Fire burned 1,875 square miles (4,850 km2) of forest land around the timber industry town of Peshtigo, Wisconsin, killing between 1,200 and 2,500 people. It was the deadliest fire in United States history.

 

From the 1870s to the 1890s, much of the logging in Wisconsin was done by immigrants from Scandinavia.

 

By the beginning of the twentieth century, logging in Wisconsin had gone into decline. Many forests had been cleared and never replanted and large corporations in the Pacific Northwest took business away from the Wisconsin industry. The logging companies sold their land to immigrants and out of work lumberjacks who hoped to turn the acres of pine stumps into farms, but few met with success.

 

Wisconsin is known in the 18th century to have discovered gold deposits in western Wisconsin. Such discoveries occurred around the town of St. Croix Falls where a settler stumbled across a gold nugget valued to be worth lots at the time. It's no surprise Wisconsin's western region was once the site of volcanic eruptions so it makes sense that minerals that weren't commonly found in other parts of the state would be present here.

 

Wisconsin was a regional and national model for innovation and organization in the Progressive Era in the early 20th century. The direct primary law of 1904 made it possible to mobilize voters against the previously dominant political machines. The first factors involved the La Follette family going back and forth between trying control of the Republican Party and third-party activity. Secondly the Wisconsin idea, of intellectuals and planners based at the University of Wisconsin shaping government policy. LaFollette started as a traditional Republican in the 1890s, where he fought against populism and other radical movements. He broke decisively with the state Republican leadership, and took control of the party by 1900, all the time quarrelling endlessly with ex-allies.

 

Wisconsin at this time was a de facto one party state, as the Democratic Party was then a minor conservative group in the state. Serious opposition more often than not came from the Socialist Party, with a strong German and union constituency in Milwaukee. The socialists often collaborated with the progressive Republicans in statewide politics. Senator Robert M. La Follette tried to use his national reputation to challenge President Taft for the Republican nomination in 1912. However, as soon as Roosevelt declared his candidacy, most of La Follette's supporters switched to the former president. During the Wilson administration he supported many of Wilson's domestic programs in Congress, however he strongly opposed Wilson's foreign policy, and mobilized the large German and Scandinavian populations in Wisconsin to demand neutrality during World War I. During the final years of his career, he split with the Republican Party and ran an independent campaign for president in 1924. In his bid for the presidency he won 1/6 of the national popular vote, but was only able to win his home state.

 

Following his death, his two sons assumed control of the Wisconsin Republican Party after a brief period of intraparty factional disputes. Following in their father's footsteps they helped form the Wisconsin Progressive Party, in many ways a spiritual successor to the party La Follette had founded in 1924. The party surged to popularity during the mid-1930s off of the inaction of the moderately conservative Schmedeman administration, and were able to gain the support of then president Franklin D. Roosevelt. Much of the new party's support could be owed to the personalities leading it, and the support of Roosevelt and progressive Democrats. The party saw success across Wisconsin's elected offices in the state and congress. Despite its popularity the party eventually declined as Philip, engulfed in scandal and accusations of authoritarianism and fiscal responsibility, lost re-election for the final time in 1938. Following this defeat Philip left electoral politics and joined World War II in the Pacific Theater. Due to joining the war, the National Progressives of America, an organization the La Follettes had hoped would precede a national realignment, faltered. Both organizations began to tear themselves apart as La Follette's absence led to vicious intraparty fighting which ultimately led to a vote to dissolve itself, which Philip was told to stay away from.

 

The Wisconsin Idea was the commitment of the University of Wisconsin under President Charles R. Van Hise, with LaFollette support, to use the university's powerful intellectual resources to develop practical progressive reforms for the state and indeed for the nation.

 

Between 1901 and 1911, Progressive Republicans in Wisconsin created the nation's first comprehensive statewide primary election system, the first effective workplace injury compensation law, and the first state income tax, making taxation proportional to actual earnings. The key leaders were Robert M. La Follette and (in 1910) Governor Francis E. McGovern. However, in 1912 McGovern supported Roosevelt for president and LaFollette was outraged. He made sure the next legislature defeated the governor's programs, and that McGovern was defeated in his bid for the Senate in 1914. The Progressive movement split into hostile factions. Some was based on personalities—especially La Follette's style of violent personal attacks against other Progressives, and some was based on who should pay, with the division between farmers (who paid property taxes) and the urban element (which paid income taxes). This disarray enabled the conservatives (called "Stalwarts") to elect Emanuel Philipp as governor in 1914. The Stalwart counterattack said the Progressives were too haughty, too beholden to experts, too eager to regulate, and too expensive. Economy and budget cutting was their formula.

 

During World War I, due to the neutrality of Wisconsin and many Wisconsin Republicans, progressives, and German immigrants which made up 30 to 40 percent of the state population, Wisconsin would gain the nickname "Traitor State" which was used by many "hyper patriots".

 

As the war raged on in Europe, Robert M. La Follette, leader of the anti-war movement in Wisconsin, led a group of progressive senators in blocking a bill by president Woodrow Wilson which would have armed merchant ships with guns. Many Wisconsin politicians such as Governor Phillipp and senator Irvine Lernroot were accused of having divided loyalties. Even with outspoken opponents to the war, at the onset of the war many Wisconsinites would abandon neutrality. Businesses, labor and farms all enjoyed prosperity from the war. With over 118,000 going into military service, Wisconsin was the first state to report for four national drafts conducted by the U.S. military.

 

The progressive Wisconsin Idea promoted the use of the University of Wisconsin faculty as intellectual resources for state government, and as guides for local government. It promoted expansion of the university through the UW-Extension system to reach all the state's farming communities. University economics professors John R. Commons and Harold Groves enabled Wisconsin to create the first unemployment compensation program in the United States in 1932. Other Wisconsin Idea scholars at the university generated the plan that became the New Deal's Social Security Act of 1935, with Wisconsin expert Arthur J. Altmeyer playing the key role. The Stalwarts counterattacked by arguing if the university became embedded in the state, then its internal affairs became fair game, especially the faculty preference for advanced research over undergraduate teaching. The Stalwarts controlled the Regents, and their interference in academic freedom outraged the faculty. Historian Frederick Jackson Turner, the most famous professor, quit and went to Harvard.

 

Wisconsin took part in several political extremes in the mid to late 20th century, ranging from the anti-communist crusades of Senator Joseph McCarthy in the 1950s to the radical antiwar protests at UW-Madison that culminated in the Sterling Hall bombing in August 1970. The state became a leader in welfare reform under Republican Governor Tommy Thompson during the 1990s. The state's economy also underwent further transformations towards the close of the 20th century, as heavy industry and manufacturing declined in favor of a service economy based on medicine, education, agribusiness, and tourism.

 

In 2011, Wisconsin became the focus of some controversy when newly elected governor Scott Walker proposed and then successfully passed and enacted 2011 Wisconsin Act 10, which made large changes in the areas of collective bargaining, compensation, retirement, health insurance, and sick leave of public sector employees, among other changes. A series of major protests by union supporters took place that year in protest to the changes, and Walker survived a recall election held the next year, becoming the first governor in United States history to do so. Walker enacted other bills promoting conservative governance, such as a right-to-work law, abortion restrictions, and legislation removing certain gun controls. Walker's administration also made critical changes to Wisconsin's election process, enacting one of the most aggressive legislative gerrymanders in the country and replacing Wisconsin's nonpartisan state elections board with a commission of political appointees. When Walker lost re-election in 2018, he collaborated with the gerrymandered Republican legislature to strip powers from the incoming Governor and Attorney General. Since 2011, Wisconsin has seen increasing governmental dysfunction and paralysis, as the durable gerrymander insulated the legislature from electoral consequences.

 

Following the election of Tony Evers as governor in 2018, Wisconsin has seen a string of liberal victories at every level of government which have slowly chipped away at the conservative dominance within the state. This eventually led to the Wisconsin supreme court overturning the Walker-era legislative gerrymander in Clarke v. Wisconsin Elections Commission.

Valadares - Portugal

 

The Passion Flower with its various parts is seen as a symbols of Jesus' scourging, crowning with thorns and crucifixion.

 

This flower, a genus with numerous species, indigenous to the tropical Americas, is unique among the hundreds of old Christian

flower symbols in that there is specific historical documentation

of the time and place of its origin - the symbolism having been

first perceived by the Mexican Augustinian friar, Emmanuel de

Villegas, who reported it, with sketches, in Europe in 1610.

 

It is said that the test of the authenticity of the biblical Prophets was the enduring acceptance of their prophecies by the community. The same can be said of religious flower symbols, whatever their origin: if they achieve enduring acceptance, this signifies, as in the case of the Passion Flower, that they contain a certain "prophetic" unction which enriches the faith and devotion of the believers.

 

The endurance in religious oral tradition of the "galaxy"

of flower symbols of Our Lady, and of her life and her mysteries

from medieval times, as discovered and recorded for literate

tradition by botanists and folklorists, bears testimony to their enriching prophetic unction, which we at Mary's Gardens propose for

wider knowledge and appreciation.

 

The Passion Flower symbolism, as originally perceived, and

then augmented, includes:

  

The spiraled tendrils - the lash of Christ's scourging

 

The central flower column - the pillar of the Scourging

 

The 72 radial filaments - the Crown of Thorns

 

The top 3 stigma - the 3 Nails

 

The lower 5 anthers - the 5 wounds

 

The Style - the Sponge used to moisten

Christ's Lips with Vinegar

 

The leaves (some species) - the head of the Centurion's Spear

 

The red stains - Christ's Blood Drops

 

The Round Fruit - The World Christ came to save

 

The Fragrance - The Spices prepared by the Holy Women

  

This multiple symbolism of the Passion Flower combines a

number of symbols found in flowers individually in the prior

traditions of the rural countrysides of the Old World, from which

the missionaries to the New World came.

 

Thus, in the popular oral religious traditions of Spain,

Paliurus aculeatus was known as Espina de Cristo, "Christ's Thorn" (by which name it is generally known today) and Espina Santa, "Holy Thorn"; Pichomon acarna (?) as Azota-Christos, "Christ's Lash";

Gentiana cruciata, Cross Gentian, and others, as Hierba en Cruz,

"Herb of the Cross"; Ophioglossum vulgatum, Adder's-Tongue Fern, as Lanza de Cristo, "Christ's Lance"; and Fumaria officinalis, Fumitory, as Sangre de Cristo, "Christ's Blood". Familiarity with

these or other plant symbols of the Passion and Cross of Christ no

doubt pre-disposed missionaries and their converts to discover

symbolism such as that of the Passion Flower, and to make

transferrences such as that of the symbolism of "Mary's Gold" from the European Marigold, Calendula, to the golden Tagetes genus of the New World.

 

Such symbols gave a specific focus of Christian faith to

the religious sense of nature, and also provided a visual means

of teaching the Gospel story in an era where there were no

printed catechisms.

 

And, once introduced into Europe, the Passion Flower soon

acquired other religious names, such as in Germany, Jesus-Leiden,

"Jesus' Passion"; Christos-Strauss, "Christ's Bouquet"; Herr-Gotts-Blume, "Our Lord's Flower"; Dorn-Krone, "Crown of Thorns"; Christos-Krone, "Christ's Crown"; Marter, "M

 

("http://www.mgardens.org/JS-TPF-MG.htm l")

Church of St Mary , Preston on Stour, Warwickshire anciently dedicated to St. Peter the apostle, -

The earliest recorded mention of a church here is in 1272, when the advowson belonged to Deerhurst Priory. It consisted of a chancel, nave and north porch. A tower was added in late 15c which has 3 bells- two by Henry Bagley of 1635 , the third is by Abraham Rudhal of 1713.

In 1504 the church passed to Tewkesbury Abbey on condition that the abbey pay for a vicarage, though it seems this never happened and by 1540 the whole income was a salary of £8 13s. 4d. later reduced to £8 pa by 1647.

The vicarage was so poor that the parish was often inadequately served. Thomas Roberts, vicar in 1532 - 1557 "was weak in doctrine" and from 1544 kept instead a curate. Roger Horrocks described as "very old and impotent" in 1572, remained vicar until 1576, when he was excommunicated for contumacy. (stubborn refusal to obey or comply with authority) In 1584 the vicar (described as curate) "neglected to hold services and teach the catechism" (In 1603 seven people were listed as recusants). There was no vicar or curate from from 1623. and John Bursey, who held it by 1642 to 1664 was said in 1650 to be 'no constant preacher'. A vicarage house was mentioned in 1615, but by then it had been divided into 2 cottages. The smallness of the salary and the vicar's dependency with the owner led in 1747 and 1818 the living being augmented with 7 sums of £200 from Queen Anne's Bounty.

In 1753 he lord of the manor, James West of Alscot Park, commissioned architect Edward Woodward of Chipping Campden to begin rebuilding the medieval church in the entirely new style of Gothic Revival .

The chancel was rebuilt in 1753-4 in a mixture of Gothic styles taken from 14c & 15c -

In 1756 the main entrance was created in the west face of the tower, and in 1757 the north wall of the nave was rebuilt, windows placed in the medieval south wall of different builds, and a parapet added by Edward and Thomas Woodward of Chipping Campden, though the early 15c timber roof of the nave was left intact.

At the same time a west gallery was added built by Salmon of Stratford, on which was placed the 1603-88 Stuart royal coat of arms. Overhead hang 4 funeral hatchments of the West family from 1799-1882.

James West seems to have been a collector of stained glass, and there is heraldic 15c English glass in the tower window, 17c pieces in both the east and west windows, and 17c Dutch glass in the chancel allegedly brought here from Evesham Abbey.

The chancel was restored in 1904 when a small north door was added below the window.

The churchyard was enlarged in 1885 and 1926. In early 18c each landowner was responsible for a specified section of the fence round it, which was later replaced by a wall, and there are two pairs of large 18c stone gateposts with wrought iron gates. One pair opening on an avenue of ancient yews.

In 1818 the only school in the parish was a dame school attended by about 10 children. Anne, wife of James Roberts West 1838 started a Sunday school in 1821; In 1846 there was a day and Sunday school for girls, and a Sunday school for boys totalling 65 children. In 1848 James Roberts West II built a parish school, the earliest feature of his model village, which he maintained.

Charities : £10 Giles Smith 1634; £20 Richard Mariett 1744; £40 Sarah West 1770 invested to be given to the poor in money or coal.

www.british-history.ac.uk/vch/glos/vol8/pp81-89

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

The most unique image of Sto. Niño in the Philippines is the "Sto. Niño Dela O".

 

Dancing, singing in “Simbang Gabi”

SIMBANG gabi in the town of Pangil in Laguna is not just plain misa de gallo, the evening or dawn novena Masses that start Dec. 16 to usher in the celebration of the birth of Jesus Christ. It is also an occasion for dancing, singing and offering of infants.

About a thousand mothers wearing bandanas usually flock to the Our Lady of Nativity Parish Church with their babies, to dance and chant praises to God.

They recite the rosary and sing exaltations to the “Nuestra Señora de La O” (Our Lady of the “O” or Our Lady of Nativity). Holding the “Santo Niño de La O” (Holy Child of the “O” or Holy Child of the Nativity), they dance to the children’s Latin song “Dic Mihi” of the basic Christian catechism amid the beating of the drums.

Every Pangileño knows the tune by heart. The song enumerates the 12 important teachings of the Church.

The ritual is locally called “OO”, which many people believe has been derived from the Latin devotional verses and exaltations that start with “O”, such as: “O Maria! O Virgines Pulcra! O Mater Nostra!”

Long life…

For the elderly, the singing and dancing start immediately after the dawn Mass. For infants and children, the activities take place at 4-5 p.m.

As early as 3 p.m., women and their toddlers troop to the church for the ritual. Residents say the event ensures good health for the young ones and long life, success and prosperity for the families.

The ceremony lasts more than an hour.

The daily ritual runs until Dec. 24, in time for the Pregnant Madonna’s birth of Jesus on Christmas.

The “Santo Niño de La O” is hoisted by a chosen person who dances back and forth along the aisle as the churchgoers sing the “Dic Mihi”.

It is said that bearing the image during the annual feast day procession is a privileged task, for which people line up for years. For instance, someone who has his name listed in 2000 will have to wait until 2015 to carry the Santo Niño. If one has sinned, he or she would find the statue heavy; if guiltless, the statue would be light.

The religious devotion was transformed into a Grand Pa-OO Festival or the Bandana Festival in January 1999, when parishioners started dancing the Santo Niño in the streets, waving pine leaves while dancing.

The date of the festival, now on its sixth year, was changed to Dec. 18 in later years.

Pregnant Madonna…

A church document describes the pregnant Madonna as the life-sized statue of the “Nuestra Señora de La O”, which symbolizes the Blessed Mother heavy with the Child Jesus.

When one views the image closely, the Virgin’s hand expresses amazement while her beautiful face looks intently beyond.

The “Santo Niño de La O”, on the other hand, depicts the Child Jesus inside the womb. Thus, it is hoisted on a wooden pole with a silver circle representing the womb.

The two images are also considered miraculous. The “Nuestra Señora de La O”, in particular, is known to help women who have difficulty in child-bearing.

Four centuries…

The municipality of Pangil is as old as the Our Lady’s Nativity Parish. It is now 430 years old.

Church documents showed that the first church was built by missionaries Fray Juan de Placencia and Fray Diego de Oropesa in Barangay Sulib in 1579. Made of bamboo, the church was destroyed by an earthquake and storms.

In 1611, a stone church and a convent were built under Fray Gonzalo del Robles. At that time, the church was the biggest in Laguna.

Today, the convent of Pangil remains a historic place for one memorable reason: it was host to Prince Carlos III of Spain in 1743. The prince stayed in Pangil and spent time hunting in the forest and swimming in the river, which is now called the “Bambang Hari” by natives.

He stayed in the town for three or four years, church records show, and returned to Spain in 1759. Five years later, in 1764, he was crowned King Carlos III after the death of King Fernando VI, his stepbrother to his father, King Felipe V.

Upon his ascension to the throne of Spain as King Charles III, he sent the statues of “Santo Niño de La O” and “Nuestra Señora de La O” to Pangil as a sign of his gratitude and appreciation for the hospitality accorded to him.

The bandanas used by the festival participants, according to old Pangileños, seek to recall their ancestors who covered their heads as they received the two gifts from King Carlos III along the Laguna Lake on a rainy day of December 1764.

They sang and danced in extreme joy along the streets, carrying the images on their way to the parish church. (INQ7)

Plaque of a Church Interior c. 1670

 

Tin-glazed earthenware with blue decoration; reverse unglazed.

 

Netherlands (Delft)

 

In the mid-seventeenth century the Dutch city of Delft was a center of artistic activity, and its thriving ceramic industry began to produce tin-glazed earthenware tile plaques, which were hung on walls as decoration in the same way paintings would have been displayed. Made between 1650 and 1800, these plaques were manufactured from a single slab of clay and usually framed. Prints often served as the principal source for their blue-and-white decoration.

 

Petrus de Witte’s frontispiece to The Heidelberg Catechism, published in 1663, served as the inspiration for this plaque, which shows the interior of a Gothic Church. In the background a large group gathers around a minister who conducts a catechistic discourse a the base of the pulpit inscribed with the numeral “9”. The numbers found on plaques of this sort indicate the psalm number that is subject of the preacher’s sermon.

 

Purchased in honor of Ella Schaap with the Elizabeth Wandell Smith Fund, the John T. Morris Fund, funds contributed by Ida Schmertz, Martina and Michael Yamin, and members of the European Decorative Arts Committee, 2011-53-1.

 

From the Placard: The Philadelphia Museum of Art, PA

 

www.philamuseum.org/

.

First and Second Prizes for Identify the Artist XI were sent to the winners noted below: Trish Mayo and Madeleine – Congratulations:

 

With Mark Sobers a lock for a postcard,… There are still two ART Postcards still up for grabs.. They will be determined in the next two weeks.

Beginning Sunday, April 8 at 8:00 PM ET: Week 9 INSIDE CHURCH (991-995) 4/8 – 4/12/2018

 

Status after week 8:

(1) Trish Mayo 235 *

(2) Madeleine 203 *

(3) Mark Sobers 71 * *

(4) Anton Shomali 30

(5) Viejito 18

Thomas Hawk 13

Eddie Crimmins 12

Bob Dass 11

Paula la Paula 9

Nur Moo 7

Melinda Stuart 5

judy2 chen 5

Sylvia Okkerse 5

Edith VdW 4

Wu-nien 4

Jan Diamond 3

Jim Ingersoll 2

Caty 2

Ana-Marja Veg 2

Andy 2

thierrymuller 2

Laura Sorrells 2

javier morales 2

Colleen Watson-Turner 2

Robert Gross 2

Brigit Rust 1

Urszula 1

Pedro Ribeiro Simōes 1

Brendan Mulcahy 1

Ruthie St. Steven 1

Krzysztof Krr 1

ma wuascht 1

dfretnek 1

Darlene 1

Robert Sparkman 1

axion.atic 1

Charmaine Honeychurch 1

JR P 1

emiliana d 1

joe janecek 1

Stacia Ramirez 1

All This Wonder 1

 

• Confirmed lock for either first and second place. Prizes in the mail some time this week.

** Lock for a postcard.

   

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

Igtham is well know, at least the nearby moated manor house, Igtham Moat. The village is well travelled through, and many stop here because it is chocolate box picture perfect.

 

I stopped here at about half ten on a Saturday morning, the place should have been packed with tourists, maybe it will once the pub opens for lunch, but I was able to park in the picturesque village square, take a few shots of the timber-framed buildings, and walk up the hill to the church.

 

From the lych gate I could see the porch door open, so my hopes were raised, and indeed the church was open, un-manned, and the lights came on, triggered by a pressure pad in the porch.

 

This I did not know until the lights went out after ten minutes, I went out to find the light switches, returned and the lights were back on.

 

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The church is built on a steep hillside and displays a rare brick-built north aisle. The chancel is full of unusual memorials, the most noteworthy of which is to Sir Thomas Cawne dating from the end of the fourteenth century. He is wearing armour and chain mail and lies under a canopy beneath a window that forms part of the same composition. In the churchyard is a nice nineteenth-century tomb designed by the famous architect William Burges. The other monuments of note at Ightham are all to the Selby family, the most famous of whom is Dorothy Selby (d. 1641) who is reputed to have had a connection with the Gunpower Plot, although the ambiguous inscription on her tomb is now believed to be no more than an appreciation of her needlework.

 

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

 

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IGHTHAM.

WESTWARD from Wrotham lies IGHTHAM, so corruptly called for Eightham, which name it had from the eight boroughs or hams lying within the bounds of it, viz. Eightham, Redwell, Ivybatch, Borough-green, St. Cleres, the Moat, Beaulies, and Oldborough. (fn. 1) In the Textus Roffensis it is spelt EHTEHAM.

 

THE PARISH of Ightham for the most part is in the vale between the chalk and the sand or quarry hills, tho' it reaches above the former northward. Near the chalk hill, and for some distance southward the same soil prevails, thence it is an unsertile deep sand, and at the boundaries towards Shipborne a deep clay and heavy tillage land; from hence, and its situation, however healthy it may be, it is by no means a pleasant or a profitable one. The parish is very narrow, little more than a mile in width, but from north to south it extends near five miles, from Kingsdown, above the hills, to Shipborne, its southern boundary. At the foot of the chalk hill and north-west boundary of this parish, is the mansion of St. Clere, and not far from it Yaldham; about a mile from which is Ightham-court, and at a little distance further southward is the church and village, situated on the high road from Maidstone to Sevenoke and Westerham, which here crosses this parish by the hamlet of Borough-green, and the manor of Oldborough, or Oldbery, as it is now called, with the hill of that name, belonging to Richard James, esq. of this parish, in this part, and by Ivy-hatch plain, there is much rough uninclosed waste ground, the soil a dreary barren sand, consisting in this and the adjoining parish, of several hundred acres, being in general covered with heath and furze, with some scrubby wood interspersed among them. At the southern extremity of the parish, next to Shipborne, and adjoining to the grounds of Fairlawn, is the seat of the Moat, lowly situated in a deep and miry soil. A fair is kept yearly in this parish, upon the Wednesday in Whitsun week, which is vulgarly called Coxcombe fair.

 

The Roman military way seems to have crossed this parish from Ofham, and Camps directing its course westward through it. The names of Oldborough, now called Oldberry-hill, and Stone-street in it, are certain marks of its note in former times.

 

At Oldberry-hill there are the remains of a very considerable intrenchment, which is without doubt of Roman origin. It is situated on the top of the hill, and is now great part of it so overgrown with wood as to make it very difficult to trace the lines of it. It is of an oval form, and by a very accurate measurement, contains within its bounds the space of one hundred and thirty-seven acres. Just on the brow of the hill is an entrance into a cave, which has been long filled up by the sinking of the earth, so as to admit a passage but a very small way into it, but by antient tradition, it went much further in, under the hill.

 

The whole of it seems to have been antiently fortified according to the nature of the ground, that is, where it is less difficult of access by a much stronger vallum or bank, than where it is more so. In the middle of it there are two fine springs of water. The vast size of this area, which is larger even than that at Keston, in this county, takes away all probability of its having been a Roman station, the largest of which, as Dr. Horsley observes, that he knew of, not being near a tenth part of this in compass. It seems more like one of their camps, and might be one of their castra æstiva, or summer quarters, of which kind they had several in this county. An intrenchment of like form seems to have been at Oldbury hill, in Wiltshire, which the editor of Camden thought might possibly be Danish. There are remains of a Roman camp at Oldbury, in Gloucestershire, where the pass of the Romans over the Severn, mentioned by Antonine, is supposed to have been by Camden. And at Oldbury, near Manchester, in Warwickshire, are such like remains.

 

IGHTHAM was held in the reign of king Henry III. by Hamo de Crevequer, who died possessed of it in the 47th year of that reign, anno 1262, leaving Robert, his grandson, his heir. By his wife, Maud de Albrincis, or Averenches, he had also four daughters, Agnes, wife of John de Sandwich, Isolda, of Nicholas de Lenham; Elene, of Bertram de Criol; and Isabel, of Henry de Gaunt.

 

Robert de Crevequer left one son, William, who dying without issue, his inheritance devolved on the children of three of the daughters of Hamon de Crevequer, as above-mentioned, Agnes, Isolda, and Elene, and on the division of their inheritance, Ightham seems to have fallen to the share of Nicholas, son of Bertram de Criol, by his wife Elene, above-mentioned. He was a man greatly in the king's favour, and was constituted by him warden of the five ports, sheriff of Kent, and governor of Rochester castle. By Joane his wife, daughter and sole heir of William de Aubervill, he had Nicholas de Criol, who had summons to parliament, and died in the 31st year of king Edward the 1st.'s reign, possessed of this manor, which his heirs alienated to William de Inge, who held it in the first year of king Edward II. and procured free-warren for his lands in Eyghtham, (fn. 2) and in the 9th year of it, a market here, to be held on a Monday weekly, and one fair on the feast of the apostles, St. Peter and St. Paul. In which last year he was constituted one of the justices of the common pleas. (fn. 3) He bore for his arms, Or, a chevron vert. On his death, in the 15th year of that reign, anno 1286, Joane, his daughter, married to Eudo, or Ivo la Zouch, the son of William, lord Zouch, of Harringworth, by Maud, daughter of John, lord Lovel, of Tichmarsh, became entitled to it.

 

His descendants continued in the possession of this manor till the reign of king Henry VII. when it was alienated to Sir Robert Read, serjeant at law, afterwards made chief justice of the common pleas, (fn. 4) who died in the next reign of king Henry VIII. leaving by Margaret, one of the daughters and coheirs of John Alphew, esq. of Chidingstone, one son, Edmund, one of the justices of the king's bench, who died before him in 1501, and also four daughters, who became his coheirs, and on the partition of their inheritance this manor was allotted to Sir Thomas Willoughby, (fn. 5) in right of Bridget his wife, the eldest of them. He was in the 29th year of king Henry VIII. promoted to the office of chief justice of the common pleas, and in the 31st year of it, he, among others, procured his lands to be disgavelled by the act then passed for that purpose. He left Robert his son and heir, who alienated this manor to William James, third son of Roger James, of London, who was of Dutch parentage, and coming into England in the latter end of the reign of king Henry VIII. was first as being the descendant of Jacob Van Hastrecht, who was antiently seated at Cleve near Utrecht, called after the Dutch fashion Roger Jacobs, and afterwards Roger James, alias Hastrecht. This Roger James, alias Hastrecht, had several sons and one daughter. Of the former, Roger, the eldest, was of Upminster, in Essex, whose descendants settled at Ryegate, in Surry. William, was of Ightham, as before mentioned; Richard had a son, who was of Creshell, in Essex; John was of Woodnesborough, in this county, and George was of Mallendine, in Cliff, near Rochester. William-James, the third son of Roger as before-mentioned, resided at Ightham-court, as did his son William James, esq. who was a man much trusted in the usurpation under Oliver Cromwell, as one of the committee members for the sequestration of the loyalists estates, during which time he was in five years thrice chosen knight of the shire for Kent. His son Demetrius was knighted, whose son William James held his shrievalty for this county here in 1732. He left by his wife, daughter of Demetrius James, esq. of Essex, two sons, Richard his heir, and Demetrius, late rector of this parish, and a daughter married to Mr. Hindman. He died in 1780, and was succeeded by his eldest son Richard James, esq. now of Ightham-court, and the present possessor of this manor. He is colonel of the West-Kent regiment of militia, and is at present unmarried. The original coat of arms of this family of Haestrecht was, Argent, two bars crenelle, gules, in chief three pheons sable; which arms, without the pheons, are borne by the several branches of James, quartered with, Argent, a chevron between three fer de molins transverse, sable.

 

ST. CLERES, alias West Aldham, situated in the borough of the latter name, is a manor and seat in the north-west part of this parish, adjoining to Kemsing, which was formerly called by the latter name only, and was possessed by a family of the same denomination, who bore for their arms, Azure, a pile, or.

 

Sir Thomas de Aldham was owner of it in the reign of king Richard I. and was with that king at the siege of Acon, in Palestine. His descendant Sir Thomas de Aldham, possessed this manor of Aldham in the reign of king Edward II. and dying without male issue, his three daughters became his coheirs, the eldest of whom married Newborough, called in Latin de Novo Burgo, of Dorsetshire; Margery married Martin Peckham, and Isolda was the wife of John St. Clere, and on the division of their inheritance this manor fell to the share of John St. Clere, who possessed it in his wife's right. (fn. 6)

 

John de St. Clere, written in Latin deeds De Sancta Claro, died possessed of it in the beginning of king Edward III. leaving Isolda his wife surviving, on whose death John St. Clere, their son, succeeded to this manor, which from this family now gained the name of Aldham St. Cleres, and in process of time came to be called by the latter name only, and their descendants continued in possession of this manor till the beginning of the reign of king Henry VII. when it was alienated to Henry Lovel, who left two daughters his coheirs; Agnes, who married John Empson, cousin to Sir Richard Empson, the grand projector; and Elizabeth, married to Anthony Windsor.

 

John Empson conveyed his moiety of it, in the 8th year of king Henry VIII. to Sir Thomas Bulleyn, afterwards created earl of Wiltshire and Ormond, and father of the lady Anne Bulleyn, wife to Henry VIII. (fn. 7) and Anthony Windsor, in the 10th year of that reign, passed his moiety away by sale to Richard Farmer, who that year purchased of Sir Thomas Bulleyn the other part, and so became possessed of the whole of this manor of St. Cleres. In the 28th year of that reign, Richard Farmer conveyed it to George Multon, esq. of Hadlow who removed hither. He bore for his arms, Or, three bars vert; being the same arms as those borne by Sir John Multon, lord Egremond, whose heir general married the lord Fitzwalter, excepting in the difference of the colours, the latter bearing it, Argent, three bars, gules. His grandson Robert Multon, esq. was of St. Cleres, and lies buried with his ancestors in this church. He alienated this manor and estate, in the reign of Charles I. to Sir John Sidley, knight and baronet, a younger branch of those of Southfleet and Aylesford, in this county, who erected here a mansion for his residence, which is now remaining. He was descended from William Sedley, esq. of Southfleet, who lived in the reign of king Edward VI. and left three sons, of whom John was ancestor of the Sedleys, of Southfleet and Aylesford; Robert was the second son, and Nicholas the third son, by Jane, daughter and coheir of Edward Isaac, esq. of Bekesborne, afterwards married to Sir Henry Palmer, left one son, Isaac Sidley, who was of Great Chart, created a baronet in 1621, and sheriff of this county in the 2d year of Charles I. whose son Sir John Sidley, knight and baronet, purchased St. Cleres, as above-mentioned. (fn. 8) He left two sons, Isaac and John, who both succeeded to the title of baronet. The eldest son, Sir Isaac Sidley, bart. succeeded his father in this estate, and was of St. Cleres, as was his son, Sir Charles Sidley, bart. who dying without issue in 1702, was buried in Ightham church. By his will he devised this manor, with the seat and his estates in this parish, to his uncle John, who succeeded him in the title of baronet, for his life, with remainder to George Sedley, his eldest son, in tale male. But Sir Charles having been for some time before his death, and at the time of his making his will of weak understanding, and under undue influence, Sir John Sedley contested the validity of it, and it was set aside by the sentence in the prerogative court of Canterbury.

 

Soon after which Sir John, and his son George Sedley above-mentioned, entered into an agreement, by which Sir John Sedley waved his right as heir at law, and his further right to contest the will. In consequence of which an act of parliament was obtained for the settling in trustees the manor of West Aldham, alias St. Cleres, with its appurtenances, and the capital messuage called St. Cleres, in Ightham, and other messuages and lands in Ightham, Wrotham, Kemsing, Seal, &c. that they might be sold for the purposes of the agreement, which the whole of them were soon afterwards to William Evelyn, esq. the fifth son of George Evelyn, esq. of Nutfield, in Surry, who afterwards resided here, and in 1723 was sheriff of this county.

 

He married first the daughter and heir of William Glanvill, esq. and in the 5th year of king George I. obtained an act of parliament to use the surname and arms of Glanvill only, the latter being Argent, a chief indented azure, pursuant to the will of William Glanvill, esq. above-mentioned. By her he had an only daughter Frances, married to the hon. Edward Boscawen, next brother to Hugh, viscount Falmouth, and admiral of the British fleet. His second wife was daughter of Jones Raymond, esq. who died in 1761, by whom he had William Glanvill Evelyn, esq. who on his father's decease in 1766, succeeded to St. Cleres and the rest of his estates in this county. In 1757 he kept his shrievalty at St. Cleres, where he resides at present, and is one of the representatives in parliament for Hythe, in this county.

 

He married about the year 1760, Susan, one of the two daughters and coheirs of Thomas Borrett, esq. of Shoreham, late prothonotary of the court of common pleas, by whom he had a son, William Evelyn, esq. who died in 1788 at Blandford-lodge, near Woodstock, by a fall from his horse, æct. 21, and unmarried; and a daughter Frances, afterwards his sole heir, married in 1782 to Alexander Hume, esq. of Hendley, in Surry, brother of Sir Abraham Hume, who in 1797 had the royal licence to take and use the name and arms of Evelyn only, and he now resides at St. Clere.

 

THE MOAT is another borough in this parish, in which is the manor and seat of that name, lying at the southern extremity of it next to Shipborne, which in the reign of king Henry II. was in the possession of Ivo de Haut, and his descendant, Sir Henry de Haut, died possessed of it in the 44th year of Edward III. as appears by the escheat roll of that year. His son, Sir Edmund de Haut, died in his life-time, so that his grandson, Nicholas Haut, became his heir, and succeeded him in the possession of this estate. (fn. 9)

 

He was sheriff in the 19th year of king Richard II. and kept his shrievalty at Wadenhall, in this county. He left two sons, William, who was of Bishopsborne; and Richard Haut, who succeeded him in this estate, and was sheriff in the 18th and 22d years of king Edward IV. keeping both his shrievalties at this seat of themoat; but having engaged, with several others of the gentry of this county, with the duke of Buckingham, in favor of the Earl of Richmond, he was beheaded at Pontefract, anno 1 Richard III. and afterwards attainted in the 3d year of that reign, and his estates confiscated. (fn. 10) Quickly after which, this manor and seat were granted by that king to Robert Brakenbury, lieutenant of the tower of London, and that year sheriff of this county. He kept possession of the Moat but a small time, for he lost his life with king Richard in the fatal battle of Bosworth, fought that year on August 22, and on the Earl of Richmond's attaining the crown was attainted by an act then passed for the purpose, and though his two daughters were restored in blood by another act four years afterwards, yet the Moat was immediately restored to the heirs of its former owner Richard Haut, whose attainder was likewise reversed, and in their descendants it remained till the latter end of the reign of king Henry VII. when it appears by an old court roll to have been in the possession of Sir Richard Clement, who kept his shrievalty at the Moat in the 23d year of king Henry VIII and bore for his arms, A bend nebulee, in chief three fleurs de lis within a border, gobinated. He died without any legitimate issue, and was buried in the chancel of this church. Upon which his brother, John Clement, and his sister, married to Sir Edward Palmer, of Angmering, in Sussex, became his coheirs, but the former succeeded to the entire fee of this estate.

 

John Clement died without male issue, leaving an only daughter and heir Anne, who carried the Moat in marriage to Hugh Pakenham, and he, in the reign of king Edward VI. joining with Sir William Sydney, who had married Anne, his only daughter and heir passed it away to Sir John Allen, who had been of the privy council to king Henry VIII. and lord mayor of London in the year 1526 and 1536. He was of the company of mercers, a man of liberal charity. He gave to the city of London a rich collar of gold, to be worn by the succeeding lord-mayors: also five hundred marcs as a stock for sea coal, and the rents of those lands which he had purchased of the king, to the poor of London for ever; and during his life he gave bountifully to the hospitals, prisons, &c. of that city. He built the mercers chapel in Cheapside, in which his body was buried, which was afterwards moved into the body of the hospital church of St. Thomas, of Acon, and the chapel made into shops by the mercer's company. He bore for his arms, In three roundlets, as many talbots passant, on a chief a lion passant guardant between two anchors. (fn. 11)

 

He left a son and heir Sir Christopher Allen, whose son and heir, Charles Allen, esq. succeeded his father in this estate, and resided at the Moat, which he afterwards sold at the latter end of the reign of queen Elizabeth to Sir William Selby, younger brother of Sir John Selby, of Branxton, in Northumberland. He resided here in the latter part of his life, and died greatly advanced in years in 1611, unmarried, and was buried in this church, bearing for his arms, Barry of twelve pieces, or and azure. He by his will gave this estate to his nephew, Sir William Selby, who resided here, and died likewise without issue, and by his will, for the sake of the name gave the Moat to Mr. George Selby, of London, who afterwards resided here, and was sheriff in the 24th year of king Charles I. and bore for his arms, Barry of eight pieces, or and sable. He died in 1667, leaving several sons and daughters. Of whom William Selby, esq. the eldest son, succeeded to this estate, and was of the Moat. He married Susan, daughter of Sir John Rainey, bart. of Wrotham, by whom he had several children, of whom John Selby, esq. the eldest son, was of the Moat, and by Mary his wife, one of the three daughters and coheirs of Thomas Gifford, esq. left two sons, William, who succeeded him in this seat and estate at Ightham, and John Selby, esq. who was of Pennis, in Fawkham, and died unmarried.

 

William Selby resided at the Moat, of which he died possessed in 1773, leaving his wife Elizabeth, daughter of Mr. Burroughs, surviving, who afterwards possessed this seat and resided here. She died in 1788, and her only son, William Selby, esq. of Pennis, having deceased in 1777, and his only daughter and heir likewise, Elizabeth Borough Selby, by Elizabeth his wife, one of the daughters of John Weston, esq. of Cranbrook, under age, and unmarried in 1781. This seat, with her other estates in this county, devolved to John Brown, esq. who has since taken the name of Selby, and now resides at the Moat, of which he is the present possessor.

 

The park, called Ightham park, has been already mentioned under the parish of Wrotham, to which the reader is referred.

 

It appears by the visitation of 1619, that there was a branch of the Suliards, of Brasted, then residing in this parish.

 

John Gull resided in this parish in the reign of king Henry VIII. and died here in 1547.

 

Charities.

HENRY PEARCE gave by will in 1545, to be distributed to the poor in bread yearly the annual sum of 6s. 8d. charged on land now vested in Cozens, and she gave besides to be distributed to the poor in bread at Easter yearly, 40l. now of the annual produce of 2l. and for the providing of books for poor children to learn the catechism, the sum of 10l. now of the annual produce of 10s.

 

HENRY FAIRBRASSE gave by will in 1601, to be distributed in like manner, the annual sum of 1l. to be paid out of land now vested in William Hacket.

 

WILLIAM JAMES, ESQ. gave by will in 1627, to be distributed in bread to the poor every Sunday, the annual sum of 2l. 12s. to be paid out of lands now vested in Rich. James, esq.

 

GEORGE PETLEY gave by will in 1705, to be distributed in like manner, every Sunday, 2s. the annual sum of 5l. 4s. to be paid out of land vested in William Evelyn, esq.

 

ELIZABETH JAMES, gave by will in 1720, for the education of poor children, the annual sum of 5l. to be paid out of land now vested in Elizabeth Solley.

 

IGHTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such in the deanry of Shoreham.

 

¶The church is dedicated to St. Peter. Under an arch on the north side of it, there is a tomb of free stone, having on it a very antient figure at full length of a man in armour, ornamented with a rich belt, sword and dagger, his head resting on two cushions, and a lion at his feet, over his whole breast are his arms, viz. A lion rampant, ermine, double queued. This is by most supposed to be the tomb of Sir Thomas Cawne, who married Lora, daughter and heir of Sir Thomas Morant. He was originally extracted from Staffordshire: he probably died without issue, and his widow remarried with James Peckham, esq. of Yaldham. His arms, impaling those of Morant, were in one of the chancel windows of this church.

 

The rectory is valued in the king's books at 15l. 16s. 8d. and the yearly tenths at 1l. 11s. 8d. It is now of the yearly value of about 200l.

 

The patronage of this rectory seems to have been always accounted an appendage to the manor of Ightham, as such it is now the property of Richard James, esq. of Ightham-court.

 

www.british-history.ac.uk/survey-kent/vol5/pp33-45

SANCTUS: Celebrating A Decade of Catechism & Renewed Faith Through Newly Commissioned Religious Images

(The 1st Primera Salida Exhibit)

Museo ng Makati

Brgy. Poblacion, Makati City

November 4-15, 2011

 

1st Regular Exhibit Day

November 8, 2011

  

* Exhibit open everyday (except weekends and holidays), 8 AM thru 5 PM.

 

**Pictures in set unedited due to bulk and time constraints.

 

***Attention all exhibitors: Feel free to grab any of the pictures for your personal use. Please cite the source whenever and wherever applicable. Thanks.

Masonic pavement and indented skirting in front of their Masonic altar.

 

www.kilwinning565.com/app/download/866207004/Five-pointed...

 

Mosaic Pavement and Indented Skirting.

 

www.masonic-lodge-of-education.com/mosaic-pavement.html

 

www.masonicforum.ro/?cmd=displaystory&story_id=73&amp....

 

The Mosaic Pavement

by GABRIEL VASILE OLTEAN

Expert Inspector of NGLR for Western Region; Past Worshipful Master, ZAMOLXIS Lodge, no. 182, Deva

 

"The interior decoration of a masonic lodge comprises ornaments, accessories and insignia. The ornaments are: the mosaic on the floor - respresenting spirt and matter, the shining star and the laced edge, which remind us always the first of the presence of God and the second of the protective wall" - cites Charles W Leadbeater from the ritual of mixed masonry in his work "Freemasonry - Rites and Initiations."

In the center of the Temple, on the ground, there is a rectangular floor, with black and white tiles, called the mosaic pavement (theoretically, cubes seen perspectivally), where a relgaion obtains between the sides, either 2:1 (the long square) or 1.618.../1 (the golden number), thus coming up with a surface proportional to the total area of the Lodge. Thus we see that practically the moasica, placed in the center of the Lodge is a microcosmic representation of the whole of creation and is by itself a sacred central area - whence the interdiction to ever step on the mosaic when the work of the Lodge is underway. The pavement symbolizes the indisociable operative complementarity of the two cosmic principles: the initiate must know how no longer let himself be dominated by the confrontation between positive and negative forces, to know (it is indispensable) how to use it, to master it so as to work constructively.

 

In Ancient Egypt, the mosaic was never stepped on except by a candidate and the masters of ceremony, and only at precise moments (by the Past Worshipful Master for the fulfilment of his tasks, by the First Expert when he took the light of the sacred fire, or by the sexton when he spread frankincense on the altar of the Temple. An extremely important aspect of the mosaic pavement is that, being placed in the middle of the Temple, framed by the three colonettes (which represent the Worshipful Master, the Senior and Junior Wardens), must be avoided by walking in a square, in a symbolic sense. The current of energy cross the floor, some along the length, some along the width, in lines that remind of the warp of a canvas.

 

Upon opening the work, the Trestle Board is depicted on this pavement, which varies with the first three degrees. The mosaic pavement signifies different things according to the traditional mode of work in the lodge, or the masonic rite employed.

The French Rite specifies that the pavement adorned the threshold of the geat porch of the Temple and showed that this is one of the ornaments of the Lodge, being the emblem of the intimate union among masons. Here it was explained to the Apprentice that he "could not stand on the mosaic pavement to contemplate the interior of the edifice". This started above from the seventh step, as we can well conclude by an attentive research of the Trestle Boards of the first two degrees.

The Rectified Scottish Rite speaks too little of this pavement, noting that "the mosaic pavement adorns the threshold of the great veranda of the Temple. It covers the entry to the subterranean part of the Temple between the two columns, to a crypt that held holy idols and especially the pledge of the alliance between the chosen people and the Creator: the Royal Ark (Ark of the Covenant).

 

The Ancient and Accepted Scottish Rite does not describe in any way this ornament. As to the decoration of the Lodge, it is said however "the floor of the lodge is the pavement in alternative black and white squares. When it is thus decorated, a pavement is achieved wit the shape of a long square, placed in the center of the Lodge, decorated on the model of the latter".

 

The York Rite affirms that "the mosaic pavement represents the floor of the Temple of Solomon", having the added laced edge. It is obvious enough that it is about a symbolic contribution in what regards the floor of the Lodge, because in the Bible the floor of the Temple isn't described as an series of black and white squares: "and the floor of the Temple was made from cypress planks" (3 Kings 6:15).

 

Whereas in the Emulation Rite (the Anglo-Saxon Rites are more precise in their descriptions) specifies that "the mosaic pavement may rightly be considered the wondrous tiling of a freemason Lodge due to its diversity and regularity. Thus the diversity of beings and objects in the world surfaces, as well the ensouled ones as those that are not". In the complementary course of the Rite of Emulation (in the fifth part) it is specified: "our lodge is adorned with mosaic pavement to mark the uncertainty of all terrestrial vanities... as we step on this mosaic, our thought must return to the original idea that we imitate and act as honorable men and masons". Mosaic pavement is presented as an image of faith, harmony, understanding..

Outside the definitions offered by different masonic rites, the mosaic pavement may be approached under many aspect, two of which seem edifying to us:

• The floor of the Lodge,

• The route of squares for the tracing of planes,

When we approach the mosaic pavement as floor of the Lodge, we are forced to distinguish between the pavement of operative and speculative Lodges.

In the first case, we specify that Lodges were usually annexes to the construction site, attached to the construction on the Southern side of the Work (to receive more light and to have the wall of the edifice for protection. It is extremely clear and evident that in this case no floor was imposed (nor would any be functional). The tiling that constitutes the mosaic is fragile in contradiction with the dimensions (weight) of the tools of freemasons (sledgehammers were very heavy). If we are talking about a surface for permanent cutting and polishing of rock, we can easily imagine that the floor of such a place was permanently covered by fragments, remains, abrasive dust. Not in the last place, we must note the fact that mosaic was principally fixed in especially prepared mortar in which designs were first marked that etched the image or drawing that was the purpose of the mosaic.

 

In the other approach, that of the speculative Lodges, a symbolic rug laid in squares may be laid on the floor, or it may be build from alternating black and white tiles, the decision being that of the Lodge. The notionc of mosaic pavement cannot be discussed before the appearance of Grand Lodges.

As a route of squares - as network of right angles - to trace planes is another mode of approach specific to operative lodges, which must distinguish:

A directory route of the edifice that must be understood after we describe the Medieval constructin site at the beginning of the work: on a leveled and cleared surface (treated with charcoal), a scheme of the main lines of the edifice was traced with the help of a rope covered in chalk. There

are documents to this effect that attest the describe practice, which reminds of certain answers from the masonic catechism. To the question: "how do you serve your Master?", there is the answer: "with charcoal, chalk and clay".

 

A technical assistance set of squares would be another variant of this approach. An amenably arranged surface, spread in regular squares through lines traced for inumerable uses, the first and most important being that of assembly table. It also served to establish easily a series of angles, in an approximate way that was sufficient for a mason (taking four divisions on a line, and on the perpendicular seven at one extremity, a reasaonbly 60° angle is obtained). In fact, we can imagine the banal math copybook paper that has helped us trace with more facility (and more precision) the geometrical shapes that tortured (or didn't) us in the geometry problems in elementary school.

 

The black and white, chessboard-like pavement is thus the mosaic pavement. In what pertains to the term "mosaic", there are two different opinions, one refering to Moses and one to the technique of decoration. Each school has its pros and cons, more or less logical and valid.

"The canvas of ours lives is a mixed thread, the good together with the bad" wrote Shakespeare. Anything is characterized by a combination of good and bad, light and shadow, joy and sadness, positive and negative, yin and yang. What is good for me may be bad for you, pleasure is generated by pain, etc.

Following the thread of the current Paper, we may say with certainty that the mosaic is not mart of the elements of Judaic architecture and that the mosaic pavement is a contribution of modern speculative Masonry, operative lodges never having been squared this way. It is obvious that the current exposition is not and does not wish to be an exhaustive work. It is a somewhat complex approach of an important symbol in the decoration of the masonic Temple and it wishes in fact to the a paper addressing an open question:

- The mosaic pavement is the floor of the Lodge (as the rituals consider it) or is it the space limited by the three pillars Power, Wisdom, and Beauty?

A good thought accompanied by the triple brotherly accolade!

 

Copyright Forum Masonic

 

Masonic Mosaic Pavement and Star.

The lodge room: www.flickr.com/photos/21728045@N08/8101810367/in/set-7215...

 

www.masonicforum.ro/?cmd=displaystory&story_id=73&amp....

 

The Mosaic Pavement

by GABRIEL VASILE OLTEAN

Expert Inspector of NGLR for Western Region; Past Worshipful Master, ZAMOLXIS Lodge, No. 182, Deva

 

"The interior decoration of a masonic lodge comprises ornaments, accessories and insignia. The ornaments are: the mosaic on the floor - respresenting spirt and matter, the shining star and the laced edge, which remind us always the first of the presence of God and the second of the protective wall" - cites Charles W Leadbeater from the ritual of mixed masonry in his work "Freemasonry - Rites and Initiations."

In the center of the Temple, on the ground, there is a rectangular floor, with black and white tiles, called the mosaic pavement (theoretically, cubes seen perspectivally), where a relgaion obtains between the sides, either 2:1 (the long square) or 1.618.../1 (the golden number), thus coming up with a surface proportional to the total area of the Lodge. Thus we see that practically the moasica, placed in the center of the Lodge is a microcosmic representation of the whole of creation and is by itself a sacred central area - whence the interdiction to ever step on the mosaic when the work of the Lodge is underway. The pavement symbolizes the indisociable operative complementarity of the two cosmic principles: the initiate must know how no longer let himself be dominated by the confrontation between positive and negative forces, to know (it is indispensable) how to use it, to master it so as to work constructively.

In Ancient Egypt, the mosaic was never stepped on except by a candidate and the masters of ceremony, and only at precise moments (by the Past Worshipful Master for the fulfilment of his tasks, by the First Expert when he took the light of the sacred fire, or by the sexton when he spread frankincense on the altar of the Temple. An extremely important aspect of the mosaic pavement is that, being placed in the middle of the Temple, framed by the three colonettes (which represent the Worshipful Master, the Senior and Junior Wardens), must be avoided by walking in a square, in a symbolic sense. The current of energy cross the floor, some along the length, some along the width, in lines that remind of the warp of a canvas.

Upon opening the work, the Trestle Board is depicted on this pavement, which varies with the first three degrees. The mosaic pavement signifies different things according to the traditional mode of work in the lodge, or the masonic rite employed.

The French Rite specifies that the pavement adorned the threshold of the geat porch of the Temple and showed that this is one of the ornaments of the Lodge, being the emblem of the intimate union among masons. Here it was explained to the Apprentice that he "could not stand on the mosaic pavement to contemplate the interior of the edifice". This started above from the seventh step, as we can well conclude by an attentive research of the Trestle Boards of the first two degrees.

The Rectified Scottish Rite speaks too little of this pavement, noting that "the mosaic pavement adorns the threshold of the great veranda of the Temple. It covers the entry to the subterranean part of the Temple between the two columns, to a crypt that held holy idols and especially the pledge of the alliance between the chosen people and the Creator: the Royal Ark (Ark of the Covenant).

The Ancient and Accepted Scottish Rite does not describe in any way this ornament. As to the decoration of the Lodge, it is said however "the floor of the lodge is the pavement in alternative black and white squares. When it is thus decorated, a pavement is achieved wit the shape of a long square, placed in the center of the Lodge, decorated on the model of the latter".

The York Rite affirms that "the mosaic pavement represents the floor of the Temple of Solomon", having the added laced edge. It is obvious enough that it is about a symbolic contribution in what regards the floor of the Lodge, because in the Bible the floor of the Temple isn't described as an series of black and white squares: "and the floor of the Temple was made from cypress planks" (3 Kings 6:15).

Whereas in the Emulation Rite (the Anglo-Saxon Rites are more precise in their descriptions) specifies that "the mosaic pavement may rightly be considered the wondrous tiling of a freemason Lodge due to its diversity and regularity. Thus the diversity of beings and objects in the world surfaces, as well the ensouled ones as those that are not". In the complementary course of the Rite of Emulation (in the fifth part) it is specified: "our lodge is adorned with mosaic pavement to mark the uncertainty of all terrestrial vanities... as we step on this mosaic, our thought must return to the original idea that we imitate and act as honorable men and masons". Mosaic pavement is presented as an image of faith, harmony, understanding..

Outside the definitions offered by different masonic rites, the mosaic pavement may be approached under many aspect, two of which seem edifying to us:

• The floor of the Lodge,

• The route of squares for the tracing of planes,

When we approach the mosaic pavement as floor of the Lodge, we are forced to distinguish between the pavement of operative and speculative Lodges.

In the first case, we specify that Lodges were usually annexes to the construction site, attached to the construction on the Southern side of the Work (to receive more light and to have the wall of the edifice for protection. It is extremely clear and evident that in this case no floor was imposed (nor would any be functional). The tiling that constitutes the mosaic is fragile in contradiction with the dimensions (weight) of the tools of freemasons (sledgehammers were very heavy). If we are talking about a surface for permanent cutting and polishing of rock, we can easily imagine that the floor of such a place was permanently covered by fragments, remains, abrasive dust. Not in the last place, we must note the fact that mosaic was principally fixed in especially prepared mortar in which designs were first marked that etched the image or drawing that was the purpose of the mosaic.

In the other approach, that of the speculative Lodges, a symbolic rug laid in squares may be laid on the floor, or it may be build from alternating black and white tiles, the decision being that of the Lodge. The notionc of mosaic pavement cannot be discussed before the appearance of Grand Lodges.

As a route of squares - as network of right angles - to trace planes is another mode of approach specific to operative lodges, which must distinguish:

A directory route of the edifice that must be understood after we describe the Medieval constructin site at the beginning of the work: on a leveled and cleared surface (treated with charcoal), a scheme of the main lines of the edifice was traced with the help of a rope covered in chalk. There

are documents to this effect that attest the describe practice, which reminds of certain answers from the masonic catechism. To the question: "how do you serve your Master?", there is the answer: "with charcoal, chalk and clay".

A technical assistance set of squares would be another variant of this approach. An amenably arranged surface, spread in regular squares through lines traced for inumerable uses, the first and most important being that of assembly table. It also served to establish easily a series of angles, in an approximate way that was sufficient for a mason (taking four divisions on a line, and on the perpendicular seven at one extremity, a reasaonbly 60° angle is obtained). In fact, we can imagine the banal math copybook paper that has helped us trace with more facility (and more precision) the geometrical shapes that tortured (or didn't) us in the geometry problems in elementary school.

The black and white, chessboard-like pavement is thus the mosaic pavement. In what pertains to the term "mosaic", there are two different opinions, one refering to Moses and one to the technique of decoration. Each school has its pros and cons, more or less logical and valid.

"The canvas of ours lives is a mixed thread, the good together with the bad" wrote Shakespeare. Anything is characterized by a combination of good and bad, light and shadow, joy and sadness, positive and negative, yin and yang. What is good for me may be bad for you, pleasure is generated by pain, etc.

Following the thread of the current Paper, we may say with certainty that the mosaic is not mart of the elements of Judaic architecture and that the mosaic pavement is a contribution of modern speculative Masonry, operative lodges never having been squared this way. It is obvious that the current exposition is not and does not wish to be an exhaustive work. It is a somewhat complex approach of an important symbol in the decoration of the masonic Temple and it wishes in fact to the a paper addressing an open question:

- The mosaic pavement is the floor of the Lodge (as the rituals consider it) or is it the space limited by the three pillars Power, Wisdom, and Beauty?

A good thought accompanied by the triple brotherly accolade!

 

Copyright Forum Masonic

 

The blazing star pattern used, is usually that of the "pentalpha", or five pointed star with intermediate flames. This star is primarily the symbol of divine providence and can be found in our mosaic pavement. The five points should remind us also of other masonic "fives". The five orders of arch itecture, the five points of fellowship, the five senses and the five who must be present in order for a Lodge to be held. The star is also said to represent the Morning Star which is yet another symbol of rebirth which is so significant to each of us.

 

I should point out that there is a six pointed star or hexalpha which is also known as the "Glory". This six pointed star is the

 

Seal of Solomon and also the Star of David. This star is also represented on the carpet at times and there is distinct confusion in the texts over which star is THE star to use. The primary symbolic meaning of the six pointed star is the universe as an entity.

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

The first Catholic church was of slab construction near the bridge at Pambula. It was destroyed by huge floods in the early 1850's. A second timber church was built opposite Pambula Court House but was burnt down in the 1862 town fires. The present church was built in 1867.

 

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The Bega Gazette and Eden District or Southern Coast Advertiser (NSW : 1865 - 1899) | Sat 18 Aug 1866 | Page 2

 

LAYING THE FOUNDATION STONE OF ST PETER'S CHURCH, PANBULA.

(FROM OUR PANBULA COBRE8PONDENT.)

The first stone of the new CatholicChurch of St. Peter's was laid on Monday, the 6th inst., by the Rev. Pastor Father Slattery, in the presence of a numerous concourse of people from the districts of Eden and Bega. From an early hour pedestrians and equestrians came pouring in from all quarters of the country, eager to he present at the imposing ceremony. The weather was beautiful, and the township of Panbula wore an unusually gay appearance. At 12 o'clock the procession was formed in Ballara Square, in the following order:—First, Cross-bearer, with a young lad on each side with lighted tapers; the boys of the Sunday Catechism-class with their teachers, two and two; banner, borne by boy and girl, with a cross at the top, encircled with these words, "In this sign we conquer," on the centre three large letters, P. C. C., Panbula Catholic Church, and at the foot, the year of our Lord, 1866; the girls of the Sunday Catechism-class with their teacher; the building committee and members of the church; the Rev. Pastor, habited in amict, alb, vincture and stole. During the procession the choir, assisted by the ladies of the Eden church choir, chaunted the Litany of the Blessed Virgin in a masterly style.

 

Having arrived on the grounds, the Rev. Pastor read a letter from the Very Rev. the Vicar General, in which he expressed his regret at not being able to attend, for that on the same day a very important meeting was to be held in Sydney, at which his presence was absolutely required. The stone was then laid according to the form prescribed in the Roman Ritual.

 

The Antiphon "Signum Salutis Pone" being intoned and the 83 psalm being chanted the celebrant proceeded to bless the stone, repeating the prayers "Domine Deus" and. "Domine Jesu Christi." These prayers ended, he sprinkled it with holy water signing it at the same time with the sign of the cross on the ends and sides. The psalm 126, beginning nisi " Dominus aedificaverit doanum," being next chanted, the stone was placed in its proper position. A document was placed in a bottle under the stone, the following of which is a copy :—"In fide 'Jesu Christi, primarium capidum hujus ecclesiae in honorum S. Petri Apostolo dedicatae collocavit multis Christi fidelibus assistientibus Rev. P. Slattery, die 6 Augusti anno Salutis 1866, Pio Papa IX felicite, regnante Joanne Beda Archiepiscopo Sidneiensus Victoria Brittaniarum Regina, Rev. P. Slattery Presby. Missio, Eden ct Begat Joanne Jago architects." The celebrant repeating the following beautiful prayer: In the faith of Jesus Christ we place this first stone in this foundation, in the name of the Father and of the Son, and of the Holy Ghost that the true faith may flourish here, and the fear of God, and fraternal lore, and that this place may be consecrated to prayer, and to the invocation and praising the name of our Lord Jesus Christ, who with the Father and the Holy Ghost liveth and reigneth for ever and ever. Amen. The stone being laid the celebrant walked round the foundation repeating the anthem, O quam "Metuendus est locus iste," and the psalm 86, after which the ceremony was concluded by singing the (prayers, Ommipotens Deus, and Deus qui, &c.

 

The Rev. Pastor addressed the people, taking for his text the following words from the second book of Kings, chapter VII, verse V : "And the word of the Lord came to Nathan saying, go to my servant Daniel. Thus saith tbe Lord, shall thou build me a house to dwell in." At the conclusion of the discourse, which was listened to with great attention, an offering was made on the foundation stone, and in a few minutes the handsome sum of £29 17s. 6d. was subscribed. I am sure it was highly gratifying to our Rev. Pastor, and to the Catholics of the district generally, to see the interest which many of the Protestant gentleman of the neighborhood took in the proceedings, and the cheerfulness with which they laid down their subscriptions. There was a total abstinence of sectarian feeling, for one grand sentiment seemed to animate all—that the building so happily begun may be brought to a glorious completion. A spacious marque was erected near the grounds in which the children of the town and parties who came from a distance were plentifully supplied with ham, roast meat, cakes, tea, and pastry. A few select gentlemen were entertained by our Pastor at Mr. Behle's Public, house, amongst whom were, G. P. Keon, Esq., P.M., Captain Lloyd, R.N., J.P., J. W. Bennett, Esq., J.P., S. Solomon, Esq., J.P., C. M. Bradley, Esq., Mr. G. F. Tressilian, Mr. W. Keon Mr. R. Kirby, Mr. C. D. Hays, &c.

 

After justice bad been done to the good things provided by Mr. Behl, Father Slattery read a letter from James Manning, Esq., expressing his regret at not being able to attend and another from Mr. R. W. Sharpe, to the same effect, the note contained £1, being that gentleman's subscription towards the erection of the church.

 

Several toasts having been proposed and responded to, the party separated, evidently gratified at the happy manner in which the day's proceedings were conducted.

Blessed Vincent Cabanes Badenes . Born in Torrent (Valencia) on February 25, 1908. Dress the Tertiary Capuchin habit in Godella (Valencia) on September 15, 1923 and March 12, 1932 he was ordained priest by Venerable Luis Amigo. Immediately began studies at the University of Valencia and the Institute for Criminal Studies. Specific exercises his ministry in Madrid Reform Schools and Amurrio (Álava). Alternate admirably study practices in the cabinet of psychology and spiritual direction of the fraternity. With children living parables of mercy with the joyful spirit of the Beatitudes. By late afternoon of August 27, 1936, some violently removed militiamen vicar house Amurrio (Álava) and move to Orduna (Vizcaya). They try to make him renounce. In the flat refusal of the religious turn to Amurrio. But forcing him out of the car and in the meadow of San Bartolome de Orduna, give him a cartload of shots, leaving him for dead. Mauled still manages to get to Don Epifanio Elejalde, who moved to Santo Hospital Orduna. The P. Vicente insistently asks a priest and a doctor. Given the seriousness, the wounded man was taken to the hospital of Basurto, Bilbao. In the early hours of Sunday September 30, 1936 dies but not before having confessed and granted forgiveness to his murderers. Vincent Cabanes religious character was gentle, sweet and extremely friendly. Achiever of his duties as a Christian and religious. He lived totally committed to the reform of lost youth, with lots of competition and a great zeal. Daily meditation of the mysteries of the passion, death and resurrection of the Lord placed his spirit to suffer martyrdom with the strength and courage of the Christian soldier.

 

Welcome Blessed Mary of Two Sisters (nee Jose Miguel Arahal). Born in Dos Hermanas (Seville) on June 17, 1887. Learn the first letters in the schoolhouses of the people and, at twelve, was going to have the Capuchin Tertiary Reform School San Hermenegildo, in his hometown. To be presented at the convent of Mount Sion of the Venerable Torrent Luis Amigo, it says, "Welcome to you, my son," and Welcome will henceforth his name in religion. The April 15, 1905 made ​​his first religious profession and, six years later, issued his final vows. In the spring of 1920 he was ordained a priest. In the congregation of Capuchin Tertiary plays higher charges, master of novices, and vicar general counsel and finally general of the congregation from 1927-1932. During his generalship vocation promotion drives, supports the scientific training of religious and promotes the opening of the work to Latin America. The P. Welcome always tries to instill the devotions which he practiced, especially the Blessed Sacrament, Our Lady of Sorrows, the Seraphic Father St. Francis and Sacred Heart of Jesus. When the July 20, 1936 Reform School Santa Rita de Madrid is assaulted, Fr Welcome continues his habit and is the last to leave. On 31 July, accompanied by two militia force, had to go to the Bank of Biscay first, then that of Spain, to take the funds of the School. Then snatch the money and violently driven Pradera de San Isidro, there was killed. His biographers trace the profile of the P. Welcome as a religious right spirit and strong, demanding of himself and others, adorned with large gifts of government, very tenacious in their apostolic purposes, very fond of the congregation and its juvenile rehabilitation work, a great promoter of vocations priesthood and religious life, and a deep spirituality.

 

Torrent Ambrosio Blessed Mary (nee, Salvador Chuliá Ferrandis). Born in Torrent (Valencia) on April 16, 1866. He studied in the Seminary Church of Valencia, but received the diaconate, he entered the Capuchin Tertiary. On April 4, 1892 he was ordained priest and issues its perpetual vows on July 5, 1898. Man of wide culture, but rather weak character and weak authority, is always manifested more inclined to exercise obedience to the command. In his pastoral ministry was manifested as a man of counsel, spiritual leader of the brotherhood, religious confessor and students. Imprisoned in the parental home, on August 21, 1936 is taken to the prison La Torre, his hometown. In the same Father Ambrose, Capuchin Tertiary nine more, carry virtually community life. From the street you could hear them singing Sorrows of the Virgin and the Wounds of P. San Francisco. In the early hours of September 18, 1936, with seven more priests and religious, is executed in the starting of the mantellina , also called Geez d'Alt . The P. Ambrosio, despite her shyness, is the one with greater courage arrostra encourages martyrdom and raising peers in the final moment, his hands to bless and forgive the perpetrators. In trying to delineate its outline the diverse spiritual biographers agree that the P. Franciscan was Ambrosio joins florecilla: simple, humble, conciliatory, poor, obedient, silent, taciturn, who spoke no ill of anyone and that all missed a good part. Also define it as a man of deep piety, devoted to the Eucharist, great apostle of the confessional and competent spiritual director. His remains lie in the Chapel of the Martyrs, in the parish of Our Lady of Mount Zion in Torrent.

 

Benito Blessed Mary of Burriana (nee, José Manuel Ferrer Jorda), is the brother of father of Blessed Laureano. Born in Burriana (Castellón) on November 26, 1872. In his home town learns the first letters and participate in parish associations. The June 21, 1890 he entered the novitiate of the Capuchin Tertiary, and two years later, on May 27, made ​​his religious profession. On June 5, 1898 issued her final vows, remaining as a religious Brother. In reforming schools Madrid, Seville and Zaragoza, for twenty long years, developing its youth ministry deviated from the path of truth and good, following the thought of his Venerable P. Founder. In the summer of 1932 became part of the College fraternity Caldeiro Foundation, Madrid, where he surprised the war. Expelled from the center, which immediately was transformed into Czech, Fray Benito seeks refuge in his hometown. came to His own, and His own did not receive him, why his steps to Torrent, host finding, along with his brother Laureano , home of the pious lady Trinidad Navarro. "From Fray Benito Maria de Burriana-type lady will tell you that he came home on 14 1936 sold out and went to jail the following September 14. This holy man, in all the time, not talk or a dozen words. His conversation was with the Queen of Heaven. On September 12, the feast of Holy Name of Mary, Rosary prayed nineteen parts. " Fray Benito was not involved in politics, he did not trial. He was killed in the farmhouse of Calabarra of Alzira (Valencia). It was a simple religious, austere, speech brief and very devoted to the Eucharist and Our Lady of Sorrows. In the apostolate of the specific mission of the congregation was always simple and kind Good Shepherd Swain. More changes getting his guys on the testimony of the person that gave them lessons.

 

Blessed Crescentius Garcia Pobo . He was born on April 15, 1903 in Celadas (Teruel). Deceased his good father, he is admitted to the Asylum St. Nicholas of Bari, in Teruel, run by the Capuchin Tertiary. In time, Crescendo feel the Lord's call to religious life. The September 15, 1921 issued his first vows as a religious Amigonian-six years later professes ever. The priestly ordination is taking over the Venerable Luis Amigo, its Founding Father, in Godella (Valencia) on September 16, 1928. His priestly ministry usually develops what reform schools, putting into practice the Lord's command to go after the lost sheep to return to the fold of the Good Shepherd. The first days of July 1936 House Guardianship returns Our Lady of Covadonga in Asturias, Prince Reformatory in Carabanchel Bajo, Madrid, in whose center was surprised a few days after the Spanish civil war. After several adventures, the P. Crescendo is host pious pension Dona Pilar Torres at Angel Square 3, Madrid, where he poses as a medical student. Arrested on August 2, 1936 Carretas street, and found no documentation was taken to the Security Directorate first, and then Sales jail. On 3 October, the Czech Development gave an order to have them delivered to their agents several prisoners, including our blessed, who immediately were shot near the Eastern Cemetery. The P. Crescendo was of medium height, round face, dark, young man. Of a happy, was shown as outgoing. However, inside was simple, humble, mortified and good religious. Spirit organized and methodical, especially distinguished by its generous and sacrificed to personal recovery and social reintegration of young people with problems.

 

Torrent Modesto Blessed Mary (nee, Wattle Gay Vicente). Born in Torrent (Valencia) on January 19, 1885. His parents, and then he, belong to the Venerable Third Order of St. Francis. The young Vincent studied at the Convent in which religious Amigonian admitted as the January 6, 1903. And possibly on the same date, but in 1911, issued his final vows. Repeatedly insists to his superiors in access to the priesthood, but stay on for life as a lay brother. The first ten years of religious exercises his ministry in centers dedicated to the specific task of recovering the lost youth, where masonry alternating with attention to the young applicants. And the last twenty years of religious life passes in the convent of Our Lady of Mount Zion, in his hometown, where he combines teaching admirably the first letters children to the service of household management. Fray Modesto was average height, a little plump, with a round face, brown. Between days eight y September 10, 1936 he was arrested and detained in the town jail, La Torre, where late at night the next 17 departed for martyrdom with seven other priests and religious, all of which killed 18 September 1936. His remains, and those of other religious, rest in the Chapel of the Martyrs, of the parish of Our Lady of Mount Zion, Torrent (Valencia). Those who knew well to delineate their profile Fray Modesto moral religious saying that was distinguished by his upright character and his Franciscan spirit, lover of simplicity and humility, and very delicate on the flyleaf of obedience, poverty alongside exquisite. And certainly virtue Franciscan obedience feature was accompanied by his industry and interest to excel personally and to be helpful to the congregation.

 

Blessed Urban Gil Saez . Born in Bronchales, diocese and province of Teruel Albarracin, on March 9, 1901. By staying fatherless soon, are admitted to the Asylum St. Nicholas of Bari, in Teruel, run by the Capuchin Tertiary. And St. Nicholas makes his primary and received first communion. Inclined to religious life, goes to the house of St. Joseph Novitiate Godella, Valencia, where he received the holy habit. Delivers his first religious vows on April 12, 1919 and in 1928 professes ever. Makes his debut with the children of the School Reform Savior, Amurrio (Álava). Your life can be read and interpreted perfectly, according to one biographer-low key evangelical compassion. It was one of those religious Amigonians always willing to become all things to all, according to the motto of the apostle Paul that the Venerable Luis Amigo liked to repeat. In 1926 pursuing a request to start studying for the priesthood, which was denied by the major superiors until 1935 when it became part of the brotherhood of the novitiate house Godella (Valencia), where he began his ecclesiastical studies. While in the latter war ensues residence Urban Fray shared across the fate and suffering of fraternity brothers. Finally, after an ordeal of interrogation and simulations squad, July 25, 1936 for Benaguacil part with Blessed Florentino Perez, who share avatars, shelter and martyrdom August 23, 1936. Biographers, so sparing in its spiritual character outline, we say it was an exemplary religious. By his cheerfulness was the joy of brotherhood where he lived and educated students. His joy contagious spontaneous and sincere. Its good that gave it a special charm.

 

Alboraya Blessed Dominic Mary (nee Augustine Hurtado Soler). Born in Alboraya (Valencia) on August 28, 1872, from a wealthy family, which enjoys great esteem in the village. He studied primary and secondary schools in the neighboring city of Valencia, and later Latin and philosophy at the Theological Seminary. Just founded the congregation of Capuchin Tertiary, go to the old monastery of Ara Christi Puig (Valencia), in which dwelt the religious Amigonians occasionally. In the third investiture, on June 21, 1889, took the habit, and June 24, 1890 is one of the first 19 religious issues its triennial vows in the hands of the founder Venerable Luis Amigo. The August 15, 1896 issued her final vows and a few months later, he was ordained priest. During his career alternating ecclesiastical and literary studies with harmony and composition, since it is very fond of music. Religious highly competitive and adorned with good social forms, played repeatedly higher charges, as well as a director and secretary general. In late 1935 became part of the School Reform Santa Rita, in the Carabancheles Madrid, where he suffers religious persecution. The P. Domingo was the first to drop out of school reform at home seeking refuge pious Pastor lawyer, young man who had helped him so much. Arrested and imprisoned for Fine Arts, August 15, 1936 was killed near the Retiro Park. The P. Domingo was tall and handsome. Patriarchal aspect. He had a great way with people and a special charisma to reform lost youth. Great composer, great speaker, host of community recreations, example of resignation to all martyr of Christ, according to his biographers.

 

Torrent Blessed Mary Valentine (nee, Jaunzarás Vicente Gómez). Born in Torrent (Valencia) on March 6, 1896. Educated to Tertiary Capuchin enters his congregation on October 15, 1911. Eight years later issued his final vows and was ordained priest in the first half of 1920. He exercises his ministry preferably specific mission centers, ie, reform schools, where it manifests as a great teacher. The P. Valentin, rather short, but sturdy and strong personality, fiery temper was. It manifested cheerful, talkative, optimistic and was always happy. The 28 or August 29, 1936 is held in the family home and held in the prison called La Torre, his hometown. On 15 and 17 September the monks sing in prison Sorrows of the Virgin and the Wounds of P. San Francisco. "Al P. Valentin could be heard across the square perfectly. " The P. Valentine is running on the Source of mantellina, in the early hours of September 18, 1936. Somewhat stern in appearance, but their preaching was simple and appealing. And he was very devoted to the Eucharist, the Virgin of Sorrows and P. San Francisco. Fully identified with the redemptive and merciful attitude of the Good Shepherd, played a large mission in the service of youth. There was always zealous for the glory of God and his love for the Church and the congregation, especially in his ministry of lost youth reform. Contagious his vocation to the children, who was excited with fervorines. He was also humble and simple religion, and was molt valent (was very brave).

 

Blessed Mary of Burriana Laureano (nee, Salvador Ferrer Cardet). Born in Burriana (Castellón) on October 13, 1884. Learn the first letters in the home village, and already at the age of eleven, following the example of his older brother, Blessed Benito Maria de Burriana, enters school seraphic the Tertiary Capuchins have installed in the convent of Mount Sion, of Torrent (Valencia). On December 8, 1900 issued his first vows and the April 12, 1907 the perpetual, was ordained a priest in September of that year in Valencia. He exercised his priestly ministry at the Royal Monastery of Yuste (Cáceres), School Reform Santa Rita (Madrid), in Teruel, in Dos Hermanas (Seville) and, finally, in Godella (Valencia), generally carrying the ministry superior, position that simultaneously with the general counsel. In war Godella surprised, and July 25, 1936 have to leave the convent, finding host pious Torrent, at Dona Trinidad Moreno. The days preceding his martyrdom employed them in prayer and preparation to it. When Ms. Trinidad said to him: "Father, you do not remember the red ', he replied:" Do not worry, it's not when the time comes. I'm preparing myself reading the book of Job. " Never entered politics. On September 13, was arrested with his brother Benito and taken to the town jail. Day 15 still sang with the other brothers of the Virgin of Sorrows. And the evening of the same day he was taken to the farmhouse of Calabarra, in terms of Alzira (Valencia), where he was killed on the morning of the 16th. The P. Laureano was of medium height, bald and early age of little beard, sparse, and pockmarked. Accommodating and friendly nature, his great goodness it surpassed everything. Notable for its delicacy and neatness, displayed a special gift in her delicate attentions to the poor, sick and needy. He said also great zeal for the expansion of the institute and a pious devotion to Our Lady of Sorrows.

 

Blessed Mary of Alacuás León (nee Manuel Legua Martí). Alacuás born, the garden village south of Valencia, on April 23, 1875. Make the first studies in his hometown, but being the son of a benefactor of the religious, a child becomes familiar with the monks of the convent of Torrent, whose congregation enters its just turned fifteen. The June 17, 1892 issued his religious vows in the hands of the Venerable Father Founder. A serious illness away from his brothers would, but again enters and perpetually professed April 12, 1904. In June 1906 he was ordained priest in Valencia. Aimed generally Reform schools in these exercises his ministry, first as vice-superior, and then as superior and general counsel. It's all an example of faithfulness in his service as spiritual director and animator of fraternities, as well as dedication to a lost youth from the path of truth and goodness. Assaulted Reform School Santa Rita de Madrid (which Father Leo was director) on July 20, 1936, the militia gathered all the religious center address. 'We did,' says one of the religious-an act of contrition collective absolution we found each other. There was a deep silence. We were all quiet. Not a single groan or sigh. Not a single act of trying to escape. " Achieved release, the P. Lion takes refuge in Madrid, at the home of a student of the School Reform, which is taken together with the father of her benefactor, for martyrdom. Leaving tells the lady of the house: "Take this handkerchief." To which a militiaman replied: "Do not worry that you're going to need." Both were killed on the road from Madrid to France on September 26, 1936. It was Fr Lion of a religious highly spiritual, totally devoted to the salvation of lost children, so he can be considered a martyr of specific apostolate of the Congregation, in imitation of the Good Shepherd who lays down his life for his sheep.

 

Blessed Francisco Maria de Torrent (nee, Just Lerma Martinez). Born in Torrent (Valencia) on November 12, 1886. His parents belonged to the Franciscan Venerable Third Order. Frequent small catechism classes and Convent, and belongs to the Royal Pious Union of St. Anthony of Padua. And in the Convent wears the habit Amigonian the April 14, 1905, and two years later issued his first vows as a religious Brother, Brother Francis never expressed a desire to enter the priesthood. In the Royal Monastery of Yuste, Cáceres, exercises his ministry the first five years of religious life, and the remaining twenty Caldeiro College Foundation, Madrid, whose fraternity civil war surprised. Fray Francisco was adorned with some unusual pedagogical skills for teaching exercise. In so successful work not infrequently arrived at Foundation College professors Caldeiro commissions with the sole purpose of religious congratulate how well prepared students. Evicted the center and become Czech, Fray Francisco strikes out of his hometown, taking refuge in the parental home. Stopped by order of the local committee is led to the town jail, which will depart for martyrdom night from 17 to 18 October 1936, together with seven other people's religious and priests. In his early years as a boy was dark, lively and playful, very loving little noise and study and work. But, as religious, was changed into a young thoughtful, hardworking and methodical. It was also of few words, rather serious, steady and skilled teacher. His spiritual profile shows him as a deeply religious prayer, tireless worker, attentive to everyone, simple and humble, who enjoyed great inner peace.

 

Torrent Reccared Blessed Mary (nee Jose Maria llopez Mora). Born in Torrent (Valencia) on August 22, 1874. His early studies were carried out in the village school, and enter as a religious Amigonian the June 21, 1889. Emits vows on day of the Immaculate, 1896 in Reform School Santa Rita, Madrid. Stay in religion as a lay brother. His apostolate merciful and redeeming the lost youth in various reform schools. In the ministry shows possess uncommon natural endowments for the education of maladjusted youth. The last years of his life were spent in the convent of Our Lady of Mount Zion, in his hometown, tirelessly devoted to his ministry of teaching catechism to children, free evening schoolhouses found for them as charity. Her small figure, but agile and friendly old man, always surrounded by children, visiting the sick and imprisoned and schools bringing food to poor and humble, make your profile highly attractive and friendly. Expelled from the Convent of Torrent with every fraternity, July 20, 1936 was pious shelter with a niece, Mary llopez, until August 4 that is held in the town jail. At dawn on September 18, together with Fr Ambrosio and P. Valentine, Modesto and Fr Fr Francisco, is killed at a place called The Fountain of mantellina, in term of Monserrat, bordering the Torrent. The spiritual profile of Fr Reccared presents it as a simple, humble, friendly, kind and very Franciscan. It has a great spirit of minority and was characterized as a religious pious rezador very observant in their religious and hardworking in his ministry with young people. Fray is a real little flower Reccared Franciscan convent of Our Lady of Mount Zion in Torrent.

 

Blessed Joseph Llosa Balaguer . He was born on August 23, 1901 in Benaguacil (Valencia). Learn the first letters in his hometown and at the age of twelve, he entered the minor seminary that Capuchin Tertiary They run in the convent of Our Lady of Mount Zion in Torrent. In the novitiate house in San Jose, Godella (Valencia) takes the habit on October 15, 1917. And two years later, on the same date, issued his first religious vows. Perpetually professed September 15, 1925. Studies concluded priesthood and was ordained deacon in 1928, but, not considered worthy for the priesthood, never agreed to the priesthood, always ministering in Madrid, whose fraternity Foundation House Caldeiro surprised religious persecution. Provided the corresponding pass, Fray José Llosa moved to Meliana first as his hometown after, but before the uncertainty of the moment, go for refuge in a mansion Velluters Valencia, located very close to Torres de Quart. On the night of October 1, 1936 he was arrested and taken to Civil Government first, and then held in the prison cell of the city. Casually aware that the next day would come for him to kill him, used the evening of that day to talk to a priest, also a prisoner, spiritual things and confession, stating their acceptance of martyrdom, his forgiveness of enemies and large devotion to Jesus and Mary. At dawn on October 7, 1936 was taken from prison and executed in the municipality of his hometown. His remains lie in the Chapel of the Communion of Benaguacil. Of temperament somewhat shy and timid, but very well endowed by nature for the art of music and song, Brother José Llosa received a thorough education cultural, religious and moral. It was a cultivated and sensitive religious, lover of his land and his family, very friendly and with great spirit of giving in his ministry of lost youth reform.

 

Blessed Bernardino María Andújar (nee, Pablo Martínez Robles). Born in Andújar (Jaén) on January 28, 1879. Just attended the local school because their parents, low-income, very soon engaged in the trade of saddler, alternating with agricultural work. He moved to Córdoba and soon became friends with the manager of the Hermits of Sierra Morena, with whom begins the novitiate. But, seeing that this was not his calling, he moved to the Royal Monastery of Yuste, Cáceres, run at the time by the Tertiary Capuchin religious, between those who took the habit, made ​​his novitiate, and issued his first vows on April 15 1909. In 1915 the same date perpetually professed. The twenty years following the passing in reform schools Madrid, Seville and Zaragoza working faithfully in the chores of cooking, and nursing field. His last residence was the Convent of Our Lady of Mount Zion, Torrent, which is handling his job as sexton of the church and where religious persecution surprised. Find pious host this population, but the August 13, 1936 he was arrested and detained in the town jail, where he is taken, with Fr Maria Laureano Burriana and brother Fray Benito Maria de Burriana, and killed the three in the farmhouse of Calabarra of Alzira (Valencia), the night of 15 September 16, 1936. Fray Bernardino was short, plump meats, quiet character, cozy, and with his wit Andalusian naturally not without the grace of the people of the south. It was the exact representation of the Franciscan more plump, always bearer of peace and prosperity exceed fraternal facilitated the convent. Noted for his intense prayer life, manifesting a particular devotion to the Eucharist, the Virgin of Sorrows and the Patriarch San Francisco.

 

Blessed Florentin Perez Romero . Born in Valdecuenca, people of the Serrania de Albarracin (Teruel), on March 14, 1902. Fatherless, are admitted to the Asylum St. Nicholas of Bari, Teruel, run by the Capuchin Tertiary religious. With them learn the alphabet, received his first communion and performs all his studies. As a child shows available for music, dedication to study and inclination to prayer. The September 15, 1919 saw the religious habit and two years later, the day of the Virgin of Sorrows, issued his first religious vows. Perpetually professed in 1927. The following year he was ordained priest by the founder, Venerable Luis Amigo. The P. Florentin begins his priestly ministry in reform school Our Lady of the Way, in Pamplona (Navarra), going to school soon seraphic of San Antonio, in the same city. From 1930-1935 exercises his ministry in the convent of Our Lady of Mount Zion, as a music teacher and educator of children. The revolution will be amazed at the San Jose novitiate Godella (Valencia). One day, with parents Ayelo Francisco Antonio de Massamagrell and a novice again appeared before the firing militants prepared to die. Parents were given acquittal mutually and prepared for martyrdom. Saved life for once, finds refuge with a benefactor of Benaguacil, but eventually was arrested. Spend three days in the town jail. Finally, along with Gil Urban fray, is sacrificed on August 23, 1936 on the exit road of Pobla de Vallbona Liria. The P. Florentin, physically a bundle of branches, had a cheerful and kind, without bitterness or malice, and easily earned the sympathy of all. It was a simple spirit, pious child. It was sweet, kind and patient. From naive and innocent spirit, always professed great devotion to Our Lady of Sorrows.

 

Benifayo Blessed Gabriel Mary (nee, José María Sanchis Mompó). Born in Benifayo (Valencia) on October 8, 1866. In his home town learns the first few letters and then exercising in the carpenter's trade, practiced until nearly twenty years when he decided to enter religion. The June 24, 1890 made ​​his first religious profession in the hands of the Venerable Luis Amigo and August 15, 1896 issued his final vows. Called to serve the Lord from the first hour of the Congregation of Capuchin Tertiary, in his long life toured most of the houses thereof, generally synchronizing administrator ministry with the carpenter's trade. The last thirteen years of his life in the house passes Godella novitiate, Valencia, where he showed his skills as administrative assistant and skill in the treatment of wood. And that's where the race surprised. The July 25, 1936 the novitiate leaves turning to his hometown in search of safer place. Find pious host at his niece Florence Sanchis. On August 14 he was taken violently from her niece's home and held in the town jail. And before dawn on August 16, about two in the morning, along with five other priests, sons of the people, was slain in the departure of La Coma, near the Espioca Mas, and the end of Picassent (Valencia ). Gabriel was a religious Fray very affable, kind and helpful. Manifested also very pious. It was the image of the popular Franciscan brother. It was the humble religious, sociable, friendly and hardworking, which created fraternity. Silent male gentleness, always manifested a reverence Franciscan priests their brethren in religion.

 

Blessed Francisco Tomás Serer . He was born on October 11, 1911 in Alcalalí, town in the province of Alicante and of the diocese of Valencia. Learn the first letters in the village and, at age twelve, his parents take him to school Godella seraphic of the Capuchin Tertiary, where he studied Latin and humanities and made ​​his novitiate. The September 15, 1928 issued his first religious vows and December 20, 1933, the perpetual. The May 24, 1934 receive the priesthood. The rest of his life dedicated to the service of youth lost in centers for the mission of the congregation. During the summer of 1935 made ​​a study trip to France and Belgium to give scientific soundness teaching methods of the congregation, to the time you start a career in medicine at the Central University of Madrid. During 1936 religious persecution found refuge in Madrid, at the home of benefactors. There waits for the shelter his superior, Fr Welcome Maria de Dos Hermanas. Given the delay, and risking his life, gets the steps in your search. At dawn the next day, August 3, his body was found next to the walls of the Prince of Asturias Reformatory in Madrid. Filial love him to go in search of his superior, giving his life in the attempt, and he was a martyr of Christ. The P. Francisco was very stylish and rather thin and normal appearance. Sweet-natured and extremely friendly. He was very pious and in the village caused a print copy. It was an exquisitely good and intelligent religious, why superiors distinguished him. According to his biographers, he was very wise, spoke little and always successfully. The tone of his voice was soft and sweet. At the Institute he had placed great hopes. He was the youngest of the martyrs of the Family Amigonian.

 

Blessed Timothy Valero Perez . He was born on January 24, 1901 in Terriente diocese and province of Teruel Albarracin. Enter the Asylum young St. Nicholas of Bari, Teruel, as charitable asylum for poor children and orphans that is. And he courses in Latin and humanities and turns it Amigonian religious vocation. The September 15, 1917 saw the Tertiary Capuchin habit and entered the novitiate. On the same date, but two years later he made ​​his first religious profession and, six years later, the life. The priestly ordination is taking over from his father and founder, Venerable Luis Amigo, in Godella (Valencia), the September 16, 1928. Develops his pastoral ministry in the House Caldeiro Foundation in Madrid. But most of his pastoral ministry is played in Reform School Santa Rita, also in Madrid, where he left an indelible mark on his service sacramentalization catechesis and youth astray. Particularly in the latter fraternity surprised religious persecution. Busy Reform School Santa Rita the July 20, 1936, religious scatter for shelter in Madrid. The P. Tim heads home of his brother Robert. Denounced by a neighbor, former employee of Santa Rita, militiamen searched the house, arrested him and took him to the Czech Development. On September 17 of that year, without there engaged in political and without trial, was executed and his body buried in a common grave in the cemetery of Vicálvaro (Madrid). The superiors had always intended to reform schools or paternal protection. And fully matched, as the P. Timothy was a young priest, of cheerful, jovial, jokester, easily connecting with youth. He was an excellent musician.

 

Blessed Rosary of Soano (nee, Petra Maria Victoria Quintana Argos). Born in Soano, delightful village of Cantabria, on May 13, 1866. At 13 he left motherless, so is the need to supply it in the care of her three younger siblings: Feliciana, John and Eleuterio. Very soon feel the vocation to the consecrated life to contact Montehano Capuchin convent in whom you put your trust. Meanwhile, his father remarries. Verging 23 years and he sets off to Valencia to join the Capuchin Tertiary Sisters of the Holy Family. The May 14, 1891 issued his first religious vows and completed the five years of temporary vows perpetual. Woman of great value is first local elected superior height fraternities, Massamagrell, Meliana and L'Ollería, novice then, later, general counsel and then general superior for two presidential terms, from 1914-1926, finally concluding his days in the office of director and vicar general of the congregation. Fulfilling this last service surprised religious persecution in the fraternity house Massamagrell novitiate (Valencia). Expelled from the convent the sisters, was the last to leave the house on July 20, 1936, finding refuge in pious home to Carmen dels Mudets first, then the house of a poor widow. Snatched at gunpoint from his refuge, was transferred to the Union of Puteoli (Valencia) and, after two days, the August 22, 1936, after deep humiliation and insults, shot to death at the end of More Macia, in the Way of Transit, of that people. At the supreme moment of martyrdom murderer granted pardon to the delivery of your ring bride of Christ. Soano Rosary, woman of great goodness, merciful and compassionate, was soul deep prayer and austerity manifest. He was distinguished for his humility, poverty and simplicity of life truly Franciscan.

 

Blessed Francis Xavier of Rafelbuñol (nee Mary Fenollosa Alcaina). Born in Rafelbuñol (Valencia) on May 24, 1901. It is the largest of the twelve children of Joseph and Mary Rosa consorts, both belonging to the Third Order of St. Francis. Get the first instruction and intellectual Christian village school. And, just may, be put to work to help support the family of simple farmers, patriarchal. Directed by the Capuchins of La Magdalena in Massamagrell, she suddenly wakes up in a religious vocation. When Mary wants to join the mother religion opposes, as it has in it an aid in the many chores. And when to turn 21 years old, he entered the Capuchin Tertiary. The May 11, 1921 began her novitiate in Altura, Castellón, on the same date two years later issued his first religious vows, and in 1928, the perpetual. The short course of his religious life as perfection walks fraternities Height (Castellón), Meliana, Benaguacil and Massamagrell (Valencia), in the latter convent civil strife surprised. The July 20, 1936 the mayor of the town gives the order to leave the convent. Our Blessed finds shelter in the family home in Rafelbuñol. Located, is forced to make housework Abbey, where he had established the Committee. The September 27, 1936 is arrested, along with his brother José Canon and uncle Don Juan Bautista, and murdered in the cemetery of Gilet, Valencia. "May God forgive you and I forgive you," she heard him say who was about to give the coup de grace. A sister in religion and trace the semblance of Francisca: "She was a young religious, cheerful, jovial and good. A very nice brown, with black eyes that spoke. He was very sociable with people and with the girls that arouse plan was in religious vocations. Alternated much with everyone. He studied music and played piano. She sang beautifully and nice voice. "

 

Ochovi Beata Maria Serafina (nee Manuela Fernández Fair Ibero). Born in Ochovi, village Navarra Pamplona basin, on August 6, 1872. It is the penultimate in a family of eight children, four of whom wear the Franciscan cheesecloth. Daughter of a large family, patriarchal, attended the school in the town until fifteen years when religion enters. The May 8, 1887 he joined the Capuchin Tertiary, in the Sanctuary of Montiel (Benaguacil, Valencia), founding the Institute home. The May 14, 1891 issued his first religious vows, and after five years of temporary vows perpetual. In this time and is shown as pious religious, observant and very loving poverty. It is because, by nature, very formal, serious and responsible. In 1902 he was elected general counsel, a position for which he is re-elected in the five following general chapters. Compatible with that office know that of the fraternities on superior Segorbe Massamagrell, height, L'Ollería, Carcaixent, Valencia Seminar and again Massamagrell, whose fraternity war surprised. The July 26, 1936 the sisters had to leave the religious house. The last to do is Sister Serafina, superior of the fraternity, who found shelter at the home of Carmen dels Mudets in the church square. On August 21, Friday, was arrested and, with Rosary Sister Soano, both brought to the Committee of Puteoli. The night of the 22nd, drew the sisters Rosario and Seraphina to "give the prom" and the murdered. Sister Serafina was of a serious, steady, yet frank, without equivocation or fold. I knew his character combine seemingly dry with humility in dealing with the sisters. He was demanding to itself, charitable and humble, fervent lover of work, especially the more modest, and exemplary in fulfilling their religious obligations. He was, indeed, the genius soon, but it was very noble. It was a whole person, nice. Talking to her was affectionate and loving. It was all heart.

 

Beata Carmen Garcia Moyon . He was born on September 13, 1888 in the French city of Nantes, daughter of a Spanish father and French mother. Religiously educated, Carmen soon gives his true feelings samples Christians, who later defended with all his might. Woman heroic temperament and boundless loveliness, stir bravely boil inside feeling the wrath of God, like another St. John Eudes to a heretic, to defend their own rights and those of the church. In the early twentieth century García-Moyon family returned to Spain, settling in the town of Segorbe, Castellón. Surely by contact with young daughters Carmen Venerable Luis Amigo turns in her religious vocation. In fact, the January 11, 1918 he joined the congregation of Capuchin Tertiary, but having completed his temporary vows, not renewed. In 1926 the city are already in Torrent, Valencia. Immediately contact the friars of the convent of Mount Zion. Eventually the French girl, as he was known, is used in teaching catechism to the children of the convent, review the sacred clothes, cleaning the beautiful church, and even put a sewing workshop at home, where he taught the young torrentinas the art of sewing, mending and embroidery clothes. A true catechist, parish and social worker cooperative. His religious beliefs led him to suffer a violent death on the night of January 30, 1937 in the ravine Canyes them, municipality of Torrent: the doused in petrol and set alight. Viva Cristo Rey! were his last words. Those who knew Carmen tell us, humanly, was very loving and caring, physically, was short, plump, handsome and serene and penetrating gaze, and, morally, very religious and very pious. It was a true female leader of Christian thought.

 

***

 

The Second Spanish Republic was proclaimed on April 14, 1931, came imbued with strong anticlericalism. Just a month later temples fires occurred in Madrid, Valencia, Malaga and other cities, without the government did nothing to stop them and not find those responsible to judge them according to law. The damage was immense, but the government did not noticed whether material or moral, for which he was accused of collusion. The Church in the Republic had complied not only with respect, but also a spirit of cooperation for the good of Spain. These were the instructions that Pope Pius XI and gave the Catholic bishops. But sectarian laws grew day by day. In this context it was suppressed the Society of Jesus and the Jesuits were expelled.

 

During the Communist Revolution of Asturias (October 1934), shed their blood many priests and religious, including the Ten Martyrs of Turon, 9 Brothers of the Christian Schools and Passionist canonized on November 21, 1999.

 

During the first half of 1936, after the victory of the Popular Front, made up of socialists, communists, and other radical groups, there were more severe attacks, with new fire temples, crosses demolitions, expulsions of priests, ban funerals and processions, etc.., and threats of more violence.

 

They broke with the rage, after July 18, 1936. Spain was again land of martyrs from that date until April 1, 1939, for in the Republican zone was triggered most known religious persecution in history from Roman times, even higher than that of the French Revolution.

 

It was a tragic and glorious three years at a time, that of 1936-1939, faithfully to remember not to miss the historic memory.

 

At the end of the persecution, the number of martyrs reached almost ten thousand: 13 bishops, 4,184 diocesan priests and seminarians, 2,365 religious, 283 nuns and lay several thousand, of either sex, members of Catholic Action and other apostolic associations , the final number is not yet possible to determine.

 

The most eloquent testimony of the prosecution gave Manuel de Irujo, republican government minister, at a meeting thereof held in Valencia-then-capital of the Republic, in early 1937, introduced the following Memorandum:

 

"The factual situation of the Church, from July, loyal throughout except Basque, is the following: a) All the altars, images and objects of worship, with very few exceptions, have been destroyed, the most with contempt. b) All churches have been closed for worship, which has been completely and utterly suspended. c) Much of the temples, in Catalonia as a matter of normal, were burned. d) The parks and government agencies were bells, chalices, candlesticks and other objects of worship, have been cast yet exploited for war or for industrial materials. e) In the churches have been installed deposits of all types, markets, garages, stables, barracks, shelters and various other modes of occupation. f) All have been evicted convents and religious life suspended in them. Its buildings, ceremonial objects and goods of all kinds were burned, looted, occupied and demolished. g) Priests and religious have been detained, imprisoned and executed without trial by thousands, facts that while amenguados continue further, not only in the rural population, where they have been hunted down and killed wild but in populations. Madrid and Barcelona and other major cities have hundreds of prisoners in its jails without other known cause your priest or religious character. h) It has come to the absolute prohibition of private retention of pictures and objects of worship. The home searches police practice, diving inside the rooms, from intimate personal or family life, ridicule and violence destroys images, prints, religious books and how it relates to worship or remember. "

 

To the priests, religious and lay people who gave their lives for God's people began to call them martyrs because they had no political involvement and made war against anyone. Therefore, they can not be considered fallen in wars or victims of ideological repression that occurred in the two areas, but martyrs for the faith. Yes, today venerate on the altars as martyrs for the Christian faith, because the Church has officially recognized who gave their lives for God during religious persecution in 1936.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

Church Of Saint Bernadine: is a Catholic church located at Plac Bernardyński 4 in Kraków, Poland. The church is dedicated to St. Bernardine of Siena, and is the seat of the parish of the same name. The church was originally built in 1722-1742 in the Baroque style, and was consecrated in 1744. In 1869-1870 it was renovated in the Gothic Revival style. The main attraction of this church is the high altar, built between 1722-1742 in the Baroque style. It is dedicated to St. Bernardine of Siena, and is decorated with paintings and statues. The church also features several other altars, stained glass windows, and a beautifully decorated organ. It is one of the best churches in Poland which you must visit.

 

1. The Church of St. Bernardine of Siena is located in Krakow, Poland. 2. The church was built by order of King Władysław Jagiełło in the late 14th century as a part of a small monastery. 3. It is one of the oldest Gothic churches in Poland and has been part of the Krakow UNESCO world heritage site since 1978. 4. The church was heavily damaged in World War II, but was subsequently restored. 5. It now houses a museum devoted to religious history, as well as a number of other cultural attractions. 6. St. Bernardine of Siena was an Italian Franciscan friar who was canonized in 1450. Here are some facts about the Poland Church.These facts will help you understand why it is on the list of the best churches in Poland

 

Services:

 

1. Mass: The Church of St. Bernardine of Siena in Krakow offers Mass services for members of the Catholic faith. Masses are held daily. 2. Confession: The church also offers confession, or the opportunity to confess one’s sins to a priest and receive absolution. This service is available during set times on Sundays and weekdays. 3. Baptism: The Church of St. Bernardine offers baptism services for those individuals wishing to take part in the Catholic faith. 4. Weddings: Couples can also celebrate their wedding ceremony at the church. 5. Funerals: Funeral services are also available for those wishing to honor their loved one’s life. 6. Catechism: Those wishing to learn more about the Catholic faith can take part in catechism classes offered at the church. 7. Exposition of the Blessed Sacrament: During certain times throughout the week, The Church of St. Bernardine of Siena presents the Blessed Sacrament to the public for worship. 8. Concerts: Concerts may also be held at the church on occasion. This beautiful church in Poland has made a lot of significance in the past.

 

In 1655, at the height of the Swedish Deluge, the Bernardine Church was ordered to be burnt to the ground. The Swedish forces were upon the city, and Polish Commander Stefan Czarniecki decided that the church would be too handy a base for the invading army. Only a statue of the Virgin was salvaged. Four years later, building began again on the site. The baroque edifice that was raised then has survived until this day, standing a stone's throw to the south of the Royal Castle complex. The church's acoustics are superb, and the interior provides a popular venue for concerts by the local St. Maurice's Orchestra and other ensembles.

 

Kraków, also seen spelled Cracow or absent Polish diacritics as Krakow, is the second-largest and one of the oldest cities in Poland. Situated on the Vistula River in Lesser Poland Voivodeship, the city dates back to the seventh century. Kraków was the official capital of Poland until 1596 and has traditionally been one of the leading centres of Polish academic, economic, cultural and artistic life. Cited as one of Europe's most beautiful cities, its Old Town with Wawel Royal Castle was declared a UNESCO World Heritage Site in 1978, one of the world's first sites granted the status.

 

The city has grown from a Stone Age settlement to Poland's second-most-important city. It began as a hamlet on Wawel Hill and was reported by Ibrahim ibn Yaqub, a 10th-century merchant from Córdoba, as a busy trading centre of Central Europe in 985. With the establishment of new universities and cultural venues at the emergence of the Second Polish Republic in 1918 and throughout the 20th century, Kraków reaffirmed its role as a major national academic and artistic centre. As of 2023, the city has a population of 804,237, with approximately 8 million additional people living within a 100 km (62 mi) radius of its main square.

 

After the invasion of Poland by Nazi Germany at the start of World War II, the newly defined Distrikt Krakau (Kraków District) became the capital of Germany's General Government. The Jewish population of the city was forced into a walled zone known as the Kraków Ghetto, from where they were sent to Nazi extermination camps such as the nearby Auschwitz, and Nazi concentration camps like Płaszów. However, the city was spared from destruction and major bombing.

 

In 1978, Karol Wojtyła, archbishop of Kraków, was elevated to the papacy as Pope John Paul II—the first non-Italian pope in 455 years. Also that year, UNESCO approved Kraków's entire Old Town and historic centre and the nearby Wieliczka Salt Mine as Poland's first World Heritage Sites. Kraków is classified as a global city with the ranking of "high sufficiency" by the Globalization and World Cities Research Network. Its extensive cultural heritage across the epochs of Gothic, Renaissance and Baroque architecture includes Wawel Cathedral and Wawel Royal Castle on the banks of the Vistula, St. Mary's Basilica, Saints Peter and Paul Church and the largest medieval market square in Europe, Rynek Główny. Kraków is home to Jagiellonian University, one of the oldest universities in the world and traditionally Poland's most reputable institution of higher learning. The city also hosts a number of institutions of national significance such as the National Museum, Kraków Opera, Juliusz Słowacki Theatre, National Stary Theatre and the Jagiellonian Library. The city is served by John Paul II International Airport, the country's second busiest airport and the most important international airport for the inhabitants of south-eastern Poland.

 

In 2000, Kraków was named European Capital of Culture. In 2013, Kraków was officially approved as a UNESCO City of Literature. The city hosted World Youth Day in 2016 and the European Games in 2023.

 

Kraków is one of the largest and oldest cities in Poland, with the urban population of 804,237 (June, 2023). Situated on the Vistula river (Polish: Wisła) in the Lesser Poland region, the city dates back to the 7th century. It was the capital of Poland from 1038 to 1596, the capital of the Grand Duchy of Kraków from 1846 to 1918, and the capital of Kraków Voivodeship from the 14th century to 1999. It is now the capital of the Lesser Poland Voivodeship.

 

Timeline of Kraków

Historical affiliations

Vistulans, pre X century

Duchy of Bohemia, X century–ca. 960

Duchy of Poland, ca. 960–1025

Kingdom of Poland, 1025–1031

Duchy of Poland, 1031–1320

∟ Seniorate Province, 1138–1227

Duchy of Kraków, 1227–1320

Kingdom of Poland, 1320–1569

Polish–Lithuanian Commonwealth, 1569–1795

Austrian Empire, 1795–1809

∟ Galicia

Duchy of Warsaw, 1809–1815

Free City of Cracow, 1815–1846

Austrian Empire, 1846–1867

Austria-Hungary, 1867–1918

∟ Grand Duchy of Kraków (subdivision of Galicia)

Republic of Poland, 1918–1939

General Government, 1939–1945 (part of German-occupied Europe)

Provisional Government of National Unity, 1945–1947

Polish People's Republic, 1947–1989

Poland, 1989–present

 

Early history

The earliest known settlement on the present site of Kraków was established on Wawel Hill, and dates back to the 4th century. Legend attributes the town's establishment to the mythical ruler Krakus, who built it above a cave occupied by a ravenous dragon, Smok Wawelski. Many knights unsuccessfully attempted to oust the dragon by force, but instead, Krakus fed it a poisoned lamb, which killed the dragon. The city was free to flourish. Dragon bones, most likely that of mammoth, are displayed at the entrance of the Wawel Cathedral. Before the Polish state had been formed, Kraków was the capital of the tribe of Vistulans, subjugated for a short period by Great Moravia. After Great Moravia was destroyed by the Hungarians, Kraków became part of the kingdom of Bohemia. The first appearance of the city's name in historical records dates back to 966, when a Sephardi Jewish traveller, Abraham ben Jacob, described Kraków as a notable commercial centre under the rule of the then duke of Bohemia (Boleslaus I the Cruel). He also mentioned the baptism of Prince Mieszko I and his status as the first historical ruler of Poland. Towards the end of his reign, Mieszko took Kraków from the Bohemians and incorporated it into the holdings of the Piast dynasty.

 

By the end of the 10th century, the city was a leading center of trade. Brick buildings were being constructed, including the Royal Wawel Castle with the Rotunda of Sts. Felix and Adauctus, Romanesque churches, a cathedral, and a basilica. Sometime after 1042, Casimir I the Restorer made Kraków the seat of the Polish government. In 1079 on a hillock in nearby Skałka, the Bishop of Kraków, Saint Stanislaus of Szczepanów, was slain by the order of the Polish king Bolesław II the Generous. In 1138, the Testament of Bolesław III Wrymouth came into effect upon his death. It divided Poland into five provinces, with Kraków named as the Seniorate Province, meant to be ruled by the eldest male member of the royal family as the High Duke. Infighting among brothers, however, caused the seniorate system to soon collapse, and a century-long struggle between Bolesław's descendants followed. The fragmentation of Poland lasted until 1320.

 

Kraków was almost entirely destroyed during the Mongol invasion of Poland in 1241, after the Polish attempt to repulse the invaders had been crushed in the Battle of Chmielnik. Kraków was rebuilt in 1257, in a form which was practically unaltered, and received self-government city rights from the king based on the Magdeburg Law, attracting mostly German-speaking burgers. In 1259, the city was again ravaged by the Mongols, 18 years after the first raid. A third attack, though unsuccessful, followed in 1287. The year 1311 saw the Rebellion of wójt Albert against Polish High Duke Władysław I. It involved the mostly German-speaking burghers of Kraków who, as a result, were massacred. In the aftermath, Kraków was gradually re-Polonized, and Polish burghers rose from a minority to a majority.

 

Further information: History of Poland in the Middle Ages

Medieval Kraków was surrounded by a 1.9 mile (3 km) defensive wall complete with 46 towers and seven main entrances leading through them (see St. Florian's Gate and Kraków Barbican). The fortifications were erected over the course of two centuries. The town defensive system appeared in Kraków after the city's location, i.e. in the second half of the 13th century (1257). This was when the construction of a uniform fortification line was commenced, but it seems the project could not be completed. Afterwards the walls, however, were extended and reinforced (a permit from Leszek Biały to encircle the city with high defensive walls was granted in 1285). Kraków rose to new prominence in 1364, when Casimir III of Poland founded the Cracow Academy, the second university in central Europe after the University of Prague. There had already been a cathedral school since 1150 functioning under the auspices of the city's bishop. The city continued to grow under the joint Lithuanian-Polish Jagiellon dynasty (1386–1572). As the capital of a powerful state, it became a flourishing center of science and the arts.

 

Kraków was a member of the Hanseatic League and many craftsmen settled there, established businesses and formed craftsmen's guilds. City Law, including guilds' depictions and descriptions, were recorded in the German language Balthasar Behem Codex. This codex is now featured at the Jagiellonian Library. By the end of the thirteenth century, Kraków had become a predominantly German city. In 1475 delegates of the elector George the Rich of Bavaria came to Kraków to negotiate the marriage of Princess Jadwiga of Poland (Hedwig in German), the daughter of King Casimir IV Jagiellon to George the Rich. Jadwiga traveled for two months to Landshut in Bavaria, where an elaborate marriage celebration, the Landshut Wedding took place. Around 1502 Kraków was already featured in the works of Albrecht Dürer as well as in those of Hartmann Schedel (Nuremberg Chronicle) and Georg Braun (Civitates orbis terrarum).

 

During the 15th century extremist clergymen advocated violence towards the Jews, who in a gradual process lost their positions. In 1469 Jews were expelled from their old settlement to Spiglarska Street. In 1485 Jewish elders were forced into a renunciation of trade in Kraków, which led many Jews to leave for Kazimierz that did not fall under the restrictions due to its status as a royal town. Following the 1494 fire in Kraków, a wave of anti-Jewish attacks took place. In 1495, King John I Albert expelled the Jews from the city walls of Kraków; they moved to Kazimierz (now a district of Kraków).

 

Renaissance

The Renaissance, whose influence originated in Italy, arrived in Kraków in the late 15th century, along with numerous Italian artists including Francesco Fiorentino, Bartolommeo Berrecci, Santi Gucci, Mateo Gucci, Bernardo Morando, and Giovanni Baptista di Quadro. The period, which elevated the intellectual pursuits, produced many outstanding artists and scientists such as Nicolaus Copernicus who studied at the local Academy. In 1468 the Italian humanist Filip Callimachus came to Kraków, where he worked as the teacher of the children of Casimir IV Jagiellon. In 1488 the imperial Poet Laureate and humanist Conrad Celtes founded the Sodalitas Litterarum Vistulana ("Literary Society on the Vistula"), a learned society based on the Roman Academies. In 1489, sculptor Veit Stoss (Wit Stwosz) of Nuremberg finished his work on the high altar of St. Mary's Church. He later made a marble sarcophagus for his benefactor Casimir IV Jagiellon. By 1500, Johann Haller had established a printing press in the city. Many works of the Renaissance movement were printed there during that time.

 

Art and architecture flourished under the watchful eye of King Sigismund I the Old, who ascended to the throne in 1507. He married Bona Sforza of a leading Milan family and using his new Italian connections began the major project (under Florentine architect Berrecci) of remaking the ancient residence of the Polish kings, the Wawel Castle, into a modern Renaissance palace. In 1520, Hans Behem made the largest church bell, named the Sigismund Bell after King Sigismund I. At the same time Hans Dürer, younger brother of Albrecht Dürer, was Sigismund's court painter. Around 1511 Hans von Kulmbach painted a series of panels for the Church of the Pauline Fathers at Skałka and the Church of St. Mary. Sigismund I also brought in Italian chefs who introduced Italian cuisine.

 

In 1558, a permanent postal connection between Kraków and Venice, the capitals of the Kingdom of Poland and the Republic of Venice respectively, was established and Poczta Polska was founded. In 1572, King Sigismund II died childless, and the throne passed briefly to Henry of Valois, then to Sigismund II's sister Anna Jagiellon and her husband Stephen Báthory, and then to Sigismund III of the Swedish House of Vasa. His reign changed Kraków dramatically, as he moved the government to Warsaw in 1596. A series of wars ensued between Sweden and Poland.

 

After the partitions of Poland

In the late 18th century, the Polish–Lithuanian Commonwealth was partitioned three times by its expansionist neighbors: Imperial Russia, the Austrian Empire, and the Kingdom of Prussia. After the first two partitions (1772 and 1793), Kraków was still part of the substantially reduced Polish nation. In 1794 Tadeusz Kościuszko initiated a revolt against the partitioning powers, the Kościuszko Uprising, in Kraków's market square. The Polish army, including many peasants, fought against the Russian and Prussian armies, but the larger forces ultimately put down the revolt. The Prussian army specifically took Kraków on 15 June 1794, and looted the Polish royal treasure kept at Wawel Castle. The stolen regalia, valued at 525,259 thalers, was secretly melted down in March 1809, while precious stones and pearls were appropriated in Berlin. Poland was partitioned for the third time in 1795, and Kraków became part of the Austrian province of Galicia.

 

When Napoleon Bonaparte of the French Empire captured part of what had once been Poland, he established the Duchy of Warsaw (1807) as an independent but subordinate state. West Galicia, including Kraków, was taken from the Austrian Empire and added to the Duchy of Warsaw in 1809 by the Treaty of Schönbrunn, which ended the War of the Fifth Coalition. The Congress of Vienna (1815) restored the partition of Poland, but gave Kraków partial independence as the Free City of Cracow.

 

The city again became the focus of a struggle for national sovereignty in 1846, during the Kraków Uprising. The uprising failed to spread outside the city to other Polish lands, and was put down. This resulted in the annexation of the city state to the Austrian Empire as the Grand Duchy of Cracow, once again part of the Galician lands of the empire.

 

In 1850 10% of the city was destroyed in the large fire.

 

After the Austro-Prussian War of 1866, Austria granted partial autonomy to Galicia, making Polish a language of government and establishing a provincial Diet. As this form of Austrian rule was more benevolent than that exercised by Russia and Prussia, Kraków became a Polish national symbol and a center of culture and art, known frequently as the "Polish Athens" (Polskie Ateny) or "Polish Mecca" to which Poles would flock to revere the symbols and monuments of Kraków's (and Poland's) great past. Several important commemorations took place in Kraków during the period from 1866–1914, including the 500th Anniversary of the Battle of Grunwald in 1910, in which world-renowned pianist Ignacy Paderewski unveiled a monument. Famous painters, poets and writers of this period, living and working in the city include Jan Matejko, Stanisław Ignacy Witkiewicz, Jan Kasprowicz, Juliusz Kossak, Wojciech Kossak, Stanisław Wyspiański and Stanisław Przybyszewski. The latter two were leaders of Polish modernism.

 

The Fin de siècle Kraków, even under the partitions, was famously the center of Polish national revival and culture, but the city was also becoming a modern metropolis during this period. In 1901 the city installed running water and witnessed the introduction of its first electric streetcars. (Warsaw's first electric streetcars came in 1907.) The most significant political and economic development of the first decade of the 20th century in Kraków was the creation of Greater Kraków (Wielki Kraków), the incorporation of the surrounding suburban communities into a single administrative unit. The incorporation was overseen by Juliusz Leo, the city's energetic mayor from 1904 to his death in 1918 (see also: the Mayors of Kraków).

 

Thanks to migration from the countryside and the fruits of incorporation from 1910 to 1915, Kraków's population doubled in just fifteen years, from approx. 91,000 to 183,000 in 1915. Russian troops besieged Kraków during the first winter of the First World War, and thousands of residents left the city for Moravia and other safer locales, generally returning in the spring and summer of 1915. During the war Polish Legions led by Józef Piłsudski set out to fight for the liberation of Poland, in alliance with Austrian and German troops. With the fall of Austro-Hungarian Empire, Poles liberated the city and it was included with the newly reborn Polish state (1918). Between the two World Wars Kraków was also a major Jewish cultural and religious center (see: Synagogues of Kraków), with the Zionist movement relatively strong among the city's Jewish population.

 

World War II

Poland was partitioned again at the onset of the Second World War. The Nazi German forces entered Kraków on September 6, 1939. The residents of the city were saved from German attack by the courageous Mayor Stanisław Klimecki who went to meet the invading Wehrmacht troops. He approached them with the call to stop shooting because the city was defenseless: "Feuer einstellen!" and offered himself as a hostage. He was killed by the Gestapo three years later in the Niepołomice Forest. The German Einsatzgruppen I and zbV entered the city to commit atrocities against Poles. On September 12, the Germans carried out a massacre of 10 Jews. On November 4, Kraków became the capital of the General Government, a colonial authority under the leadership of Hans Frank. The occupation took a heavy toll, particularly on the city's cultural heritage. On November 6, during the infamous Sonderaktion Krakau 184 professors and academics of the Jagiellonian University (including Rector Tadeusz Lehr-Spławiński among others) were arrested at the Collegium Novum during a meeting ordered by the Gestapo chief SS-Obersturmbannführer Bruno Müller. President of Kraków, Klimecki was apprehended at his home the same evening. After two weeks, they were sent to Sachsenhausen concentration camp, and in March 1940 further to Dachau. Those who survived were released only after international protest involving the Vatican. On November 9–10, during the Intelligenzaktion, the Germans carried out further mass arrests of 120 Poles, including teachers, students and judges. The Sicherheitspolizei took over the Montelupich Prison, which became one of the most infamous in German-occupied Poland. Many Poles arrested in Kraków, and various other places in the region, and even more distant cities such as Rzeszów and Przemyśl, were imprisoned there. Over 1,700 Polish prisoners were eventually massacred at Fort 49 of the Kraków Fortress and its adjacent forest, and deportations of Polish prisoners to concentration camps, incl. Ravensbrück and Auschwitz, were also carried out. The prison also contained a cell for kidnapped Polish children under the age of 10, with an average capacity of about 70 children, who were then sent to concentration camps and executed. From September to December 1939, the occupiers also operated a Dulag transit camp for Polish prisoners of war.

 

Many relics and monuments of national culture were looted and destroyed (yet again), including the bronze statue of Adam Mickiewicz stolen for scrap. The Jewish population was first ghettoized, and later murdered. Two major concentration camps near Kraków included Płaszów and the extermination camp of Auschwitz, to which many local Poles and Polish Jews were sent. Specific events surrounding the Jewish ghetto in Kraków and the nearby concentration camps were famously portrayed in the film Schindler's List, itself based on a book by Thomas Keneally entitled Schindler's Ark. The Polish Red Cross was also aware of over 2,000 Polish Jews from Kraków, who escaped from the Germans to Soviet-occupied eastern Poland, and then were deported by the Soviets to the USSR.

 

The Polish resistance movement was active in the city. Already in September 1939, the Organizacja Orła Białego resistance organization was founded. Kraków became the seat of one of the six main commands of the Union of Armed Struggle in occupied Poland (alongside Warsaw, Poznań, Toruń, Białystok and Lwów). A local branch of the Żegota underground Polish resistance organization was established to rescue Jews from the Holocaust.

 

The Germans operated several forced labour camps in the city, and in 1942–1944, they also operated the Stalag 369 prisoner-of-war camp for Dutch, Belgian and French POWs. In 1944, during and following the Warsaw Uprising, the Germans deported many captured Poles frow Warsaw to Kraków.

 

A common account popularized in the Soviet-controlled communist People's Republic of Poland, held that due to a rapid advance of the Soviet armies, Kraków allegedly escaped planned destruction during the German withdrawal. There are several different versions of that account. According to a version based on self-written Soviet statements, Marshal Ivan Konev claimed to have been informed by the Polish patriots of the German plan, and took an effort to preserve Kraków from destruction by ordering a lightning attack on the city while deliberately not cutting the Germans from the only withdrawal path, and by not aiding the attack with aviation and artillery. The credibility of those accounts has been questioned by Polish historian Andrzej Chwalba who finds no physical evidence of the German master plan for demolition and no written proof showing that Konev ordered the attack with the intention of preserving the city. He portrays Konev's strategy as ordinary – only accidentally resulting in little damage to Kraków – exaggerated later into a myth of "Konev, savior of Kraków" by Soviet propaganda. The Red Army entry into the city was accompanied by a wave of rapes of women and girls resulting in official protests.

 

Post-war period

After the war, the government of the People's Republic of Poland ordered the construction of the country's largest steel mill in the suburb of Nowa Huta. This was regarded by some as an attempt to diminish the influence of Kraków's intellectual and artistic heritage by industrialization of the city and by attracting to it the new working class. In the 1950s some Greeks, refugees of the Greek Civil War, settled in Nowa Huta.

 

The city is regarded by many to be the cultural capital of Poland. In 1978, UNESCO placed Kraków on the list of World Heritage Sites. In the same year, on October 16, 1978, Kraków's archbishop, Karol Wojtyła, was elevated to the papacy as John Paul II, the first non-Italian pope in 455 years.

 

Kraków's population has quadrupled since the end of World War II. After the collapse of the Soviet Empire and the subsequent joining of the European Union, Offshoring of IT work from other nations has become important to the economy of Kraków and Poland in general in recent years. The city is the key center for this kind of business activity. There are about 20 large multinational companies in Kraków, including centers serving IBM, General Electric, Motorola, and Sabre Holdings, along with British and German-based firms.

 

In recent history, Kraków has co-hosted various international sports competitions, including the 2016 European Men's Handball Championship, 2017 Men's European Volleyball Championship, 2021 Men's European Volleyball Championship and 2023 World Men's Handball Championship.

SANCTUS: Celebrating A Decade of Catechism & Renewed Faith Through Newly Commissioned Religious Images

(The 1st Primera Salida Exhibit)

Museo ng Makati

Brgy. Poblacion, Makati City

November 4-15, 2011

 

1st Regular Exhibit Day

November 8, 2011

  

* Exhibit open everyday (except weekends and holidays), 8 AM thru 5 PM.

 

**Pictures in set unedited due to bulk and time constraints.

 

***Attention all exhibitors: Feel free to grab any of the pictures for your personal use. Please cite the source whenever and wherever applicable. Thanks.

Staphorst is famous for people wearing traditional dress. Furthermore, it is one of the most religious towns of the Netherlands, with a lot of people attending Calvinist church. Staphorst is grind to a halt on Sundays.

 

A large proportion of the population holds fundamentalist Christian beliefs, and oppose technologies such as television. This is in contrast to the permissive, libertarian tendency in Dutch law. Nevertheless, Staphorst has a big industrial area with small, but modern enterprises; on days other than Sundays, tourists are welcome (see below).

 

In 1971, Staphorst became world news due to an outbreak of polio. Certain inhabitants did not wish their children to be vaccinated against polio on religious grounds. They found that vaccination was against Divine Providence, in particular the Heidelberg Catechism. Due to this (and probably also due to laxity of other inhabitants in getting vaccinated) 39 people (mostly children) became infected with polio. Of these, five died and a number of others became disabled. Most inhabitants are now vaccinated, however 20% remain unvaccinated. As a result, Staphorst and other similar areas in the Netherlands are classified as risk areas by the WHO[1] - the only such area in Europe.

 

In 2005, Staphorst's municipal council (run by the SGP, which until 2006 banned women from politics) passed a measure to ban swearing, by 13 - 4 votes

 

The TFR in Staphorst at 2.76 was 4th highest in all of Netherlands in 2003. [1] That makes Staphorst a place with one of the highest birth rates in all of Europe.

  

SANCTUS: Celebrating A Decade of Catechism & Renewed Faith Through Newly Commissioned Religious Images

(The 1st Primera Salida Exhibit)

Museo ng Makati

Brgy. Poblacion, Makati City

November 4-15, 2011

 

Closing Ceremonies

November 15, 2011

  

*Pictures in set unedited due to bulk and time constraints.

 

**Attention all exhibitors: Feel free to grab any of the pictures for your personal use. Please cite the source whenever and wherever applicable. Thanks.

This leaf, which appears to have been created as a singular work rather than part of a book, was designed and made by Johann Leonhard Tauber in 1752. Tauber, who identifies himself as a 63 year old gravel-crusher in Nuremberg, Germany, "drew" using lines of texts of Christian doctrine, Martin Luther's Catechism, and daily prayers. He identifies the ultimate design as the "Reichs Apffel," or "Orb of the Empire." Written in the most minute script, with the smallest text in the center of the flower virtually illegible to the naked eye, this work would have been a painstaking act of devotion.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

SANCTUS: Celebrating A Decade of Catechism & Renewed Faith Through Newly Commissioned Religious Images

(The 1st Primera Salida Exhibit)

Museo ng Makati

Brgy. Poblacion, Makati City

November 4-15, 2011

 

1st Regular Exhibit Day

November 8, 2011

  

* Exhibit open everyday (except weekends and holidays), 8 AM thru 5 PM.

 

**Pictures in set unedited due to bulk and time constraints.

 

***Attention all exhibitors: Feel free to grab any of the pictures for your personal use. Please cite the source whenever and wherever applicable. Thanks.

Some years ago you heard me sing

My doubts on Alexander Byng.

His sister Sarah now inspires

My jaded Muse, my failing fires.

Of Sarah Byng the tale is told

How when the child was twelve years old

She could not read or write a line.

Her sister Jane, though barely nine,

Could spout the Catechism through

And parts of Matthew Arnold too,

While little Bill who came between

Was quite unnaturally keen

On 'Athalie', by Jean Racine.

But not so Sarah! Not so Sal!

She was a most uncultured girl

Who didn't care a pinch of snuff

For any literary stuff

And gave the classics all a miss.

Observe the consequence of this!

As she was walking home one day,

Upon the fields across her way

A gate, securely padlocked, stood,

And by its side a piece of wood

On which was painted plain and full,

BEWARE THE VERY FURIOUS BULL

Alas! The young illiterate

Went blindly forward to her fate,

And ignorantly climbed the gate!

Now happily the Bull that day

Was rather in the mood for play

Than goring people through and through

As Bulls so very often do;

He tossed her lightly with his horns

Into a prickly hedge of thorns,

And stood by laughing while she strode

And pushed and struggled to the road.

The lesson was not lost upon

The child, who since has always gone

A long way round to keep away

From signs, whatever they may say,

And leaves a padlocked gate alone.

Moreover she has wisely grown

Confirmed in her instinctive guess

That literature breeds distress.

 

Lorenzo Ruiz was a Filipino, although his father was Chinese. He was born in Binondo, Manila between 1600 and 1610. The fact that he lived in Binondo attested to his being a Christian - Binondo was bought on March 28, 1594 by Governor Luiz Perez Dasmarinas from one Don Antonio Varela, for a sum of $200, "to be used as permanent residence area of the Sangley converts." Likewise, Lorenzo's father would not have been permitted to marry a Tagala, which Lorenzo's mother was, if he did not embrace Christianity. Lorenzo's wife was a Filipina. Her influence and that of Lorenzo's mother on him must have been very strong because Lorenzo never considered himself a sangley, as the Chinese were called at that time. When he was interrogated by the bugyos (governors) in Nagasaki, he declared that he was a "Fiilpino from Manila."

 

According to the documents cited to proclaim him "Blessed," his parents were devout Catholics. He was christened "Lorenzo" after a martyr during the 3rd century persecution of Christians. His surname "Ruiz" was taken from the last name of his godfather.

 

One of the priests from whom Lorenzo served as clerk in the Church of San Gabriel, which was how the Binondo Church was then called, was Fr. Diego Rodriquez, procurator general of the Dominicans. In one of his short but reliable reports to his superiors in Spain, he mentioned the fact that Lorenzo "served as an errand boy during his early years in the the community house and church of a district in the extra-muros of Manila, called Binondo, which is under the spiritual care of the friars of the Order of Preachers." Since Lorenzo lived there together with the Dominican priests, he learned not only the Spanish language but also catechism.

 

Because of his early education, Lorenzo must have been one of those rare natives at that time who could be entrusted with many of the important lay chores in the church. During the trial in Nagasaki, one of the priests said that Lorenzo was a "great escribano." Although at that time, the word referred to a "notary," or one who drew up legal papers and administered oaths, this could not have been his job because the notary was only reserved for Spanish professionals. Lorenzo must have been one who transcribed documents from local dialects into Spanish, so that the authorities could understand them, or a copier who rendered official documents like diplomas and notices in handsome calligraphy.

 

In any case, Lorenzo was, for a native, extremely educated. He was a member of the Confraternity of the Holy Rosary of Our Lady which was organized by the Dominicans in the Philippines as soon as they arrived in 1587. This Confraternity began all the way back in the Middle Ages, when in 1254, Pope Alexander IV founded it as part of the Apostolic Order of Preachers. Its main purpose was the spreading of more profound devotion to our Blessed Mother through the rosary. As a member, Lorenzo has his name inscribed in the official registry of the Confraternity and he vowed to say the entire fifteen mysteries of the rosary each week.

 

No one knows when Lorenzo got married. The only direct record we have about his marriage was what he declared in Nagasaki during his trial there. He said, "I am married and have two sons and a daughter."

In 1636, a grave crime was committed in Manila. Authorities conducted a manhunt for Lorenzo because they believed he knew something about it or was himself involved in it. When Lorenzo learned of some missionary priests leaving for Japan, he asked them if he could be allowed to join them. And he was allowed aboard the ship bound for Japan, along with the Dominicans, safe from fear of being implicated in a crime.

 

At that time, there was a widespread persecution of Christians in Japan. All those who professed faith in God and served in missionaries were jailed and even put to death. Their lives were to be spared if they renounce their Christian faith. But thousands of those Christians chose death rather than renounce their belief in God. And Lorenzo Ruiz was among those who underwent excruciating forms of persecution.

 

One of the forms of punishment imposed on Christians was "hanging in the pit" on the hills of Nagasaki. The victim's feet were tied to a beam, his body hung upside down and his head occupying the mound of the pit. Lorenzo went through this agonizing punishment when he refused to renounce his faith.

 

When he was interrogated about his life as a Christian, he answered, "I am a Christian and I will remain a Christian even to the point of death. Only to God will I offer my life. Even if I had a thousand lives, I would still offer them to Him. This is the reason why I came here to Japan, to leave my native land as a Christian and die here as a Christian, offering my life to God alone."

 

He was told that he would be put to death if he did not renounce his faith but he stuck to his belief. He said he would never disown his identity as a Christian. It was on September 23, 1637 that he began to undergo "hanging in the pit."

 

Lorenzo Ruiz was proclaimed "Blessed" in February 1981 at Luneta, together with 16 other companions, in connection with Pope John Paul II's papal visit to the Philippines. Although it had taken almost five years for Lorenzo Ruiz to be beatified, this is still one of the fastest processing of its kind in the twentieth century. More than that, the Pope broke established Vatican traditions and traveled to Asia to beatify him, an event that is totally unprecedented in the 2000-year history of the Roman Catholic Church. No one before Lorenzo had ever been beatified outside the Eternal City and in his own country. He was canonized and declared a "Saint" on October 18, 1987 in Rome. As such, he is now worthy of being venerated and honored on the church altar. His feastday falls on September 28.

*YOUNGHUSBAND February 20

An entertainment was held in the Younghusband hall on Friday evening last, when Mr T Pope presided over a fair attendance. Miss Putland played the overture, and vocal items and recitations were rendered by Misses C Hirte, E Fielke, M Chambers, F Pope, Mr Gryst, O Hack, C Hirte, N Brinkley, W Robinson, and Mr A Robinson, and the school children. [Ref: Chronicle 4-3-1905]

 

*The first anniversary services in connection with the Younghusband Sunday school took place on Sunday, June 15. The Rev A K I'Anson preached splendid sermons. The children rendered special singing, Miss Chrissie Groth presiding at the organ.

 

On Monday, June 16, a tea was provided. This was followed by a public meeting. Mr H Putland acted as chairman, and the programme consisted of the Sunday school report, with several hymns by the scholars.

 

Mr Robinson proposed and Mr Drogemuller seconded a vote of thanks to all who assisted to make the anniversary a success. Supper was handed round, and a pleasant evening was spent. [Ref: Australian Christian Commonwealth 27-6-1913]

 

*A social and dance was held in the Younghusband school on Wednesday evening as a send off to Tpr Whalland. The residents presented him with tokens of esteem. Sgt Ketteringham spoke.

On Thursday morning the Mannum Recruiting Committee presented Tpr Whalland with a wristlet watch on behalf of the residents. Valedictory remarks were made by Messrs D Shearer, J R Baseby, H P Wishart, and Sgt Ketteringham (the district recruiting officer). [Ref: Observer 1-6-1918]

 

*On Friday, September 12, the school hall was again crowded to welcome home returned lads. They were Lce-Cpl George H Fulwood, Ptes L J O'Neill, J J Gass. and Dvr Fred Morey. The [chair] was occupied by Mr G H Mann, who on behalf of residents presented each guest with honour certificates and other presents. Welcome home speeches were made by Messrs Groth, Brinkley and Gardner.

 

The hall was tastefully decorated with peace designs, banners, and flowers, and was a credit to the young ladies who carried it out. Items were rendered by the local glee company, Mr J H Groth, Misses Kelly, Gardner, S Droegemuller, Marjorie Mann, Clara Groth and the school children.

A number of souvenirs were shown by Pte Gass.

Supper and a dance concluded a successful gathering. There is now only one more soldier to return. [Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 10-10-1919]

 

*The school committee at Younghusband has presented a gold brooch to Jean E Groth, of the local school. She first attended school on February 5, 1912 and from that time until November 14, 1919, was present on every occasion that the school was open – 1673 days. [Ref: Advertiser 16-12-1919]

 

*DANCE AT YOUNGHUSBAND

On October 21 a fancy dress dance was held in the Younghusband Hall, which was decorated by Miss Willott and Mrs Semmler. The proceeds were in aid of the school piano fund.

Novelty dances included the streamer, confetti, lucky spot, and lucky cap, which were won by Mr Baumgurtel and Miss Gowling and Mr and Mrs Jeffries.

The music was provided by Mrs Maidment, Messrs H A Gogol, and A Semmler.

Mr S G Gogol was MC. [Ref: Advertiser 2-11-1927]

 

*September 29

A euchre party and dance was held in the Younghusband Hall on Monday evening: in aid of the cricket club.

A beautiful supper was served by the ladies. A dance occupied the rest of the evening. Mr G Gogol was MC and music was supplied by Mr A Semmler and Miss B Baumgurtle.

Guessing competitions helped to raise the proceeds to over £7. There was a good attendance. [Murray Pioneer and Australian River Record 12-10-1928]

 

*Extract from District Council of Mannum meeting:-

Grubbing of trees at Younghusband School – letters objecting to this being done were forwarded by H M Gowling (hon secretary, school committee), Wm Schmidt (hon sec trustees) and a largely signed petition.

After discussion Councillor Lahne moved that permission to Mr Banks to grub these trees be not granted. [Ref: The Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 17-7-1931]

 

*Arbor Day at the Hundred of Younghusband school was followed by sports in the afternoon and a concert and dance at night.

Items were rendered by Miss E Putland, D Duthy, M Alsop, Mr H Gowling and the school children.

A lucky spot waltz was won by Miss M Liebich and Mr A Mann. [Ref: Advertiser 4-7-1932]

 

*The third annual sports and show of the Purnong and Districts Schools’ Association being:-Purnong (teacher Mr Prior), Claypans (Mr O’Niel), Bandon (Mrs Ellis), Bowhill (Mr Jones), Ettrick (Mr Scholz), Younghusband (Miss Mesnil), Fairview (Miss Noske), Walkers Flat (Mr Inglis), Forster (Mr Millican), Nildotties (Miss Peake).

The children marched from the hall to the grounds, each school behind its banner.

 

The shield presented by the district council to be won and held by the school which gained highest points in the athletic events for one year, was won by the Younghusband school with 44 points.

The president of the association (Mr G A Seidel) presented the shield to Miss Mesnil, head teach of the Younghusband school. [Advertiser 7-9-1937]

 

*The following is an extract from ‘Work in the Mannum Mission by the Methodist Church.

Getting to Church Service

The drive is continued for a distance of 2 miles down to the river, where a private boat is waiting, sometimes with two or three other passengers to cross the river for service at 11, in the schoolroom at Younghusband.

 

This is a fortnightly service and is usually attended by 15 to 20 adults: and we have a Sunday School roll of 18. The children attend splendidly and at the close of the service gather round the table where the minister conducts a catechism class.

SS hymns are also taught and the duty stamp album is used to encourage regular attendance.

At 12.20 a return is made and the car is heading in the direction of the afternoon service. [Ref: Australian Christian Commonwealth 14-1-1938]

 

*A pet show was held at the Hundred of Younghusband school on August 24 in aid of schools’ patriotic fund.

Prizes were awarded to Robert Hannaford, Betty Gowling and May Chambers, who collected the largest sums for their pets.

The children collected £11 1/9, the total proceeds of the day being £25 3/3.

This school has raised £46 3/7 for the schools’ patriotic fund, and the children have subscribed £44 16/ in war savings certificates. [Ref: Advertiser 6-9-1940]

 

*On Sunday, October 6, Younghusband celebrated 130 years since the opening of its hall as a school for local children in 1889.

 

The event attracted more than 250 visitors who came from New South Wales, Tasmania, Clare, the Barossa Valley, Mildura, Adelaide, the Fleurieu Peninsula and local areas.

 

Anthony Schubert, whose grandfather Murray Brinkley was a student at Younghusband School, opened the speeches, then Mid Murray Mayor Dave Burgess gave a short speech and unveiled a plaque to commemorate the occasion.

 

Councillor Geoff Hall presented plaques and certificates to Geoff Stephens and David Brinkley for their many years of service as committee members since incorporation in 1988.

 

Cr Hall praised the committee for their hard work in holding regular events and holding this special day.

 

Photographs and memorabilia of the hall and a large display of old steam engines and motors by members of the Lower Murray Vintage Engine and Machinery Club gave everyone a chance to look and learn.

 

Vintage cars were also on show plus stalls, face painting, horseshoe throwing, whip cracking, nail driving and a set of stocks for visitors to enjoy. [Ref: the Murray Valley Standard online 22-1-2019]

 

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

Karol Józef Wojtyła (1920-2005)

Pope

 

John Paul II since his October 1978 election to the papacy, was born in the Polish town of Wadowice, a small city 50 kilometers from Krakow, on May 18, 1920. He was the youngest of three children born to Karol Wojtyła and Emilia Kaczorowska. His mother died in 1929. His eldest brother Edmund, a doctor, died in 1932 and his father, a non-commissioned army officer died in 1941. A sister, Olga, had died before he was born.

 

He was baptized on June 20, 1920 in the parish church of Wadowice by Fr. Franciszek Zak, made his First Holy Communion at age 9 and was confirmed at 18. Upon graduation from Marcin Wadowita high school in Wadowice, he enrolled in Krakow's Jagiellonian University in 1938 and in a school for drama.

 

The Nazi occupation forces closed the university in 1939 and young Karol had to work in a quarry (1940-1944) and then in the Solvay chemical factory to earn his living and to avoid being deported to Germany.

 

In 1942, aware of his call to the priesthood, he began courses in the clandestine seminary of Krakow, run by Cardinal Adam Stefan Sapieha, archbishop of Krakow. At the same time, Karol Wojtyła was one of the pioneers of the "Rhapsodic Theatre," also clandestine.

 

After the Second World War, he continued his studies in the major seminary of Krakow, once it had re-opened, and in the faculty of theology of the Jagiellonian University. He was ordained to the priesthood by Archbishop Sapieha in Krakow on November 1, 1946.

 

Shortly afterwards, Cardinal Sapieha sent him to Rome where he worked under the guidance of the French Dominican, Garrigou-Lagrange. He finished his doctorate in theology in 1948 with a thesis on the subject of faith in the works of St. John of the Cross (Doctrina de fide apud Sanctum Ioannem a Cruce). At that time, during his vacations, he exercised his pastoral ministry among the Polish immigrants of France, Belgium and Holland.

 

In 1948 he returned to Poland and was vicar of various parishes in Krakow as well as chaplain to university students. This period lasted until 1951 when he again took up his studies in philosophy and theology. In 1953 he defended a thesis on "evaluation of the possibility of founding a Catholic ethic on the ethical system of Max Scheler" at Lublin Catholic University. Later he became professor of moral theology and social ethics in the major seminary of Krakow and in the Faculty of Theology of Lublin.

 

On July 4, 1958, he was appointed titular bishop of Ombi and auxiliary of Krakow by Pope Pius XII, and was consecrated September 28, 1958, in Wawel Cathedral, Krakow, by Archbishop Eugeniusz Baziak.

 

On January 13, 1964, he was appointed archbishop of Krakow by Pope Paul VI, who made him a cardinal June 26, 1967 with the title of S. Cesareo in Palatio of the order of deacons, later elevated pro illa vice to the order of priests.

 

Besides taking part in Vatican Council II (1962-1965) where he made an important contribution to drafting the Constitution Gaudium et spes, Cardinal Wojtyła participated in all the assemblies of the Synod of Bishops.

 

The Cardinals elected him Pope at the Conclave of 16 October 1978, and he took the name of John Paul II. On 22 October, the Lord's Day, he solemnly inaugurated his Petrine ministry as the 263rd successor to the Apostle. His pontificate, one of the longest in the history of the Church, lasted nearly 27 years.

 

Driven by his pastoral solicitude for all Churches and by a sense of openness and charity to the entire human race, John Paul II exercised the Petrine ministry with a tireless missionary spirit, dedicating it all his energy. He made 104 pastoral visits outside Italy and 146 within Italy. As bishop of Rome he visited 317 of the city's 333 parishes.

 

He had more meetings than any of his predecessors with the People of God and the leaders of Nations. More than 17,600,000 pilgrims participated in the General Audiences held on Wednesdays (more than 1160), not counting other special audiences and religious ceremonies [more than 8 million pilgrims during the Great Jubilee of the Year 2000 alone], and the millions of faithful he met during pastoral visits in Italy and throughout the world. We must also remember the numerous government personalities he encountered during 38 official visits, 738 audiences and meetings held with Heads of State, and 246 audiences and meetings with Prime Ministers.

 

His love for young people brought him to establish the World Youth Days. The 19 WYDs celebrated during his pontificate brought together millions of young people from all over the world. At the same time his care for the family was expressed in the World Meetings of Families, which he initiated in 1994.

 

John Paul II successfully encouraged dialogue with the Jews and with the representatives of other religions, whom he several times invited to prayer meetings for peace, especially in Assisi.

 

Under his guidance the Church prepared herself for the third millennium and celebrated the Great Jubilee of the year 2000 in accordance with the instructions given in the Apostolic Letter Tertio Millennio adveniente. The Church then faced the new epoch, receiving his instructions in the Apostolic Letter Novo Millennio ineunte, in which he indicated to the faithful their future path.

 

With the Year of the Redemption, the Marian Year and the Year of the Eucharist, he promoted the spiritual renewal of the Church.

 

He gave an extraordinary impetus to Canonizations and Beatifications, focusing on countless examples of holiness as an incentive for the people of our time. He celebrated 147 beatification ceremonies during which he proclaimed 1,338 Blesseds; and 51 canonizations for a total of 482 saints. He made Thérèse of the Child Jesus a Doctor of the Church.

 

He considerably expanded the College of Cardinals, creating 231 Cardinals (plus one in pectore) in 9 consistories. He also called six full meetings of the College of Cardinals.

 

He organized 15 Assemblies of the Synod of Bishops - six Ordinary General Assemblies (1980, 1983, 1987, 1990, 1994 and 2001), one Extraordinary General Assembly (1985) and eight Special Assemblies (1980,1991, 1994, 1995, 1997, 1998 (2) and 1999).

 

His most important Documents include 14 Encyclicals, 15 Apostolic Exhortations, 11 Apostolic Constitutions, 45 Apostolic Letters.

 

He promulgated the Catechism of the Catholic Church in the light of Tradition as authoritatively interpreted by the Second Vatican Council. He also reformed the Eastern and Western Codes of Canon Law, created new Institutions and reorganized the Roman Curia.

 

As a private Doctor he also published five books of his own: "Crossing the Threshold of Hope" (October 1994), "Gift and Mystery, on the fiftieth anniversary of my ordination as priest" (November 1996), "Roman Triptych" poetic meditations (March 2003), "Arise, Let us Be Going" (May 2004) and "Memory and Identity" (February 2005).

 

In the light of Christ risen from the dead, on 2 April a.D. 2005, at 9.37 p.m., while Saturday was drawing to a close and the Lord's Day was already beginning, the Octave of Easter and Divine Mercy Sunday, the Church's beloved Pastor, John Paul II, departed this world for the Father.

 

From that evening until April 8, date of the funeral of the late Pontiff, more than three million pilgrims came to Rome to pay homage to the mortal remains of the Pope. Some of them queued up to 24 hours to enter St. Peter's Basilica.

 

On April 28, the Holy Father Benedict XVI announced that the normal five-year waiting period before beginning the cause of beatification and canonization would be waived for John Paul II. The cause was officially opened by Cardinal Camillo Ruini, vicar general for the diocese of Rome, on June 28 2005.

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

St Ethelbert, Hessett, Suffolk

 

Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a Mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a Synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology - a problem that, to some extent, the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

This may seem like a digression, but I hope it will become apparent why I've raised it. For similar questions have been asked throughout the history of Christianity.

 

So, let us hasten at once to Hessett. Here we are, roughly halfway between Bury and Stowmarket - like nearby Woolpit, this must once have been a more important place than it is today, and perhaps St Ethelbert gives us evidence of that.

 

The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding me rather of neighbouring Rougham, although this is a small church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with Woolpit, the porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. If both are locked, then there is a keyholder, because the people of this parish really want you to see inside this church. And it is as well that they do, for, if you didn't know already, this is one of the most fascinating interiors in the county.

 

In a way, it is rather good to enter it from the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel appears rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs, although I don't know enough about furniture to be sure if this is the case (or about wigs, for that matter). The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors.

 

The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of what existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Reseach in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. THere is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have included a devotion to St Christopher right up until the Reformation.

 

Secondy came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic - many are simply artistic representations of stories, and others are simplifications of theological ideas - the seven deadly sins and the seven cardinal virtues, for example. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provide a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara is a mythical saint, relegated to non-league status in recent years by the Catholic Church, who nevertheless was very popular in early medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend; her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the left appears to be winged, while the figure on the right is barefoot, and may be carrying a beam or scales. The Archangel St Michael is often shown weighing souls in doom paintings, but I do not think this is part of a doom (again, it would be exceptional for this to appear over a south door) and I do not think it is St Michael.

 

I think that the figure on the left is probably Gabriel, and this is part of a later Annunciation painting overlapping an earlier image, the barefoot man. So who is he? Another suggestion is that it is St John the Baptist, as he is often shown barefoot. But what if the beam of the 'weighing scales' is actually part of a yoke? The supporting beam appears to continue over the figure's right shoulder, but the left side of his body is lost to us.

 

Could it be that it is not a Saint at all, but some representation of an agricultural worker? Perhaps it is part of a larger image (and we should not forget that the surviving paintings are a small part of what must have been there before). Perhaps it is even part of a hagiography - think of the wheel of the bullock cart in the St Edmund sequence at Thornham Parva, interpreted for many years as St Catherine's wheel. However, I wonder if it might even be a lost image of that most circumscribed of East Anglian saints, Walstan. He is carrying a scythe on the wall a few miles off at Cavenham - could this be him here? Whatever, it is likely to be part of a hagiographical sequence which was later replaced by a Life of Christ sequence, which usually ran from west to east along the south wall. This would also explain the location of what might be part of an Annunciation scene.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestory of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust.

 

Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century Calvinistic prurience on the part of some reformer here. This would suggest that this cathecetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetic tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants; the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. It rises from the medieval perception that Christ was a working man, a carpenter, and it symbolises the dignity of labour and of craftsmanship.

 

I think it is extremely unlikely that it shows symbols of things which shouldn't be done on a Sunday, although Anne Marshall's Painted Churches site contains an interesting argument to the contrary.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

The glass alone is worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of three ranges: the life and Passion of Christ in the north aisle (although some glass has been reset across the church), images and hagiographies of Saints in the south aisle, and a heavily restored but nonetheless fascinating sequence of the life of Christ in the west window. This bears close attention, for the fragments set into the restored work include several fascinating details, including the punctured feet of Christ ascending to heaven in a cloud of glory, and a Harrowing of Hell including the crushing of a fallen angel.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. A rather more sober school of thought argues that it is a fuller's club, used for dying clothes, and the symbol of St James the Less. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not convincing. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less, and it really is a fuller's club. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

If the windows and wallpaintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is a great story about the iconoclast William Dowsing turning up here and demanding the chest be opened; on account of the missing key, it couldn't be. Unfortunately, this story isn't true: Dowsing never visited Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here.

 

Or, more precisely they aren't - both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are lifesize photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it; we are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

 

Postscript: I wrote the above in 2000, adapting it in 2003 and 2006. I have left the structure of the narrative as it was when I made those early visits. I have corrected some confusion in the description of the glass, a consequence of my general inability to tell my left from my right. I have also taken the opportunity to go through the text and make myself sound slightly less pompous.

 

One of the delights of Hessett is that there really are genuine mysteries about some of the wall paintings and glass. Digital enhancement has added to these mysteries rather than solving them. In addition, one thing I have learned as I get older, and perhaps a little bit wiser, is that there really are more things in heaven and earth than are dreamed of in our early 21st century philosophy. If this has led to an unravelling of the certainties previously offered, then I can only plead that this is another excuse to go back soon.

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

St Ethelbert, Hessett, Suffolk

 

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

 

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

 

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

 

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

The warden at Milstead promised me Bredgar would be open.

 

Promised.

 

It was locked, of course. So no shots from inside, so another to add to the hit list, maybe for next September.

 

A fine autumnal day, lots of sunshine and trees with golden leaves backed by clear blue skies.

 

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This is a collegiate church, with much work of the fourteenth and fifteenth centuries. When the college was founded by Robert de Bredgar in 1393 the nave and south aisle were completely rebuilt. It was a case of premature enlargement, for the college was a very small foundation and seems to have used the existing north chapel for its services. In all events, the very cheap form of sedilia in the chancel - a dropped window-sill - shows that very little money was left after the completion of the west tower. This also meant that there was insufficient cash for the west door and instead of introducing a brand new feature, they re-used a Norman doorway! This reinforces the point that one should never date a wall by the architectural features within it. There is a small brass of one of the collegiate priests, Thomas Coly (d. 1518), whilst the house in which he lived survives on the opposite side of the road.

 

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

 

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BREDGAR.

OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.

 

ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.

 

The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.

 

THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.

 

IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.

 

BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.

 

It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)

 

SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.

 

Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.

 

This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.

 

MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.

 

In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.

 

In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.

 

In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.

 

William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.

 

Charities.

THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.

 

AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.

 

AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.

 

WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.

 

MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.

 

The poor relieved constantly are about twenty-five; casually forty.

 

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

 

The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.

 

In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.

 

King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.

 

After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called

 

FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.

 

In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.

 

It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.

 

¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.

 

www.british-history.ac.uk/survey-kent/vol6/pp98-106

A return to Bredgar,

 

I was here in November, and found the fine looking church locked.

 

We were going fairly nearby to another church, so give it a try?

 

And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.

 

Yay.

 

Jools went to the glass shop the other side of the road, and I go to snap the church.

 

Despite looking large and grand from the outside, inside it was a bit of a disappointment. Tough a large and fine wall mounted monument made up for it somewhat.

 

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This is a collegiate church, with much work of the fourteenth and fifteenth centuries. When the college was founded by Robert de Bredgar in 1393 the nave and south aisle were completely rebuilt. It was a case of premature enlargement, for the college was a very small foundation and seems to have used the existing north chapel for its services. In all events, the very cheap form of sedilia in the chancel - a dropped window-sill - shows that very little money was left after the completion of the west tower. This also meant that there was insufficient cash for the west door and instead of introducing a brand new feature, they re-used a Norman doorway! This reinforces the point that one should never date a wall by the architectural features within it. There is a small brass of one of the collegiate priests, Thomas Coly (d. 1518), whilst the house in which he lived survives on the opposite side of the road.

 

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

 

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BREDGAR.

OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.

 

ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.

 

The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.

 

THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.

 

IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.

 

BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.

 

It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)

 

SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.

 

Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.

 

This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.

 

MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.

 

In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.

 

In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.

 

In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.

 

William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.

 

Charities.

THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.

 

AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.

 

AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.

 

WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.

 

MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.

 

The poor relieved constantly are about twenty-five; casually forty.

 

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

 

The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.

 

In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.

 

King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.

 

After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called

 

FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.

 

In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.

 

It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.

 

¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.

 

www.british-history.ac.uk/survey-kent/vol6/pp98-106

Vicente Liem de la Paz (1732 - November 7, 1773) was a Tonkinese (present day northern Vietnam) Dominican friar venerated as a saint and martyr by the Roman Catholic Church. He was born at Tra-lu, Tonkin in 1732 to Antonio and Monica Daeon de la Cruz, members of the Tonkinese nobility. When he fell gravely ill several days after his birth, he was baptized by Fr. Chien de Santo Tomas, taking the name of Vicente Liem de la Paz. Since Tra-lu was one of those Tonkinese villages where Dominican friars preached the Catholic faith, Liem grew up to be a Christian. He was later brought by his parents to a missionary center where he learned catechism.

In 1738, King Philip V of Spain opened the Colegio de San Juan de Letran and the University of Santo Tomas in the Philippines to Chinese and Tonkinese students, since China and Tonkin did not have Christian educational institutions. The Dominican fathers decided to let Liem with four other Tonkinese (Jose de Santo Tomas, Juan de Sto. Domingo, Pedro Martir and Pedro de San Jacinto) study in the Philippines.

Vicente took the trivium and the quadrivium in Letran, now the equivalent of elementary and secondary education. He finished a degree of lector of humanities at Letran. He would pursue his collegiate education at the University of Santo Tomas while residing at Letran. In September 1753, after completing his studies at UST, he entered the Dominican order, along with his four Tonkinese companions. A year later, they made their solemn professions. On January 28, 1755, he received the tonsure and minor orders at the Church of Sta. Ana. In 1758, de la Paz was ordained priest under the Dominican order. On September of that year, he passed the examinations to hear confessions. On October 3, he started his journey back to Tonkin. He arrived on January 20, 1759.

He spent time at Tonkin on evangelizing the Tonkinese people. However the Tonkinese authorities did not agree with this. On October 2, 1773, he and his two assistants were arrested at Co Dou. He and his assistants were beaten up, after which they traveled on foot to the village of Dou Hoi. There he met another Dominican priest, Jacinto Castaneda. They were presented to the Vice Governor and to the Royal Minister. They were thrown to a cage for a night. The arrival of a High Minister prompted their transfer to Kien Nam, where the King held his court. While under detention, they still managed to preach Catholicism to the people. Later they were taken to Tan Cau, then to the house of Canh Thuy. Finally they were brought to the King where they were tried. Their trial led for the King to be angry and they were thrown to jail. After several days, the King brought down the guilty verdict with the penalty of beheading.[citation needed] The execution occurred on November 7, 1773. After the execution, the Christians who were present at the site carried away the bodies of de la Paz and Castaneda, where they were laid to rest at the town of Tru Linh. Several more Christian missionaries were put to death by the Tonkinese authorities.

The process of beatification of de la Paz and Casteneda, as well as other Dominican martyrs, was initiated through Vicar Apostolic Bishop Ignacio Delgado, O.P. They were beatified by Pope Pius X with his feast day on November 6. Pope John Paul II announced the canonization of de la Paz on June 19, 1988, with his feast day on November 24.

Fra Juniper Serra va nèixer a Petra, a Mallorca. De gran va fundar les missions que donarien origen a les ciutats de Los Angeles i San Francisco, als actuals EUA. Aquesta és la porta de la casa on va nèixer.

 

Born Miquel Josep Serra i Ferrer (in his native Catalan) in Petra, on the Balearic Island of Majorca on 24 November, 1713, he renamed himself in honor of Saint Juniper, who had also been a Franciscan and a follower of St. Francis of Assisi. On 14 September 1730 he entered the Order of Friars Minor (O.F.M.). For his proficiency in studies he was appointed lector of philosophy before his ordination to the priesthood. Later he received a doctorate in theology from the Lullian University in Palma, where he also occupied the Duns Scotus chair of philosophy until he joined the missionary College of San Fernando de Mexico in 1749.

 

That year he travelled to North America, first to Mexico City, where he taught. While riding on a mule from Vera Cruz to the capital, he injured his leg in such a way that he suffered from it throughout his life, though he continued to make his journeys on foot whenever possible. He requested a transfer to the Sierra Gorda Indian Missions some 90 miles north of Queretaro where he spent nine years. During this time, he served as the mission's superior, learned the language of the Pame Indians, and translated the catechism into their language. Recalled to Mexico City, he became famous as a most fervent and effective preacher of missions. His zeal frequently led him to employ extraordinary means in order to move the people to penance: he would pound his breast with a stone while in the pulpit, scourge himself, or apply a lit torch to his bare chest.

 

In 1767, Serra was appointed superior of a band of 15 Franciscans for the Indian Missions of Lower California. The Franciscans took over the administration of the missions on the Baja California Peninsula from the Jesuits after King Carlos III ordered them forcibly expelled from "New Spain" on February 3, 1768. Father Serra became the "Father Presidente." On March 12, 1768, Serra embarked from the Pacific port of San Blas on his way to the Californias. Early in 1769, he accompanied Governor Gaspar de Portolà on his expedition to Nueva California. On the way, he established the Misión San Fernando Rey de España de Velicatá on May 14 (the only Franciscan mission in all of Baja California). When the party reached San Diego on July 1, Serra stayed behind to start the Mission San Diego de Alcalá, the first of the 21 California missions (including the nearby Visita de la Presentación, also founded under Serra's leadership) which accomplished the conversions of all the natives on the coast as far as Sonoma in the north. When he reached Monterey and founded Mission San Carlos Borroméo de Carmelo, Serra remained there as "Father Presidente" of the Alta California missions. In 1771, he relocated the mission to Carmel, which became known as "Mission Carmel" and served as his headquarters. Under his presidency were founded Mission San Antonio de Padua, Mission San Gabriel Arcángel, Mission San Luis Obispo de Tolosa, Mission San Juan Capistrano, Mission San Francisco de Asís, Mission Santa Clara de Asís, and Mission San Buenaventura. Serra was also present at the founding of the Presidio of Santa Barbara on 21 April 1782, but was prevented from locating the mission there because of the the animosity of Governor Felipe de Neve.

 

In 1773, difficulties with Pedro Fages, the military commander, compelled Father Serra to travel to Mexico City to argue before Viceroy Antonio María de Bucareli y Ursua for the removal of Fages as the Governor of California Nueva. At the capital of Mexico, by order of Viceroy Bucareli, he drew up his Representación in 32 articles. Bucareli ruled in Serra's favor on 30 of the 32 charges brought against Fages, and removed him from office in 1774, after which time Serra returned to California. In 1778, Serra was given dispensation to administer the sacrament of confirmation for the faithful in California. After he had exercised his privilege for a year, governor Felipe de Neve directed him to suspend administering the sacrament until he could present the papal Brief. For nearly two years Father Serra refrained, and then Viceroy Majorga gave instructions to the effect that Father Serra was within his rights. During the remaining three years of his life he once more visited the missions from San Diego to San Francisco, travelling more than 600 miles in the process, in order to confirm all who had been baptized. He suffered intensely from his crippled leg and from his chest, yet he would use no remedies. He confirmed 5,309 persons, who, with but few exceptions, were Indians {"neophytes") converted during the 14 years from 1770.

 

On 28 August 1784, at the age of 70, Father Serra died of a snake bite at Mission Carmel and was buried there under the sanctuary floor.

 

(From the wikipedia)

A return to Bredgar,

 

I was here in November, and found the fine looking church locked.

 

We were going fairly nearby to another church, so give it a try?

 

And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.

 

Yay.

 

Jools went to the glass shop the other side of the road, and I go to snap the church.

 

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

 

BREDGAR.

OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.

 

ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.

 

The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.

 

THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.

 

IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.

 

BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.

 

It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)

 

SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.

 

Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.

 

This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.

 

MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.

 

In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.

 

In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.

 

In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.

 

William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.

 

Charities.

THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.

 

AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.

 

AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.

 

WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.

 

MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.

 

The poor relieved constantly are about twenty-five; casually forty.

 

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

 

The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.

 

In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.

 

King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.

 

After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called

 

FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.

 

In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.

 

It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.

 

¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.

 

www.british-history.ac.uk/survey-kent/vol6/pp98-106

"It is by the finger of God that [Jesus] cast out demons." If God's law was written on tablets of stone "by the finger of God," then the "letter from Christ" entrusted to the care of the apostles, is written "with the Spirit of the living God, not on tablets of stone, but on tablets of human hearts." The hymn Veni Creator Spiritus invokes the Holy Spirit as the "finger of the Father's right hand."

 

- from the Catechism of the Catholic Church, §700.

 

Detail from a window in Chipping Norton parish church

"It is not merely by the title of example that we cherish the memory of those in heaven; we seek, rather, that by this devotion to the exercise of fraternal charity the union of the whole Church in the Spirit may be strengthened. Exactly as Christian communion among our fellow pilgrims brings us closer to Christ, so our communion with the saints joins us to Christ, from whom as from its fountain and head issues all grace, and the life of the People of God itself" - Catechism of the Catholic Church, §957.

 

View of the hammerbeam roof of St Walburge's Catholic church in Preston, which is surmounted by statues of the saints.