Ezekiel 37 begins with this prophecy of the Valley of the Dry Bone reviving: it is a vivid image of the Resurrection of the dead.

 

But we're not raised to some ghoulish existence as zombies but rather, as the Catechism says: "All the dead will rise, "those who have done good, to the resurrection of life, and those who have done evil, to the resurrection of judgement." We, the dry bones, will be raised by the Word of God, our Lord Jesus Christ.

 

This evening before All Hallows day, popularly called 'Hallow'een', is thus a time to fittingly recall that we will rise to glory or judgement.

 

Some further considerations on Hallow'een from my 2012 sermon here.

 

This mosaic depiction of the rising of the dead is in the crypt of St Sepulchre's church in the Franciscan Monastery, Washington DC.

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.

  

Thanks to Ann Hudson Lipscomb from Drumfin Avenue, Maureen Hodgins Phelan, Jenny West, Marie Quearney Haughan, Paddy Banks, Anthony O Brien, Louie Clark, Kathleen Coates Currivan, Marian Whelan McCarty, Denis Kelleher, J oe Coleman, Sharon Molloy, Peter Abbey, Ieuan Llewellyn, Frankie Carolan, Veronica Rooney, Kay Denton, Joe Gavin, Liam and Helen Keogh, Francis Daniel McDonnell, Billy Kavanagh, and Brenda Farrell for their memories.

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More and more people are sending me transcripts of their memories of them growing up in Ballyfermot and where they and their family came from before Ballyfermot. These transcripts include their friends the community, the schools the Youth Clubs Football clubs that they went to and it makes great reading, so I have put this to the Ballyfermot Heritage group and we are willing to see if we can form a book from the memories. If this was to go ahead profit from this book would go to organised charities in Ballyfermot. This would also be a great local history for the area and a great benfit for the Students of Ballyfermot . If anyone has or is interested in writing up there memories please let me know. For the people that have they can send it to my e mail address irishcraic@eircom.net

 

Ken

 

Link to the History of Ballyfermot Television www.flickr.com/photos/ballyfermot/9825359236/in/set-72157...

 

Not By Bricks alone a Video showing Ballyfermot and Ballymun 1969 see link below

 

www.euscreen.eu/play.jsp?id=EUS_1129268738574DFA9E608AD3458

 

Thomas Walsh Cremona Road - De La Salle 1958 The School Around Corner t www.youtube.com/watch?v=Nwa3VPROhj4&list=HL1333443141...

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Ann Hudson Lipscomb from Drumfin Avenue was one of the first usherettes to work in the Gala Cinema this is her History 3/2/2014

 

The Gala opened up with a full staff of two senior ushers (Matty Byrne being one) and two junior ushers. There were at least 5 usherettes and two cashiers. There was a big write up and photos in the evening papers. Mr Kelly was the manager. Harry did not arrive till the mid 60s. I don't remember him working there in my day and I left in March 1965. I saw him on the Tivoli in Francis Street. He worked there for years.

 

Our family moved to Drumfin Ave on the 18th April 1955. We were the second family to move in. There were no street lights and we arrived around 8 pm at night. The electric was not switched on till the next day, can you imagine carting in furniture in the dark

We did have gas, so we could boil a kettle. The dinner came from Borzas chippy on the main road. As kids we were so excited to have our own house as we had lived with our Grand Mother in Killester, which seemed like another country, it was so far away.

Memories of the Gala...there are so many. The crowd of kids for the matinees, especially at the week end. I used to love to work on the balcony, it was nice and quiet! I remember the Furey bros and their parents were regular patrons. The local Garda coming in for a smoke and hiding from the Inspector. Many the time he would come in to check and we would have to open the side exit to let them escape. We had a few concerts there too with the deeler band and show bands appearing...The Casino showband being one.

When you think of all the couples who met up there, the marriages that developed from the Gala and the Ritz ballroom

I am enclosing a couple of before and after photos, you never know maybe some one will recognise me

  

Maureen Hodgins Phelan 21/1/2014 Be careful what you discuss in front of the Kids

 

My exes sister who reared the younger kids after their mother was killed, was called into the office in his brothers school one day, and told to be careful what they discussed in front of Stewart, as when the teacher asked for their daily news, Stewart told the class that nate had put in a Police Mans car window and was in court over it..... Lal had to explain that nate worked in Auto Glaze and had to go to court to give evidence about what window was broken and where the hammer was found.

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GROWING UP IN BALLYFERMOT by Jenny West 17th January 2014

 

Our family moved from Garden Lane, off Francis Street, to Ballyfermot early in 1955. I was two and a half years old and my twin brothers were six months old. Later that year, my Mother gave birth to another set of twins. My sister survived but my baby brother, Anthony, only lived for a day. My sister was so small that she slept in my dolls pram. It was a beautiful miniature version of a Silver Cross pram. (I was the eldest grandchild in my Dad’s family and a bit spoiled!)

 

We lived in Gurteen Avenue and there were very few cars so the kids had the run of the road. We played chasing, skipping, beds, relievio, marbles and swung on the lamp-posts. There was a laneway between Gurteen and Drumfin with a steep slope that was very popular with roller skaters.

 

Schooldays

The only schools in Ballyfermot when I started school in 1957 were the Dominican Convent and the De La Salle. I remember kicking up a riot on my first day because my best friend was put into a different class to me. She was five and a half and was put straight into Senior Infants. My first teacher was Miss Supple and she helped me get over my little trauma. At the end of the first year, Miss Supple decided that a girl called Muriel and I should skip Senior Infants and go straight into first class – so I got to be in my friend’s class after all.

 

The classes were huge. There were 52 of us and it was very rare that everyone would be present. We moved from St Gabriels to St Raphaels and had a nun teaching us for the first time – Sr Melchior. For fifth and sixth class we had a wonderful elderly teacher called Mrs Carroll. We did the Primary Certificate at the end of sixth class and as the minimum age to start work was 14, most of my classmates got jobs.

 

My two brothers went to school in Baggot Street. There was a bus that left every morning from the ‘clinic’ and brought them back there in the afternoon. By 1959 there was a school at the end of the road – Mary Queen of Angels. My Dad was adamant that the boys should go to the De La Salle. He didn’t think a school run by lay teachers would be disciplined enough. I remember Fr Daly calling to the house to let my parents know that he wasn’t very pleased with the arrangement.

 

My sister started school in St Louise’s. They were very good to her. Her teacher insisted that her hearing be tested and she was right. After she made her First Communion, she was transferred to a special class for the deaf in the Dominican.

 

When I finished primary school, I went on to secondary school in St Dominics. Less than 50 out of 500 who finished primary that year went on to secondary school. There were 24 in my class, but by the time we got to sixth year, there were only ten of us. Our classrooms were in the convent building. We could see the nuns underwear fluttering in the breeze from the corridor windows.

 

I liked studying science but the science teacher, Sr Sylvia didn’t like me very much and advised me to study french instead. Our domestic science teacher was Sr Leo and she tried hard but was sometimes a little out of touch with reality. Our geography teacher was Miss Cullen who was known as Flossie because her hair was like candy floss. Geography class usually meant one of us having to read a chapter from our text book. The chapter on igneous rock was fun. Shists was mispronounced and dear old Floss never noticed.

 

Shops or the lack of them!

Our closest shops were in Drumfin Park. Coyles is still there and hasn’t changed very much. Dorans is twice the size it used to be having taken over where Herlihy’s used to be. Then there was Christine’s drapery and the chipper. On the other side of the park there was the butchers, hardware and Nolan’s newsagents. Getting to the shops was so much easier when the laneway was there.

 

The shops I remember on the ‘main’ road were Joey’s chipper, Doyles butchers, Bolands which was also the Post Office and, of course, Dirty Aggies. There was a ballroom on the corner which later became Powers supermarket. I remember my parents going to dinner dances in the ballroom when my Dad was involved in running the Soccer Roads League.

 

There were no houses opposite the Gala and no shops between Grange Cross and the church roundabout. Hector Grey sold goods from a van on the waste ground beside the church on Sunday mornings.

 

I remember the excitement when the Elephant supermarket opened on Blackditch Road. There were no shelves. Everything was stacked in boxes.

 

As time went by and more shops were built, Ballyfermot was a good place to shop because there was so much competition – Quinnsworth, Gubays, Liptons (think I have the names right.)

 

Churches

The big Assumption church is where I made my First Communion and Confirmation. It was a scary place especially for Confirmation day. It certainly wasn’t a family occasion. Only priests and teachers were allowed into the church (and the bishop) and the doors were locked. It was terrifying hoping the bishop would not ask you a catechism question. I was only 9 because in those days you had your Confirmation in fourth class.

 

There were so many priests then and so many masses and they were always packed. I remember particularly the childrens’ service on Holy Thursdays. Fr Daly would be in the pulpit roaring at all the kids. It was a very unreligious experience. The altar was enclosed and the priest said Mass with his back to the congregation. Mass was in latin and participation was minimal. In St Dominics, we spent the first few weeks of a new year learning all the latin hymns so that we would sing at the closing of the forty hours adoration.

 

Back then, the Dominican nuns were not allowed to leave the school grounds. If a class taught by a nun had to go to a church ceremony then one of the lay teachers would have to supervise them. The Sisters of Charity were a different matter. I remember being terrified of Sr Colmcill in her big white bonnet. It didn’t seem to matter that you didn’t go to her school, she knew who you were anyway.

 

Canon Troy was another larger than life figure. He wasn’t too fond of St Dominics and its pupils. Flossie definitely didn’t like him because he once reversed into her car. We also wore the wrong coloured uniforms. He was a Kerryman and preferred the green and gold of Caritas College.

 

Before St Matthew’s church was built, we used to go to Mass in St Louise’s school. It was a bit odd! I still think of St Matthew’s as the new church even though it is about forty years old. My son was christened there and my daughter had her First Communion and Confirmation there. They were definitely more family oriented ceremonies than mine were.

 

Miscellaneous Memories

•Harry packing us in two to a seat in the Gala. At 9d each, it cost three shillings for my brothers, sister and I to go to the cinema. There was a matinee organised once a year by the church/schools. It was always a holy film!

 

•Travelling to work in Ballsbridge on the new 18 bus at a cost of 1s 5d.

 

•Visiting my cousin in Dr Steeven’s Hospital in what was known as the ‘Honda’ ward because so many of the patients had been involved in motorcycle accidents.

 

•Going to Irish dancing classes in a hall at the back of Bolands. The dance school dresses were red.

 

•Walking through fields to visit relations in Bluebell when Kylemore Road ended at the railway.

  

Memories of Marie Quearney Haughan 11th January 2014

 

Our dad was Irish and our mam Scottish. They met while dad was working in Scotland. Mam always said the reason we moved to Ireland was all the young folk left our small village to live Glasgow or London where there was more life.

Dad knew Jim Larkin and he got us our house on Kylemore Rd. With four small kids we headed by train first to Aberdeen then Glasgow where we got the Boat to the North Wall. Would have taken almost 2 days. From the day we moved my parents loved Ballyfermot. Mam took great pride in saying to people we met. " we've lived in Ballyfermot 48 years and never had the any problems and we have great neighbours. I had a very happy childhood went to a The Dominican Convent school. Had the same nun for 6 years while she was strict she was a brilliant teacher. In those days there was lots of unemployment big classes not all children had school books. But every child had to work no excuses for not doing your homework you did it or at least you had to attempt it. Which I think speaks volumes. As you got older 14/15 you had the club which was run by the nuns and lay people in the school from 7pm - 9pm . It was great we were taught Ballroom dancing, drama, games, ect. We made best friends forever in the Club. Your parents knew you were safe there three nights a week. At 16/17 years we got into football. Mrs Wogan (Wogie) was her nickname started the team named "Sinners United" twenty of us girls trained Tuesdays and Thursday hail rain or snow. We had the Privilege to know Kevin Blount RIP who trained us. A gentleman. Most of us never drank alcohol we weren't interested in it. Most of us met our husbands through the football. We still keep in contact with each other a couple of times a year. Some of the girls are in Canada, Switzerland, Wales, Australia, and London. If one is home we get together and chat all night long. This is just a short version of life for me in Ballyfermot lovely memories.

 

Memories from Paddy Banks 11th January 2014

 

Early 60s Ken, we would have been 12 /13, meeting at Casey's wall top of Ballyfermot Road, near to Cassells shop, start of the road that leads to Cherryorchard Hospital, we would go into Cassells shop buy some stuff from Marie, I am sure that was her name, she would have been the sister of the triplets on the ballyfermot road, she or Mrs Cassells would serve you lovely people. we would then proceed to walk to the Canal for our swim which brought us up by Corrigans farm and the site now of the prison, on up by the old village on the left which was about 300 yards from the railway bridge, they were great Days , and great friends, Mattie Egan Paddy Casey, Ronnie Reilly (RIP) Cecil Johnson, Paddy Walsh, to name a few.A time lost but not forgotten

 

Memories from Anthony O Brien 5th January 2014

Gone for Ever

2014 in Ballyfermot as we knew, whats Gone for Ever……..Bolands Gone, 7 days shop Gone, Two Stew Houses Gone, Ritz Gone, Cannon Troy Gone, Elephant Supermarket Gone, Dirty Aggies Gone, Ploughmans Shop Gone, Roundabout on Main Road Gone, Coal Man Gone, Semprit Gone, Grave Yard Gone, Dump Gone, 7 Oaks Gone, Baldy Delaneys Shop Gone, Priest Houses beside Chapel Gone. Lido Gone, Liptons Gone, Glass Road Gone, Lynches lane Gone, Colly Van Kylemore Road, Charlie Selling His Sweets Kylemore Road......CANT THINK OF ANY MORE, CAN WE KEEP BRAINSTORMING AND LIST A FEW MORE

 

Brenda Farrell remembering Christmas Past 14th December 2013

Sitting here remembering Christmas long ago when we were innocent and so so young. All of us having a bath one after the other then into ours pj's maybe watching a Christmas movie on TV. Ma would be in the kitchen cooking the turkey and ham that she had been paying off for the last six months in the butchers. The Christmas club they called it. Jesus they had it hard our ma and da's trying to get Santa for six of us and all the rest. New clothes and extra food goodies and Santa. Looking back now I understand how hard it was and the Christmases we got very little. But every Christmas was special and we as children never knew how they done it. But that's the way it was suppose to be. They made it magical. Just like to say a big thank you ma and da. I wish you were still here with us hugs and kisses to you both in heaven. Love you always. Breda

 

Louie Clarke memories 17th October 2013

 

Born Galtymore Drive Drimnagh moved to Ballyer age five new house Spiddal Road remember it like yesterday the roads were only getting laid then, used to sit in the park with the night watchman big coke fire Mary's Youth Club, the Backers where the farmer grew his wheat. The Gala on Saturdays, Pathe News, Batman and Robin. Sundays spent down the lawns watching football. Aggies Shop couple of loose fags and a match then queue for the pics sunday night. the Stew House and the Turf Shed where we took our voucher for turf in winter time, and the old dump. Reading the e-mails brings it all back.,I've not lived there for many years although my family still do to this day in the same house, the names yourself, Phil Coleman. The Carneys on Spiddal they use to sell logs for the fire had a horse and cart. Eddie and Finbar Fury on Cladagh they used to keep there horse jampots in the garden, Larry the slop man and who can forget the queue on Fridays for Mario's the chipper. Hector grey outside the church, the De La Salle School happy days. A couple of girls I use to hang out with Kathleen McCann and Margaret Donnelly I would love to hear from them if they are still around, does anyone remember the circus by the Gala I think it use to be on the ground were they built Nalty's.

 

Louie Clark

  

Kathleen Coates Currivan 13th September 2013

 

Hi Ken what we always called Killeen House was the house occupied by the manager of the paper mill.When we were small kids in the 50's a Mr Montfort was manager and he had two daughters.. The main entrance to the mill was at the junction of Killen Rd .and the New Nangor, where Toyota is now and that was how you got into the house too. It was up behind the mill. You could see the house from Knockmitten Lane but you had to cross Cassells stream to get into it that way. There was a pitch and putt in front of it later on. It's kind of hard to get your bearings there now, but somewhere around got into the house too. It was up behind the mill. You could see the house from Knockmitten Lane but you had to cross Cassells stream to get into it that way. There was a pitch and putt in front of it later on.It's kind of hard to get your bearings there now, but somewhere around Diageo. A beautiful

house! The Cunningham's were the last people that I knew of who lived in it.

Brian Cunningham came up from Waterford to manage IPP Products on the Naas Rd. but of course that burned to the ground in a colossal blaze in' 69.We lost contact with them after that.

 

Kathleen Coates Currivan

  

LIKE A SOLDIER COMING HOME FROM THE WAR. Poem By Denis Kelleher 3rd September 2013

 

Like a soldier, coming home from the war.

we kids stood watch on our imaginary shore.

ballyfermot kids, playing in the California hills.

running wild running free, waiting for da, before our tea.

 

and we didn't have no watch, we didn't have no clock.

we knew when it was home time , our belly's made us stop.

or when buffalo bill rode by, cause mammy called him home for tea.

or smoke signals from chimney stacks, in the sky we could see.

 

meanwhile John Wayne chased Annie Oakley, with the promise of a kiss.

and Tonto was giving the Lone Ranger, a pasting with his fist.

Fred Astaire and Ginger Rodgers, were giggling in the bushes.

and girls with dirty knickers, were trying to hide their innocent blushes.

 

and, on the armchair run, boys and girls were having fun.

with old bits of lino or cardboard, beneath their bums.

daredevils one and all, under the ballyfermot sun.

ballyer kids with nothing, playing, having lots of fun.

 

like a soldier coming home, from the war.

we kids stood watch , on our imaginary shore.

as he disembarked below us, we let out a cheer.

and ran to him, like the wind ,just as the day before .

 

we were ballyfermot kids, in the California hills.

running wild running free, waiting for our da ,before our tea.

ballyfermot kids, with nothing but holes in our shoes and pants.

running wild running free, as we danced our childhood dance

 

Copyright. Denis Kelleher. 3rd September 2013

  

MEMORIES OF BALLYFERMOT - Poem by Joe Coleman 1995

 

It was summer time in ’54, well that’s what I was told.

I don’t remember very much, I was just six weeks old.

We moved into our new house, with rooms three up and down.

It was Spiddal Park, number two, four miles from Dublin town.

 

The first few years passed very quickly and I was nearly four.

Our neighbours came from Cabra, and Keogh Square in Inchicore.

New shops were built on Claddagh Green, a total lot of eight.

Ruane’s sweet shop, the veggi and Mario’s who always opened late.

 

I remember the penny snow cakes and the two penny chalk racing cars.

The yellow chicks from the ragman, for some old clothes and jar.

I remember the dolly mixtures and the penny lucky lumps.

The halfpenny cleeves, and the nancy balls you were sure to come up trumps.

 

A penny worth of broken rock, or a bag of hot fish crumbs

No matter what we got or had we shared it with our chums.

Those were the days when I was young, I’ll remember them forever.

But it is sad today when I look back, we’ve all changed like the weather.

 

I remember going to school and paying for the drill.

A penny for the black babies, I often wonder still.

I remember Fr Daly and dear old Canon Troy.

They would put the fear of God in you, when I was just a boy.

 

I remember Ballyfermot when I was just thirteen,

and joining Mary’s youth club across the road on Claddagh Green.

I remember all the fun we had and all the games we’d play.

Fair play to Mary’s Youth Club. It’s still going strong today.

I remember playing marbles and the gullies in the shore,

And this is the house that Jack built, you don’t see that anymore.

For those of you who do not know, it’s proper name was jackers,

and when we’d finished playing the game, we’d end up out the backers,

 

and backers was our favourite spot, we’d play there all day long.

Today you see it’s all built up and all our fields are gone.

If the kids today would learn to play like us in days gone by,

They would be proud to walk our streets, and hold their heads up high.

 

I remember Ballyfermot and the old games we use to play

Kick the can, spin the bottle, knock on doors and run away.

There were no such thing as skate boards, when I was very small.

We’d play hide and seek, and blinds man’s buff, and over the garden wall.

 

I remember the wooden bridge where we’d sit and watch the trains,

and the fields were full of flowers, and the girls making daisy chains,

And the boys would all be in the swamps, and they’d be catching frogs,

And the bigger lads were with their dads, and they be cutting logs.

 

I remember Ballyfermot and the stories we were told.

Of banshees and headless horsemen in bygone days of old.

I remember Lynche’s Lane and Chapelizod down below,

And the pick-a-rooney special to the tip head we would go.

 

We did not have much money then, we all had empty pockets,

But we got by, I’ll tell you why, we all had Frawley’s dockets.

I remember Ballyfermot and me in my late teens.

I could get a sub in Tim Young’s pub and a pint in Billy Dean’s.

  

I remember Ballyfermot and Moycullen’s old tin hall.

It was over at the terminus, beside the backers wall,

and Spiddal Park was just a field and covered with green grass.

But today you see, believe you me, that too has come to pass.

 

I remember Ballyfermot and the California hills,

We’d go there every Sunday for all our spills and thrills.

I remember Ballyfermot and I remember Parker’s farm,

And I remember poor Ned Marlow, sure he did no one any harm.

 

and Downey’s pub, the holy hour you’d be locked up safe inside,

And Bannon’s on the 7th lock, well that was bonafide,

And Nalty’s with the swinging door, two of them I think.

There Ned went in one day on his horse to have a drink.

 

I remember the stew house where the Nuns gave out the dinners.

The bigger the pot, the more you got, you be sure to be a winner.

I remember dirty Aggies and the stuff she use to sell

Lose cigarettes and gur cake, I remember it so well.

 

I remember John Stonehouse and the church in Markievicz Park.

I remember the Pump on Blackditch Drive and road it was so dark.

Played conkers in the autumn, and dressed up on Halloween,

And so Christmas Eve at half past eight, no children could be seen.

For we were all put up to bed, and we’d think about our treats.

And on Christmas morning when we’d wake up, our socks were filled with sweets.

 

I remember Ballyfermot and the days that passed us by.

Noely on the buses – sure he was one nice guy,

And big Harry in the Gala, he’d stand right out at the door.

Larry the waste man, with his horse and cart, you see him no more.

 

Where I live now I used to play and it was really a trill

My friends have gone, new houses there, they call it Cloverhill.

I remember Ballyfermot and the way it use to be.

We had Cherry Orchard’s apples and they would all be free.

 

It’s not so long when I look back, when I was very small.

I remember walking through the fields and the trees were very tall.

I recall another member of the graveyard in the Lawn.

We’d sit there and reminisce, but now that too is gone.

 

I remember Ballyfermot and our hall the B.C.A.

President Childers and his good wife came to visit us one day.

I remember all the songs we sang, and all the nursery rhymes’

I do remember Ballyer in the rare old times.

 

I remember when the gas man called and we’d all run and hide.

For fear he’d find what we all knew, there was nothing there inside.

It was only a saving box you see’ for saving up some cash,

And when he’d gone we’d creep out slow for our bangers and mash.

 

I remember Ballyfermot, the neighbours really cared.

If could be down but never out, the neighbours always shared.

They would split a loaf of bread with you and say “you never mind”

That’s the way the neighbours were, it was a pleasure to be kind.

 

You see I’m 40 years in Ballyer and I love this wonderful scheme.

I’m only half way down the road, but I hold on to my dream.

God Bless you Ballyfermot and all her children here within,

And try not to change it anymore, cos that would be a sin.

Tell your kids the stories of the bygone days of past,

And tell them all about our days to make the memories last.

 

“I remember Ballyfermot and I just know I always will”

 

GROWING UP IN BALLYER - Song and Poem Ken Larkin 2001

 

I remember waiting that day for the Lorry to pull up.

We had our Furniture ready just to load up.

We were moving to a housing estate the year was ’55.

My Mother, Sister and myself our whole lives were to come alive.

 

We loaded our Furniture the bit that we had and we pulled away

from Buckingham street indeed I was not sad.

The new adventure was starting we did not know it yet.

As the lorry roared towards Ballyer and the night was very wet.

 

The lorry turned off Ballyfermot Road and on to the Drive.

I was guessing as to what house that we would all reside.

Then we stopped outside this house with 2 rooms up and down

Number 33 was on the door and it seemed miles from Dublin town.

 

We started in the local school and the games we began to play

Were Conkers, Marbles, Skipping and Piggy these games are

replaced with Computer today.

Our Communion and Confirmation came along and our

parents did us proud and we were dressed in our Sunday best

as we went out on the Town.

 

So we moved on to Mount La Salle this was the school to be in

The brothers and the teachers taught us all how to win.

They taught us gaelic and hurling and we played it after school.

They did not let us play soccer because they did not know the rules.

 

Then we did our primary cert, as we had to leave that school and

so we had to move on to the college or tech to start another renewal.

We moved into St John’s and had to buckle down.

As our teachers told us this was the best college in town.

We had to go in on a Saturday morning to Focus for our Inter.

We worked hard that September but lost heart by the winter.

 

I remember the Stew house where the Nuns gave out the meals.

Sometimes we would go there to buy the penny deals.

I remember the youth Clubs in Ballyer and Mount Olivet too

where I have many happy memories

of all that passed through.

 

I remember the Ballad sessions we had on a Saturday night.

When all the young people carrying guitars, would

assemble through the night.

Ballads would be sung Poems would be recited and all

the members remained very united.

Mount Olivet football club is where we played the Soccer.

We met and trained and played the game and we

were there for each other.

Hardy’s was the venue where tactics were discussed.

Plans and dreams were made there.

But often we fouled up.

 

Saturday was the Gala day where we spent our turf money.

We would head to dirty Aggie to buy our cleaves and goodies

And when we would get to the Gala door big Harry would

greet us with a roar.

Saying, “If you mess I will be here and you will get in no more”

 

As I drive through Ballyer and the memories come flooding back

I think of all the bygone days the lads and all the craic.

I try to tell my kids of the days that have gone past

So they can pass it on to make the memories last.

 

Sharon Molloy Ballyfermot Crescent 26th August 2013

 

when I left Ballyfermot to live in country I was ashamed to say I was from Ballyfermot, because I used to hear people say Ballyfermot oh that's the place where they eat their young, so I used to keep my mouth shut, dident want them to look down on my children. but finding this page has given me the courage to say , I was raised in Ballyfermot, and had a brill childhood there, that may come as a shock , but I have meet many people from Ballyfermot who felt the same. I feel ashamed of myself now for denying my roots.

  

Billy Kavanagh

 

Do you all remember going up to the Gala on a Saturday afternoon, getting pushed into the crowd with Harry the Hippo's belly, all in line for the Hammer Horror movies with Christopher Lee and Peter Cushing? Wow! Boy did we hate Christopher Lee, he was one proper Bollix. And then we'd go home and could not go to sleep in fear of Dracula coming through the window or even hiding under our bed? And if they had so stupid movie with Tommy Steele or Cliff Richard, then we'd all pull up the seats and bang on th ewooden backs and make noise while Harry and the ushers would run and down the aisles trying to stop the commotion. It was the best entertainment to be had for a shilling. Oh lets go down memory lane..................................

 

Frankie Carolin Memories

 

We moved to Ballyfermot in 1950, from camden street, there was a cavendish furniture shop in grafton street, so loads of mothers got new furniture from there on the never never for their new houses in ballyfermot, when we all settled in, ballyfermot crescent, cavendishs sent a poor unfortunate man on a bike out to collect the money owed on the furniture. well the poor man had as much chance of collecting money from those who had none as the vatican had of electing me as pope. i at 10 year old was sitting listening to school around the corner, a knock at the door, me ma who i always thought had xray eyes, said frankie thats the b"""""cks from cavendishes, go and tell him im not in. so i opened the door, and thinking im great, as all of us chisselers did then say the words that would make me the butt of all jokes for ever, me mammy told me to tell you shes not in,

 

Veronica Rooney Memories

 

We moved there in 1956 from parkgate street..remember my mother getting furniture there too and sloans

 

Kay Dentons Memories

 

We first moved to ballyfermot in 51 i was 3 we had to walk from caple st behind a horse and cart to 150 b/fermot drive mammy used to cut up lino in the shape of shillings for the gas meter .we had real neighbours then all looked out for each other mammy would send us to the pawn with dads suit and get it out on saturday our furniture came from drages in grafton we had to go in every week to pay we always remember mr doyle next door he had a row he ran down the road in just his shirt i ran in to tell my mammy he was running down the road with his guts hanging out we moved to 439 ballyfermot rd

 

Joe Gavin

 

Was born in Ballyfermot in October 1955, just five months after the Gala opened. My family left Ballyfermot when I was about 10 yrs old and I have not lived in Dublin for over

40 yrs.Reading the above article on the Gala brought fond memories flooding back. Every Saturday myself and my siblings were dispatched to the afternoon matinee in the Gala regardless of what film was showing. Looking back I think Saturday afternoons were seen as " Alone " time by my parents. We like most of the other Inhabitants of Ballier, had very little money, but every Saturday we were sent to the Gala, hail, rain or snow. We eventually had a family 13.I remember very well Harry the Hippo. He was a very portly man but he cut a fine swagger in His uniform and was a figure of authority to the hundreds of young boys and girls who formed a long, impatient line outside the Cinema. Harry would parade up and down the line , keeping everyone in check. If you were unfortunate enough to be caught "Messing " by Harry, He would catch you by the ear, and would remove you from your place in the line and frog march you to the very back, where he would place you before removing his hold on you ear. Writing this few lines has brought even more memories of Ballyfermot flooding back in my mind. I think I will just lie back for a while and let them flow freely.

 

Joseph Gavin

 

My Parents moved to Ballyfermot c. 1955. They were the first tenants at 12 Gurteen Park, which was then the newly built part of Ballyfermot. My Parents had married in 1950 in Crumlin, where both of their Parents lived. When they moved to Gurteen Park they already had three children, who had been born in Crumlin. I was the fourth child and I was born in the front bedroom of 12 Gurteen Park. I was delivered by the family GP, Dr O'Rourke who had his surgery on the first floor of a building , which was over a shop at the opposite end of the block from the Gala. I don't remember the name of the shop, but there was a lane way beside it and the second shop on the far side of the lane way was " Dirty Aggi's ".Two more of my sibling's were born in Gurteen Park, after me before we moved to Cloigeen Rd. Just as a matter of interest, my Parent's moving to Ballyfermot was a continuation of the clearing out of the Tenaments and general conditions of squalor in the City centre. My Fathers family had lived in ship street and my Mothers family were from Bow Lane - Jame's street. Both families had been rehoused , I think in the 1940s in the new suberbs of Kimmage and Crumlin.

 

Gala Cinema Link www.flickr.com/photos/ballyfermot/6909014391/

  

Recorded Interview with Liam Keogh on Friday the 30th November 2012 Copy of recording with Ballyfermot Library. By Liam Keogh, aged 91 years

 

It was in the mid 1920’s that I first became aware of the annual Lourdes Pilgrimage to Lourdes, organised by the Oblate of Mary Immaculate Fathers in Inchicore.

 

This was a time before air travel was available so the journey to Lourdes was a long tedious one. It entailed a bus transfer from Inchicore to Dun Laoghaire, a boat trip to Holyhead, a five hour train journey to a seaport in the south of England, another sea crossing to France and finally another train journey through France to Lourdes which is situated at the foot of the Pyrenees Mountains in the south of France.

 

The Oblate Pilgrimage began with an early Mass in the Church of Mary Immaculate Inchicore which was attended by the Pilgrims and others who came to wish them bon voyage. There was great excitement as the travellers boarded the special buses to bring them to Dun Laoghaire.

 

It was mainly the more affluent people who could afford the cost of the pilgrimage.

 

Fr. Sweeney (from the Donegal gaeltacht), the Superior of the Oblate Fathers would lead the Pilgrimage. He had a great devotion to our Lady of Lourdes and was appointed a Canon of Lourdes by the Pope.

 

Fr. Sweeney was a very idealistic man and he came up with the idea of erecting an exact replica of the Lourdes Grotto in the church grounds in Inchicore as it would create some of the atmosphere of Lourdes for people who could not afford to go on Pilgrimages. He sent Brother McIntyre (a lay Oblate Brother, who was an architect) to make sketches and take measurements of the Grotto in Lourdes and, on his return, he started on the project.

 

Fr. Sweeney was a wonderful orator and a preacher and he made just one appear from the pulpit. He had a plan to organise a scroll containing the name of every family member whose family had subscribed five shillings to the fund and this scroll would be placed in a metal box and cemented into the nitch under the feet of the Statue of the Virgin Mary.

 

The labour for the building of the Grotto was provided free. The tradesmen and general workers from the Great Southern Railway Works Inchicore came after finishing their day’s work at 5.15 pm would arrive at the building site with their shovels, spades, wheel barrows and tools of the trades at 6.00 pm and work until it got dark.

 

A metal structure was erected and this was covered by coloured cement which looked like stone and this was moulded into the exact contours of the Lourdes Grotto. After the building was completed, Father Sweeney made arrangements to have chiming bells cast. These bells were installed in the church and would ring out every fifteen minutes and every hour would ring out a verse of the Lourdes Ave Maria. The bells were installed just in time for the Eucharistic Congress of 1932. Later the statue of the Crowned Virgin was erected. Fr. Sweeney made an appeal for unwanted gold and jewellery to be melted down and made into the Crown for the Head of the Statue. This statue is at the entrance to the Grotto Square.

 

Every year, a Novena to our Lady of Lourdes is held between 2nd February and 11th February. There is early Mass in the morning, rosary, a sermon and benediction at 8.00 pm and the Novena concludes on February 11th with a torchlight procession.

The 11th February is the anniversary of the first apparition in Lourdes.

 

On one occasion during the 1940’s Fr. Sweeney organises a perpetual Rosary to be recited in front of the Grotto. This continued non-stop night and day for nine days and concluded with a Sermon by Father Sweeney, which was broadcast by Radio Eireann to the Nation. Work was slack in the Inchicore works and workers were on a three day week. He was praying for more work for the men. The day after the nine days Rosary was finished, the Inchicore Works received a huge order for new carriages and trains to be built and all the men were back working full time. They had overtime for months afterwards.

 

A wooden gazebo was erected to protect the volunteers who took it in turns to lead the prayers.

 

This is only from my memory as I remember the times.

 

.See website Link www.flickr.com/search/?w=10933551@N03&q=liam%20keogh

 

Thanks to Francis Daniel McDonnell for her Memory

 

Those were the days....

Upstairs on the 78, the smell of Tayto and chewing gum, windows fogged up and sitting in a Fog of cigarette smoke.

The 18 bus to sandymount strand for Sunburn and SANDwiches.

A walk in the country. . . Up past the bungalow and cherry orchard hospital, out past the farm picking blackberries.

Fasting for communion for mass before school during lent.

Fizz bags and cream pies from dirty aggies

The backers.

. . . .on and on

 

A walk in the country.. . . . Up past the bungalow

 

Thanks to Brenda Farrell for her Memory.

 

God I remember the stew house. There was many a family fed there. If you brought old news papers you would get current cake to bring home. I hated going. But bellys had to be fed. All our neighbours used it at one time or another. Back then you could not afford to be proud. Hand me down clothes from one child to another. School books from one sister to another. Playing skipping Red Rover. Rounder's. Hide and seek. All the old games out on your road till all hours of the night in summer. There was no fear of a car running you down. Or mad men running off with you. Everyone looked out for everyone. One mammy was everyone's mammy. If you fell down two or three mummy's ran to pick you up. If there was a fight all mummy's stopped it. No such thing as your child's fault everyone got a wollapp Ha ha we are all the better for being born in Ballyer. I have to say I'm very proud to be a Ballyer girl. Even if I live in Australia now. I will always have my memories.

  

The Missionary arrives in Goa

 

On 7 April, 1541 ( on St. Francis Xavier 35th birthday ), he sailed for India and landed at Goa on 6 May, 1542. The first five months he spent in preaching and ministering to the sick in the hospitals. It has been said that he would walk the streets ringing a little bell and inviting the children to hear the word of God. When a sufficient number had gathered, he would take them to a nearby church and explain catechism to them.

 

en.wikipedia.org/wiki/Francis_Xavier

 

The Postcard

 

A postcard bearing no publisher's name that was posted in Ticehurst, East Sussex on Sunday the 17th. June 1906 to:

 

Miss E. Breakfield,

High Street,

Winchelsea,

Sussex.

 

The message on the divided back was as follows:

 

"Dear Ethel,

I hope all are well.

Het's husband has

gone out to South

Africa for 3 years.

Give my love to your

mother and father

and Alice and Miss B.

From yours truly,

M."

 

Harry Nelson Pillsbury

 

So what else happened on the day that the card was posted?

 

Well, the 17th. June 1906 was definitely not a good day for Harry Nelson Pillsbury, because he died in Philadelphia at the age of 33 on that day.

 

Harry Nelson Pillsbury, who was born in Somerville, Massachusetts on the 5th. December 1872, was a leading American chess player.

 

At the age of 22, he won one of the most important tournaments of the time (the 1895 Chess Tournament in Hastings, UK), but his illness and early death prevented him from challenging for the World Chess Championship.

 

Harry Nelson Pillsbury - The Early Years

 

Pillsbury moved to New York City in 1894, and then to Philadelphia in 1898.

 

By 1890, having only played chess for two years, he beat noted expert H. N. Stone. In April 1892, Pillsbury won a match against World Champion Wilhelm Steinitz, who gave him odds of a pawn. Pillsbury's rise was meteoric, and there was soon no one to challenge him in the New York chess scene.

 

The Hastings 1895 Chess Tournament

 

The Brooklyn Chess Club sponsored Harry's journey to Europe to play in the Hastings 1895 Chess Tournament, in which all the greatest players of the time participated.

 

The 22-year-old Pillsbury became a celebrity in the United States and abroad by winning the tournament, finishing ahead of reigning world champion Emanuel Lasker and former world champion Wilhelm Steinitz.

 

The dynamic style that Pillsbury exhibited during the tournament also helped to popularize the Queen's Gambit during the 1890's.

 

Pillsbury at St. Petersburg in 1895

 

Harry's next major tournament was the Saint Petersburg 1895-96 chess tournament, a six-round round-robin tournament between four of the top five finishers at Hastings.

 

Pillsbury appears to have contracted syphilis prior to the start of the event. Although he was in the lead after the first half of the tournament, he was affected by severe headaches, and scored only 11⁄2 out of 9 in the second half, ultimately finishing third.

 

He lost a critical fourth cycle encounter to Lasker, and Garry Kasparov has suggested that had he won, he could well have won the tournament and forced a world championship match against Lasker.

 

Harry Nelson Pillsbury as U.S. Champion

 

In spite of his ill health, Pillsbury beat American champion Jackson Showalter in 1897 to win the U.S. Chess Championship, a title he held until his death.

 

Harry Nelson Pillsbury's Blindfold Skill

 

Pillsbury was a very strong blindfold chess player, and could play checkers and chess simultaneously while playing a hand of whist, and reciting a list of long words.

 

His maximum was 22 simultaneous blindfold games at Moscow 1902. However, his greatest feat was 21 simultaneous games against the players in the Hannover Hauptturnier of 1902.

 

As a teenager, Edward Lasker played Pillsbury in a blindfold exhibition in Breslau, against the wishes of his mother, and recalled in 'Chess Secrets I learned from the Masters':

 

"But it soon became evident that I would have lost

my game even if I had been in the calmest of moods.

Pillsbury gave a marvellous performance, winning 13

of the 16 blindfold games, drawing two, and losing

only one.

He played strong chess and made no mistakes in

recalling the positions. The picture of Pillsbury sitting

calmly in an armchair, with his back to the players,

smoking one cigar after another, and replying to his opponents' moves after brief consideration in a clear, unhesitating manner, came back to my mind 30 years

later, when I refereed Alekhine's world record

performance at the Chicago World's Fair, where he

played 32 blindfold games simultaneously.

It was quite an astounding demonstration, but Alekhine

made quite a number of mistakes, and his performance

did not impress me half as much as Pillsbury's in Breslau".

 

Harry Nelson Pillsbury's Memory Skill

 

Before his simultaneous chess exhibitions, Pillsbury would entertain his audience with feats of memory that involved accurately recalling long lists of words after hearing or looking at them just once.

 

One such list, which Pillsbury repeated forward and backward, performing the same feat the next day, was recalling the following words:

 

Antiphlogistine, periosteum, takadiastase, plasmon, ambrosia, Threlkeld, streptococcus, staphylococcus, micrococcus, plasmodium, Mississippi, Freiheit, Philadelphia, Cincinnati, athletics, no war, Etchenberg, American, Russian, philosophy, Piet Potgelter's Rost, Salamagundi, Oomisillecootsi, Bangmamvate, Schlechter's Nek, Manzinyama, theosophy, catechism, Madjesoomalops

 

Irving Chernev and Fred Reinfeld, in the 'Fireside Book of Chess', state that this list was devised by H. Threkeld-Edwards, a surgeon, and Prof. Mansfield Merriman, teacher of civil engineering at Lehigh University, Bethlehem, PA, who challenged Pillsbury in Philadelphia, PA, before an exhibition in 1896.

 

Harry Nelson Pillsbury's Decline and Death

 

Poor mental and physical health, the result of the syphilis infection, prevented him from realizing his full potential throughout the rest of his life. He succumbed to the illness in a Philadelphia hospital in 1906.

 

Pillsbury was laid to rest in Laurel Hill Cemetery in Reading, Massachusetts.

With Sto. Niño image, animist past revisited

 

By Trizer D. Mansueto

Inquirer Visayas

11:49 pm | Friday, January 25th, 2013

    

2 30 12

CEBU CITY—With just a few days of catechism, which consisted mostly of rhetorical remarks by Ferdinand Magellan, it would have been impossible for King Humabon and the people of Cebu during his time to have fully understood the Christian faith brought to them by the Spaniards in 1521.

 

Not only was the brevity of proselytization a great stumbling block in the full appreciation of the tenets of Christian faith but the language barrier between the Europeans and the Cebuanos would have also posed as a major hindrance to it.

 

Enrique de Malacca, Magellan’s servant who may be a Cebuano, might have served as an interpreter in this venture at Christianizing the people of Cebu, if he did indeed have a hand on it.

 

What may be certain, if the facts are considered, is that it would have been highly impossible for the Cebuanos to easily abandon their animist faith or their belief in nature spirits, in place of the God of the white men.

 

Central in the conversion of the Cebuanos, as we have been told, is the image of the Sto. Niño.

 

Antonio de Pigafetta, the scribe of the Magellan expedition, said in an account that the queen of Cebu fell in love with the image so that she was willing to give up her animist deities in place of the image of the Christ child.

 

But does this presumption hold water?

 

From the European perspective, the conversion of Amihan (the supposed native name of Juana before her baptism) to Christianity was brought about by the Sto. Niño.

 

Pigafetta said: “After dinner, the priest and some of the others went ashore to baptize the queen … . We conducted her to the platform and she was made to sit on a cushion … until she should be ready. She was shown an image of our Lady, a very beautiful wooden child Jesus and a cross. Thereupon, she was overcome with contrition and asked for baptism amid her tears.”

 

When the queen was baptized, some 800 Cebuanos were brought to the Christian fold.

 

But apparently, the animist faith was highly ingrained among the early Cebuanos. A few days after the rite, Magellan was aghast when he found that Humabon still kept his idols despite his promise to burn these.

 

According to other early Spanish chroniclers, animist shrines were not only found in homes and fields but also in grave sites, shores and streams.

 

Awed by the power of the Europeans, Amihan probably thought of the Sto. Niño as a greater deity, especially since it looked much like their foreign guests.

 

The image was also attired in a different kind of finery compared to her grimy larawan (wooden idols) with tusks “like those of the wild boar” whom she frequently offered pag-anito (worship).

 

Repudiation

 

But the natives were also quick to abandon their newfound faith.

 

The repudiation of Christianity came a few days after Lapu-Lapu’s triumph on Mactan Island when Humabon on May 1, 1521, ordered the massacre of the Spanish survivors by enticing them to a banquet. Some Spaniards, including Pigafetta, survived and made it back to Europe.

 

Due to lack of historical documents, it was not certain what happened to the image of the Sto. Niño.

 

But Nick Joaquin, in the book “Culture and History,” wrote that within 44 years—from 1521 until its rediscovery in 1565—the image underwent some sort of “nativization … so that legends annul its European origin by declaring it to have arisen in this land.”

 

According to its most popular legend, the Sto. Niño was merely a driftwood which always got caught in a fisherman’s net. To cut a long story short, the fisherman brought home the driftwood and used it to make fire the following day. But the wood didn’t burn but was instead transformed into the Sto. Niño.

 

For more than four decades, the Sto. Niño was an animist deity—worshipped as a rain god based on some legends.

 

During drought, the ancient Cebuanos would bathe the image in the sea, just as mentioned in the Sto. Niño’s gozos published in an 1888 novena:

 

“Cun ulan ang pangayoon

 

Ug imong pagadugayon

 

Dadad-on ca sa baybayon

 

Ug sa dagat pasalomon,

 

Ug dayon nila macuha

 

Ang ulan nga guitinguha”

   

(If they seek rain

 

And you delay it

 

You’d be brought to the shore

 

And bathed in the sea,

 

And they then obtain

 

The rain they desire.

 

—Translation by author)

 

The image may have only regained its Christian significance in 1565 when Juan de Camuz, a soldier of Legazpi’s fleet, rediscovered it inside a wooden chest in a burned hut. Its rediscovery was later construed as an auspicious sign by Legazpi to continue subjugating Cebu and the entire archipelago for the Spanish crown.

 

“The presence of the Sto. Niño—as Julius Bautista succinctly puts in ‘Figuring Catholicism’—therefore was that tangible, divinely sanctioned connection between Magellan and the possibility of Spanish evangelization of the islands.”

 

It’s almost five centuries since the Sto. Niño was brought to our shores, but have we totally abandoned our animist past? That’s a question difficult to answer.

   

Masonic Mosaic Pavement and Star.

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

 

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 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.

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.

Copyright held by: Pickering And Inglis, 24-26 Bothwell Street, Glasgow, Lanarkshire G2 6PA

 

THE ANTICHRIST Unveiled

 

by Richard Bennett

 

Richard Bennett, a former Roman Catholic priest, is President and founder of Berean Beacon Ministries which proclaims the Good News of Salvation (the Gospel of Jesus Christ). A ministry of truth, love, and compassion to Roman Catholics, and plain Biblical truth to Evangelicals embracing a false ecumenism.

  

On October 8th, 2000, Pope John Paul II, under the assumed title of Vicar of Christ, consecrated the world and the new millennium to “Mary Most Holy.”

 

1 This blasphemous “Act of Entrustment to Mary Most Holy” of that which belongs to God alone is a mockery of the First Commandment.

 

The Pope’s official and offensive act ought to warn Christians that while the Pope formally claims to be “the true vicar of Christ,”

 

2 he in fact opposes Christ by false worship. What is equally serious is the title under which he performs.

 

The True Vicar of Christ is the Holy Spirit. He alone is sent to take the Lord’s place, testifying not to Himself but to Christ. (John 15:26)

 

The gravity of teaching and purporting to act in this divine role is that it denigrates the divine Person of the Holy Spirit. The Antichrist is also anti Holy Spirit.

 

With self-assurance, on September 5th 2000, the Church of Rome claimed, “the very fullness of grace and truth [of the Lord Jesus Christ is alone] entrusted to the Catholic Church.”

 

3 While aping His divine prerogatives, this was explicitly speaking against Christ, the only One who is full of grace and truth. The Scripture declares it necessary to believe on the Lord Jesus Christ alone, from Whom one receives “abundance of grace and of the gift of righteousness.”

 

4 Over and against Him is the present day decree of Rome, “The Church affirms that for believers the sacraments of the New Covenant are necessary for salvation. `Sacramental grace’ is the grace of the Holy Spirit, given by Christ and proper to each sacrament.”

 

5 What is not said here is that Rome’s physical sacraments, tightly gripped in the Pontiff’s hand and declared indispensable, are thereby substituted for the Lord of Glory and His Gospel.

 

Unwaveringly, in the present day, too, Church of Rome has upheld Unum Sanctum, “We declare, say, define, and proclaim to every human creature that they by necessity for salvation are entirely subject to the Roman Pontiff.”

 

6 Depending on these physical signs instead of direct faith on the Lord Christ Jesus is the deception of the papacy which subtly deflects faith from the person of Christ to signs that are claimed to be powers.

 

7 Moreover, there are many other events wherein the Pope has officially contradicted the Gospel, as on May 13th of this “Jubilee Year 2000.” There are also historical events wherein is revealed horrendous sin, as the now documented involvement of Pope Pius XII in Hitler’s reign of death.

 

8 These things ought to make Christians consider carefully if their eyes have seen in the Office of the Papacy the line of men that the Scripture calls the Man of Sin?for the Papacy gives the title of Vicar of Christ to its Pope.

 

One Lord, One Holy Father

 

The Church of Rome authoritatively teaches that her Sovereign Pontiff is rightly called “Most Holy,”

 

9 and “the most holy Roman Pontiff.” This, together with usual titles of “Holy Father”

 

10 and “Vicar of Christ” is the full sense of the definition of the Antichrist given by the Apostle John. “Who is a liar but he that denieth that Jesus is the Christ? He is antichrist, that denieth the Father and the Son.”

 

11 The Pope, in assuming these titles to himself, is against the Lord Jesus Christ and the Holy Father in heaven by purporting to possess these very offices. Such haughtiness also blatantly breaks the New Covenant Law of the Christ, “call no man your father upon the earth: for One is your Father, which is in heaven.”

 

12 Christ Jesus declared, “One is your Master, even Christ; and all ye are brethren”

 

13 The Pope declares himself “Most Holy,” “Holy Father,” and “the true vicar of Christ.” The Pope’s claim is similar to that recorded in Isaiah 14:

 

14, “I will be like the Host High.” The Scripture speaks of such a one denying the Father and the Son by assuming the titles of both. In the words of Scripture we proclaim, “Who shall not fear Thee, O Lord, and glorify Thy name? For Thou only art Holy: for all nations shall come and worship before Thee...” 14

 

The historical origins of the Antichrist

 

Throughout history, circumstances concerning the coming and character of Christ have corresponded so brilliantly to prophecy that in the past the Lord’s people praised His name for it. Likewise, the Lord’s flock thanked Him for clearly depicting the Antichrist.

 

The Lord Himself confirmed the understanding that there would be a specific fulfillment in the Antichrist’s role when He stated, “for the ruler of this world is coming.”

 

15 Similarly Christ Jesus said, “I have come in my Father’s name, and you do not receive me; if another comes in his own name, him you will receive.”

 

16 John the Beloved, following in the Master’s footsteps, states emphatically, “ye have heard that antichrist shall come...”

 

17 John confirms that while there were contemporary opponents of Christ (many antichrists), these forces of opposition would eventually center in one entity.

 

Contrary to flawed popular belief, the popes are not the successors to the Apostle Peter. They are, however, the successors to the Roman Emperor. History shows that the title of “Supreme High Priest” was officially bestowed on the bishop of the church at Rome by the Emperor Justinian in the sixth century

 

.18 Therefore, the office of “supreme high priest” of the Roman Catholic Church, perpetuated now for nearly 1,500 years, came from an apostate secular source, whereas the Bible proclaims one Supreme High Priest, the Lord Jesus Christ appointed by God. The pagan Emperor Justinian also bestowed on the bishop of the church at Rome the universal oversight of the entire Christian world. That was when the bishop of the church at Rome became known as the Pope, arising as Spiritual Head of the pagan Roman Empire. The authority of this historical fact alone ought to be seen as clearly designating the Antichrist.

 

The cloud of witnesses from Christian History

 

From the time of persecution of the Vaudois and the Waldenses, and throughout the long era of the Inquisition, the Lollards, the Bohemians, and the believers of the Reformation understood both the Office of Christ and also its counterfeit, the Antichrist. The zeal and courage of many of these martyrs were based on their conviction that they were withstanding the Antichrist. Today, however, it is “religiously correct” to declare one’s ignorance of the identity of the Antichrist. As the ecumenical movement gains momentum, it is imperative to regain a Biblical understanding of Scriptural prophecy, which has been and still is being played out in time, rather than simply relegating it to some future cataclysmic period.

 

Bible believers of old recognized the Roman Catholic institution as the Antichrist. This identification was known and spoken of even through the Middle Ages by, among others, Dante Alghieri, John Wycliff, John Huss, and Savonarola; during the Reformation, by Martin Luther, William Tyndale, John Calvin, Thomas Cranmer, Hugh Latimer, Nicholas Ridley, John Bradford, and John Foxe; in the 17th and 18th centuries, by John Bunyan, the translators of the King James Bible, and by the men who published the Westminster and Baptist Confessions of Faith; Sir Isaac Newton, Jonathan Edwards, George Whitefield, John Wesley; and in more recent times, by Charles Spurgeon, Bishop J. C. Ryle and Dr Martyn Lloyd-Jones. All these men and many more knew the precision of Scripture regarding both Christ and the Antichrist. The Written Word has been fulfilled in history, in both Light and darkness.

 

As a silk glove over the hand, so the events of history clothe the prophecy of the Scripture. Today, it is “religiously correct” to refrain from speaking about the Antichrist, except in some futuristic scenario that cannot be analyzed since has not yet occurred. This is an application of “the tolerance principal” of today that has all but blunted the edge of the accuracy and distinctness of the Biblical sword.

 

Such tolerance holds that the warnings of Christ and the Apostles John and Paul are not to be seen historically, but rather applied to some future political leader at the end of the last times. While much modern Biblical teaching assumes a future political leader to be the coming Antichrist, the Biblical Antichrist is first apostate, and then political only from his apostate seat of power. This perfectly describes every Roman Catholic Pope in his Pontifical office.

 

This paper deals particularly with II Thessalonians 2:3-12, one of the many texts that unveils the Antichrist and serves as an introduction to the other texts.

 

The Man of Sin Appears

 

The Apostle clearly states, “Let no man deceive you by any means: for that day shall not come, except there come a falling away first, and that man of sin be revealed, the son of perdition.” (v. 3) The Man of Sin would appear as the outworking of the “falling away,” or “apostasia” (“apostasy” in English). Clearly, there was to be a large-scale apostasy that would lead to the emergence of the Man of Sin.

 

Apostasy can only take place in the professing church of God, since there must be something from which to fall away. The embryo of the iniquity that would lead to this apostasy and the revealing of the Man of Sin was already at work in the Apostle’s day—thus he says, “For the mystery of iniquity doth already work.” (v. 7)

 

The Scriptures elsewhere speak of the “mystery of godliness”, “great is the mystery of godliness: God was manifest in the flesh....” (1 Timothy 3:16) By contrast, in verse 7 the exact opposite is spoken of, “the mystery of iniquity,” that is, the disclosure of the Man of Sin, the Son of Perdition.

 

The “mystery of iniquity” was soon to show itself visibly in the form of the Man of Sin. The outcome of this apostasy would be “all deceivableness of unrighteousness.”

 

Such apostasy was to be marked, not by open hostility, but by hypocrisy and deceit, which to the world appears righteous and holy. Apostasy by definition is duplicity and falseness, a withdrawal and defection from the Gospel and true godliness.

 

The “who” and the “what” that held back the Man of Sin (vv. 3, 6, & 7)

 

There was something withholding or hindering the appearance of Man of Sin, a constraint, keeping back his emergence. Notice this constraint is a thing, “what,” in verse 6 and a person, “he,” in verse 7.

 

The Apostle’s unusual reserve to spell out the identity of this constraint is to be noticed, although he clearly realized that the Thessalonians would understand when he said, “now ye know what withholdeth.” Of great importance is the historical background to the second letter to the Thessalonians which is outlined in Acts 17:1-10. There the events that took place when Paul was at Thessalonica previous to this letter are explained.

 

At that time, the Jews brought a political charge against Paul and Silas, “these all do contrary to the decrees of Caesar, saying that there is another king, one Jesus.” This was not a religious charge, but one against “Caesar,” that is, the Roman Empire. All of that had been clear to the Apostle and to the Thessalonians.

 

Had the Apostle written that the constraint was the Roman Empire, it would have appeared that he was supporting political revolt. The “what” of verse 6 and the “he” of verse 7 made it abundantly clear to the Thessalonians that he was speaking of the Roman Empire and its Emperor, respectively.

 

The Roman Empire and Emperor providentially impeded the appearance of the Man of Sin for a time.

 

To know the time, therefore, at which the Man of Sin will appear, the whole passage (from verse 1 through 12) must be taken in context.

 

The Man of Sin is set forth, appears at the removal of him “who is now holding back” (v.7). In the previous verse, Paul reminds the believers “now you know what holds him back.” What was it that the believers then knew? They knew that the Roman Empire kept all and everyone in check. In the Thessalonian mind, Rome, and only Rome, restrained. (That early believers like Tertullian and Jerome had such convictions is documented.)19 The course of history precisely fulfilled what was stated in Scripture.

 

First, the Emperor Constantine removed the seat of the empire to Constantinople. This removal gave all the opportunity that could be desired for the growth of the power-seeking Roman bishops. Internal corruption and external pressures destroyed the Empire. It was only after the break-up of the Roman Empire that the Papacy gained ascendancy over the civil powers, and the Man of Sin became more apparent.

 

When the Roman Papacy acquired the dominion that the Empire had had for centuries, which was rule in both the civil and religious spheres, then the Antichrist was seen and recognised by the Vaudois and others. In all history it is hard to find a series of events corresponding more accurately with a prophetic statement than this.

 

The place where the Man of Sin appears

 

The Apostle states unmistakably the place where the Man of Sin would become visible “Who opposeth and exalteth himself above all that is called God, or that is worshipped; so that he as God sitteth in the temple of God, showing himself that he is God” (v. 4) He would appear in the “temple of God.”

 

The word “temple” is constantly used by the Apostle to describe the people of God themselves. For example, “If any man defile the temple of God, him shall God destroy; for the temple of God is holy, which temple ye are.”20 This testifies that the Man of Sin would emanate from among the people of God as a result of the falling away, i.e. the apostasy, outlined in the preceding verse.

 

Presenting himself as God

 

The authority and truth of the Lord’s Written Word is of such importance that Scripture declares, “thou hast magnified thy word above all thy name.” (Ps 138:2) The Lord Jesus Christ said, “the Scripture cannot be broken,” speaking of the absolute character of God’s Written Word that He has magnified above His name. While many are unaware of it, the substance of II Thess. 2:4 is both the official claim and practice of the Papacy.

 

This is documented in primary Roman Catholic sources. Verse 4 in the Scripture teaches, “...he as God sitteth in the temple of God, shewing himself that he is God.” Consistently in Roman Catholic teaching and practice, the Pope is called “His Holiness.”

 

Such a title applies solely to God. God is the only Being whose very nature is holy.21 Concerning the Pope’s assumed title, “His Holiness,” the Roman Catholic Church claims the following divine attributes:

 

“The Supreme Pontiff, in virtue of his office, possesses infallible teaching authority when, as supreme pastor and teacher of all the faithful...he proclaims with a definitive act that a doctrine of faith or morals is to be held as such.”22

 

In the papal claim to “infallible teaching authority,” it is this very quality of God’s infallibility that is at stake. Thus Rome’s official claim exalts the Pope “above all that is called God.”23

 

Likewise, the earned righteousness of Christ Jesus after the Resurrection gave Him “All power... in heaven and in earth.” (Matt 28:18) The papal claim is officially expressed thus, “The Pope enjoys, by divine institution, ‘supreme, full, immediate, and universal power in the care of souls.’”24 In this assertion to a power given to the Lord Christ Jesus alone, the Pope again exalts himself “above all that is called God”.

 

How many extra marital affairs make it common sense to cry adultery?

 

How much official blasphemy is needed for the one who calls himself “His Holiness” to be identified correctly as the “Man of Sin?”

 

Extravagantly, apparently without trembling, the Roman Catholic Office of the Papacy in itself fulfills the Thessalonians text and the definition of “Antichrist.”

 

It is important to note that the Greek word for antichrist in the Bible means not simply against Christ, but more significantly, substituting for Him.

 

That the Papacy in a real sense has been living out this two-fold meaning of the Greek word, one who is against the Lord Jesus Christ by presuming to take His place, is seen in its attempt to usurp His power and position as Prophet, Priest, and King. Full and supreme power belongs solely to the God-man Christ Jesus, Who acts freely on each one in His church.

 

This is evidenced in Ephesians 1:22-23, “And hath put all things under his feet, and gave him to be the head over all things to the church, which is his body, the fullness of him that filleth all in all.”

 

The Roman Catholic Church purports to take for itself His Divine position, according to her official teaching, “For the Roman Pontiff, by reason of his office as Vicar of Christ, namely, and as pastor of the entire Church, has full, supreme and universal power over the whole Church, a power which he can always exercise unhindered.”

 

25 He is the worst and greatest enemy of Christ, who under the pretense of service to Christ presumes to undermine His unique offices by covertly usurping His position and power.

 

The wickedness within the Roman Catholic system has reached such horrendous proportions that it is difficult to keep up with the documented evidence.26 While conviction regarding the nature of this apostate church comes from God’s Word, present day evils show the mystery of iniquity at work.

 

Capitulation of mind and will

 

Rome’s law demands submission of mind and will to the one “shewing himself that he is God.”

 

The official law of the Roman Catholic Church, enunciates the necessity of submitting one’s highest faculties, that of mind and will, not to God Himself, but to the Roman Pontiff.

 

“A religious respect of intellect and will, even if not the assent of faith, is to be paid to the teaching which the Supreme Pontiff or the college of bishops enunciate on faith or morals when they exercise the authentic magisterium even if they do not intend to proclaim it with a definitive act; therefore the Christian faithful are to take care to avoid whatever is not in harmony with that teaching.”

 

27 Not only does Rome demand this, but also in Canon 1371 she decrees that the consequence for not obeying is punishment with a “just penalty”.

 

28 To presume to take the place of Christ Himself as Prophet, Priest, and King, and to presume to act as in His person is clearly tantamount to “sit[ting] as God in the temple of God, setting himself forth, that he is God.” Yet this is exactly the documented claim of Papal Rome. The teaching given in Rome’s Code of Canon Law puts teeth into its claim by exacting submission and promising punition for those who fail to obey.

 

The purpose and intent of Man of Sin

 

The Apostle Paul appears to use deliberately the terms that generally refer to Christ, “revealed,” “coming,” and “mystery,” to describe the performance of the Man of Sin.

 

This indicates that Satan’s design is to replace Christ with his own man. The stated objective is given in verse 4, “Who opposeth and exalteth himself above all that is called God, or that is worshipped; so that he as God sitteth in the temple of God, showing himself that he is God.” This, as has here been documented, is the claim and the law of Papal Rome.

 

Verse 9 depicts how the aim of Satan is to be carried out, “Even him, whose coming is after the working of Satan with all power and signs and lying wonders.” The Man of Sin was to come with all power and signs and lying wonders, “in all deceivableness of unrighteousness.”

 

29 Just as the Lord wrought miracles through the Apostles to confirm their position, so Satan would work with Antichrist, endorsing his alleged position with false miracles designed to overthrow the Gospel.

 

The Man of Sin is both an attempted personification of Christ and a contrast to Him. He attempts to occupy His position, but is totally unlike Him, and in opposition to Him. He has usurped His place and His prerogatives, and far from truly representing Him, he represents His greatest enemy.

 

As Christ acts for God, so the Man of Sin acts for Satan, who indeed uses him for this very purpose, so the text states that the Man of Sin’s coming is “after the working of Satan.”

 

The purpose and intent of the Man of Sin is given also in the second name, “son of perdition.” The reference is to Judas, who pretended to be a disciple of Christ even as he betrayed the Son of Man with a sign of love and loyalty.

 

The Son of Perdition is a secret enemy while a seeming friend, a well-known confidant, yet a fatal foe who betrays with a kiss even while he says he serves the Lord and master. He is a Judas whose coming was to be “after the working of Satan,” with “lying wonders.” Those under him are under the influence of “strong delusion.” For their own part, they had “not received the love of the truth,” but rather took “pleasure in unrighteousness.”

 

In a denial of the Gospel of Christ, on May 13th, 2000, the present Pope, John Paul II, endorsed the identity and origin of the vision of Mary of Fatima—a “lying wonder.” He proclaimed,

 

“According to the divine plan, `a woman clothed with the sun’ (Rev. 12:1) came down from heaven to this earth to visit the privileged children....

 

She asks them to offer themselves as victims of reparation, saying that she was ready to lead them safely to God. And behold, they see a light shining from her maternal hands which penetrates them inwardly, so that they feel immersed in God...”30

 

The final end of the Man of Sin

 

“And then shall that Wicked be revealed, whom the Lord shall consume with the spirit of his mouth, and shall destroy with the brightness of his coming.” (v 8) Verse 8 tells of the end of the Wicked one. He, who would be revealed when the power of imperial Rome was removed, will continue until the breath of Christ’s mouth and the brightness of His coming destroy him. This is a clear reference to the Second Coming.

 

The Lord in this verse has foretold the destruction of the Man of Sin’s reign: the Word of the Lord will reduce it to nothing. He will be completely and in every respect destroyed on the final day.

 

In the meantime, the victory of the Gospel is also seen in this verse. The Apostle was repeating the truth of the Lord spoken of in Isaiah 11:4, “But with righteousness shall he judge the poor, and reprove with equity for the meek of the earth: and he shall smite the earth with the rod of his mouth and with the breath of his lips shall he slay the wicked.”

 

The Lord’s power has always been greatest in the day of utmost need, when He comes to the aid of those destitute and poor in spirit. The character of God in His gracious Gospel is “the spirit of his mouth.” All through history this verse has been understood and lived out in this sense.

 

The Gospel is “the power of God unto salvation to every one that believeth.”31 Repeatedly throughout history the “Gospel of grace” has conquered the Man of Sin. The Vaudois, the Waldenses, the men of the Reformation, and all genuine revivals have seen the Lord smite with the rod of His mouth and with the breath of His lips.

 

His power is seen when His graciousness is boldly proclaimed, every individual who is saved “being justified freely by his grace through the redemption that is in Christ Jesus.”32

 

Conclusion

 

None but God could have delineated beforehand the “mystery of iniquity,” which is clearly the Office of the Papacy of the Roman Catholic Church. Man could never have anticipated all this; only God foretells it. That a power claiming to act for God, to be “as God”, in the midst of the Christian Church, flouting His truth and mocking His own Holiness, defies imagination.

 

Corruption, fraud, and false pretenses have ruled the world for ages from the very same seven-hilled city where the pagan Roman Empire once ruled by military force, and they are such that were they not clearly described by the Lord’s Word, and seen in past and recent history, they could never have been expected by man. The prophetic portrayal of the wickedness of the system built around the Antichrist is a demonstration of the divine inspiration of the Bible and the power and authority of our Lord God.

 

To reject the clear testimony of God’s Written Word on the fundamental office of the Antichrist, and to prefer a doctrine that can neither be verified by the text itself nor tested in time is a serious matter.

 

It obscures the wisdom of Divine prophecy and denies the true character of the days in which we live. While futurism asserts the nearness of the Second Advent of Christ, it destroys the historical timeframe of His opposer, the Antichrist, which is essential to correctly understanding this fulfillment of prophecy.

 

The historic playing-out of those predictions concerning the apostasy is an essential element of what the Lord foretold in His Word.

 

Just as the Lord explained regarding Himself, “all things must be fulfilled, which were written in the law of Moses, and in the prophets, and in the psalms, concerning me.”

 

Likewise, the substance of what was written concerning the office of the one who opposes Him has been fulfilled. With the Vaudois, the Waldenses, Lollards, and the Bohemians, through the Inquisition and the Reformation, the truth of the Gospel and the Prophetic Word lifted nations from the depths of superstition and despotism to Biblical freedom and economic growth.33

 

Much futurist teaching has been the work of sincere and dedicated men of God; nonetheless, by failing to expose the presence of Antichrist in our midst, the nations are being lured effectively into slavery once again. In the face of such failure, it is imperative to know as believers of old knew the presence of the True Seed, Christ Jesus, with them in spirit and in truth.

 

The historic interpretation has been embodied in the most solemn confessions of the Biblical world.34 It forms a leading part in the testimony of martyrs and reformers. Like the prophets of old, these holy men bore a twofold testimony, a testimony for the truth of God, and a testimony against the Apostasy of those professing to be Christian.

 

Their testimony was that Papal Rome is the Babylon of prophecy, “that great city, which reigneth over the kings of the earth,”35 and that its head, the Roman pontiff, is the predicted “Man of Sin,” or Antichrist.

 

Notes

 

“The culminating moment of the Jubilee of Bishops was the Mass concelebrated by the Pope and Bishops in St Peter’s Square on Sunday morning, 8 October.

 

Tens of thousands of the faithful gathered for the sacred liturgy, which concluded with the Act of Entrustment to Mary Most Holy.” L’Osservatore Romano Weekly edition in English 11 October 2000.htm

Henry Denzinger, “Unam Sanctum”, Nov. 18, 1302, The Source of Catholic Dogma, Tr. By Roy J. Deferrari, 30th ed. of Enchiridion Symbolorum, rev. by Karl Rahner, S. J. (St. Louis, MO: B. Herder Book Co., 1957) #694. See also Catechism of the Catholic Church (San Francisco: Ignatius Press, 1994) #882 & #936.

Dominus Iesus, Section 16 www.vatican.va/roman_curia/congregations/ cfaith/documents/rc_con_cfaith_doc_20000806_dominus-iesus_en.html

Romans 5:17.

Catechism, #1129. Bolding in any quotation indicates emphasis added in this paper.

Denzinger, #469.

Catechism, #1116 states, “Sacraments are ‘powers that come forth’ from the Body of Christ [i.e., The Roman Catholic Church] which is ever living and life-giving....”

John Cornwell, Hitler’s Pope: The Secret History of Pius XII (New York, NY 10014: Viking, 1999).

Denzinger, #649.

The Catholic Encyclopedia, Robert Broderick, ed. (Nashville, TN: Thos. Nelson Inc., 1976) p. 217.

1 John 2:22.

Matthew 23:9.

Matthew 23:8.

Revelation 15: 4.

John 14:30.

John 5:43.

I John 2:18. The Greek text says that the antichrist shall come.

LeRoy Edwin Froom, The Prophetic Faith of Our Fathers, 4 vols. (Washington DC: Review and Herald Publishing Assn., 1978) Vol I, pp. 511-517.

Froom, Vol. I, pp. 257-258, pp. 443-444.

I Corinthians 3:17; cf Ephesians 2:21, II Corinthians 6:16.

Revelation 15: 4 , 1 Samuel 2:2.

Code of Canon Law, Latin-Eng. ed. (Washington, DC: Canon Law Society of America, 1983) Can. 749, Sect. 1. All canons are taken from this source unless otherwise stated.

The Greek word for “above” can mean “in a place of” or “as much as”. It seems to be this meaning that applies the text rather than superior to God, cf. Strong’s Hebrew-Greek Dictionary, # 1909.

Catechism, # 937.

Catechism, #882.

www.iconbusters.com/iconbusters/lechery/current-lechery1.htm That source links also to Roman Catholic sources that further show the mystery of iniquity at work.

Canon 752.

Canon 1371, Para. 1 “The following are to be punished with a just penalty: 1 a person who, apart from the case mentioned in canon 1364, 1, teaches a doctrine condemned by the Roman Pontiff, or by an Ecumenical Council, or obstinately rejects the teachings mentioned in canon 750, [Para.] 2 or in canon 752 and, when warned by the Apostolic See or by the Ordinary, does not retract;”

See Quite Contrary: A Biblical Reconsideration of the Apparitions of Mary by Timothy F. Kauffman (Huntsville, AL 35804: White Horse Publications, 1993). See also Graven Bread: The Papacy, the Apparitions of Mary, and the Worship of the Bread of the Altar by same author.

www.vatican.va/holy_father/john_p.../hf_jp-ii_hom_2000051... 6/1/00. See on our web page our critique of the same in Fatima: JP II, RCC Contradict Gospel: Where Do Evangelical ECT Signatories Now Stand?

Romans 1:16.

Romans 3:24.

John W. Robbins, Ecclesiastical Megalomania: The Economic and Political Thought of the Roman Catholic Church, (ISBN 0-940931-52-4; USA: The Trinity Foundation, 1999) pp. 13-24.

See The Westminster Confession of Faith, 1646; The Baptist Confession of Faith, 1689; The Philadelphia Confession of Faith, Adopted by The Baptist Association, 1742; and others.

Revelation 17:18

 

www.biblebelievers.com/bennett/bennett_antichrist-unveil....

Born in the year 1542 in Montepulciano, Tusacany, Robert Bellarmine entered the Society of Jesus (Jesuits) at Rome and was ordained priest in 1570. He engaged in arguments in defense of the Catholic faith and he taught in the Collegio Romano. After being created a Cardinal and later Bishop of Capua, he was of considerable help to the Roman Congregation in solving the many difficult questions that arose.

 

Among many activities, he became theologian to Pope Clement VIII, preparing two catechisms which have had great influence in the Church. He opposed action against Galileo Galilei in 1615, and established a friendly correspondence with him, but was forced to deliver the order in 1616 for the scientist to stop teaching the theory of heliocentricism.

 

St Robert died in Rome in 1621 and was canonized in 1930 and declared a Doctor of the Church in 1931. His relics are enshrined in the church of St Ignatius in Rome, and today, 17 September, is his feast.

Saint Peter NGUYỄN BÁ TUẦN

Priest

(1766-1838)

 

* Judas’ Kiss.

 

Entrusted with the safekeeping of two priests by the pastor of Kim Sơn parish, Bát Biên securely hid the two priests inside his home. A week later, he told the two priests: “I heard that the mandarin knew of your presence here and that the authorities are coming. I have to move you to a safer place.” Then Bát Biên led missionary priest Fernadez Hiền aboard a sampan and sailed away. Later, he returned to take Fr. Peter Tuần.

 

The two priests completely trusted Bát Biên’s words when they boarded the boat to escape, but unknowingly, that considerate and caring gesture was really the “Judas’ kiss.” Mr. Bát Biên’s conspiracy to get the two priests arrested went smoothly. Kisses were always gentle. And behind those kisses were imprisonment, tortures, and finally death.

 

Peter Nguyễn Bá Tuần was born in 1766 in the village of Ngọc Đồng, Hưng Yên province. At an early age, Tuần had already been known for his goodness, piety, and diligence. At maturity, he entered religious life where he diligently studied catechism as well as Chinese language. Seeing that he had the call to vocation, priests referred to the seminary. But he was in the seminary for only a short time when King Cảnh Thịnh issued his edict of persecution, seminarian Peter Tuần had to leave school and went into hiding at various places with Fr. Gatillepa Hoan to whom he became a capable assistant. Fortunately a short time later, the seminary was reopened; he returned to continue his training and was ordained a priest in 1807. Fr. Tuần had carried out his ministry at many places reaping considerable results and was highly regarded by his superiors throughout his 30 years of service.

 

* Paying for Trusting.

 

In 1838 when King Minh Mạng decreed even more severe persecution, Fr. Tuần was pastor of Lác Môn parish in Nam Định province. He not only took care of his pastoral responsibilities, but also paid attention to the Vietnamese Church, and to fellow priests. Hearing that Quần Liêu village was fearful of being incriminated by having in its midst Fr. Fernandez Hiền who was recovering from dysentery, Fr. Tuần had to hurriedly come to intervene and remain there to help villagers feel at ease in helping the sick priest. However this compassionate gesture had linked his life with that of the European missionary.

 

Remaining for a few days, the two priests left Quần Liêu for Kim Sơn in Ninh Bình province, in the west vicariate of Tonkin. However, the authorities were relentlessly pursuing Christian clerics there also, Christians had to hide the two priests in a swamp and under the elements for two days. Concurrently, the pastor of Kim Sơn parish sent for a pagan named Bát Biên, who had received many favors from the pastor, and entrusted the two priests with him. At his home, before getting the opportunity to bear witness to faith in God, the two priests had to pay for their trust in man. Mr. Bát Biên betrayed the priests and turned them into Governor Nam Định Trịnh Quang Khanh of Nam Định. Therefore, the two priests were put in cangues and thrown in jail.

 

In prison, the elderly priest of 72 was always bravely faithful to his belief even though his old body had to endure chains, shackles, and beatings. When the mandarin talked to the priest: “You are too very old to undergo tortures.” Fr.Tuần replied: “It is true that I am both weak as well as old, but God will give me strength to suffer all tortures and even to die for him.” In another appearance before the tribunal, the mandarin had a Catholic, who had rejected the faith, stepping on the cross and told the priest to do the same, the priest responded: “Why do I have to imitate a traitor to my religion? The mirror that I look at is my two bishops whose examples I want to follow.” (Fr. Tuần referred to bishops Henarez Minh and Delgado Y who were martyred on June 26 and July 12, respectively.)

 

* Glorious Death in Prison.

 

At the time, the laws forbid the execution of any person over 60 years of age. But on 7/18/1838, King Minh Mạng still approved the death sentence for Fr. Tuần, but that “unconstitutional” sentence was never carried out. Tortures in prison: beatings, hunger, thirst, humidity, mosquitoes and rep (centipedes) had finished off the executioner’s work. On 7/15//1838, three days before the king’s death sentence signoff, Fr. Tuần had completed the life of giving witness to God’s love in prison.

 

The priest’s path to martyrdom did not end in bloodshed or with drama. It was an ordinary path weaved with normal facts of life that any person could be confronted with: a sick friend, a heartless traitor, beatings, mosquitoes, and bed bugs... But at every “mile marker” on that road, the priest had traveled honorably, faithfully, and completely. He had wholeheartedly taken care of a brother in need. He had put complete trust in man even if that person turned out to be a traitor. He had lived a life of faith under difficult conditions, which at first glance seemed ordinary, but because of its long duration, was not any less treacherous.

 

Loyalty to such “little things,” was as good as loyalty to big things. His faithfulness had brought him the grace of martyrdom even though it was bloodless. He went to heavenly home on 7/15/1838 while he had readied himself step out the execution site to shed his blood to give witness to faith. His body was brought back by Christians to the church of Ngọc Đồng parish for burial, later it was taken to the South and venerated at Lạc An parish.

According to the first accounts of the Guadalupan apparition, during a walk from his village to the city on December 9, 1531, Juan Diego saw a vision of a Virgin at the Hill of Tepeyac. Speaking in Nahuatl, Guadalupe said to build an abbey on the site, but when Juan Diego spoke to the Spanish bishop, Fray Juan de Zumárraga, the prelate asked for a miraculous sign. So the Virgin told Juan Diego to gather flowers from the hill, even though it was winter, when normally nothing bloomed. He found Spanish roses, gathered them on his tilma, and presented these to the bishop. When the roses fell from it an icon of the Guadalupe remained imprinted on the cloth.

 

Documentation

 

A number of primary historical documents are used to support this apparition account, including: the Nahuatl-language Huei tlamahuiçoltica or Nican mopohua ("here it is recounted"), a tract about the Virgin which contains the aforementioned story, and which was printed in 1649; a Spanish-language book about the apparitions titled Imagen de la Virgen María ("Image of the Virgin Mary"), printed in 1648; a seventeenth-century engraving by Samuel Stradanus which used the Virgin's image to advertise indulgences; and the Codex Escalada, a pictographic account of the Virgin on Tepeyac, printed on deerskin and said to date back to 1548.

 

The apparition account is also strengthened by a document called the Informaciones Jurídicas of 1666, a collection of oral interviews gathered near Juan Diego's hometown of Cuautitlan. In the "Informaciones Jurídicas," various witnesses affirmed, in interview format, basic details about Saint Juan Diego and the Guadalupan apparition story.

 

Some historians and clerics, including the U.S. priest-historian Fr.Stafford Poole, the famous Mexican historian Joaquín García Icazbalceta, and former abbot of the Basilica of Guadalupe, Guillermo Schulenburg, have expressed doubts about the historicity of the apparition accounts. Schulenburg in particular caused a stir with his 1996 interview with the Catholic magazine Ixthus, when he said that Juan Diego was "a symbol, not a reality."

 

One problem with the apparition tradition is that Juan Diego is said to have met the Virgin in 1531, while the earliest account about their meeting was published in 1648. When discussing the 117-year gap between the apparition and written accounts describing it, apparition believers point to the Codex Escalada, a recently-discovered document which illustrates the Tepeyac apparition and which dates to 1548. The document, a painting on deerskin which illustrates the apparition and discusses Juan Diego's death, was used to shore up Juan Diego's 1990s canonization process. Critics, including Stafford Poole and David A. Brading, find the document suspicious -- partly because of when it was discovered, and partly because it contains the handiwork of both Antonio Valeriano (a man many apparition partisans believe to be the true author of the Nican mopohua) and the signature of Bernardino de Sahagún, the Franciscan missionary and anthropologist. Brading said that within the context of the Christian tradition, it was rather like finding a picture of St. Paul's vision of Christ on the road to Damascus, drawn by St. Luke and signed by St. Peter.

 

Believers in the Codex counter that the Codex has been vetted by scientific tests which prove it is an authentic 16th-century document. Zumárraga was silent on the topic of the apparition: there is no mention of Juan Diego nor the Virgin in any of his writings. In a catechism written the year before his death he stated: “The Redeemer of the world doesn’t want any more miracles, because they are no longer necessary.” Furthermore, in 1531 Zumárraga was not Mexico's Archbishop but merely Bishop-elect: he would not be consecrated until 1533.

 

Guillermo Schulenburg, the Basílica's abbot for over 30 years, declared in 1996 Juan Diego as a symbol and myth, a constructed character made to conquer the hearts of the native people and seize their religiosity in order to redirect it to the Vatican's will. He also commisioned a serious study, "out of sheer love for truth", which demonstrates the Lady of uadalupe as a man-made painting, with no supernatural elements whatsoever. There is ample evidence of a 16th century shrine to Guadalupe at Tepeyac: however skeptics contend that this shrine was dedicated to the Spanish icon Our Lady of Guadalupe in Extremadura.

 

Symbol of Mexico

 

Guadalupe's first major use as a nationalistic symbol was in the writing of Miguel Sánchez, the author of the first Spanish language apparition account. Sanchez identified Guadalupe as Revelation's Woman of the Apocalypse, and said that

"this New World has been won and conquered by the hand of the Virgin Mary...[who had] prepared, disposed, and contrived her exquisite likeness in this her Mexican land, which was conquered for such a glorious purpose, won that there should appear so Mexican an image."

 

In 1810 Miguel Hidalgo y Costilla initiated the bid for Mexican independence with his Grito de Dolores, yelling words to the effect of "Death to the Spaniards and long live the Virgin of Guadalupe!" When Hidalgo's mestizo-indigenous army attacked Guanajuato and Valladolid, they placed "the image of the Virgin of Guadalupe, which was the insignia of their enterprise, on sticks or on reeds painted different colors" and "they all wore a print of the Virgin on their hats." Royalists responded by putting Guadalupe's image on the soles of their shoes.

 

When Hidalgo died, leadership of the revolution fell to a mestizo priest named Jose Maria Morelos who led insurgent troops in the Mexican south. Morelos was also a Guadalupan partisan: he made the Virgin the seal of his Congress of Chilpancingo, stating "New Spain puts less faith in its own efforts than in the power of God and the intercession of its Blessed Mother, who appeared within the precincts of Tepeyac as the miraculous image of Guadalupe that had come to comfort us, defend us, visibly be our protection."

 

He inscribed the Virgin's feast day, December 12, into the Chilpancingo constitution, and declared that Guadalupe was the power behind his military victories. One of Morelos' officers, a man named Felix Fernandez who would later become the first Mexican president, even changed his name to Guadalupe Victoria. Simón Bolívar, noticed the Guadalupan theme in these uprisings, and shortly before Morelos' death in 1815 wrote: "...the leaders of the independence struggle have put fanaticism to use by proclaiming the famous Virgin of Guadalupe as the queen of the patriots, praying to her in times of hardship and displaying her on their flags...the veneration for this image in Mexico far exceeds the greatest reverence that the shrewdest prophet might inspire."

 

In 1914, Emiliano Zapata's peasant army rose out of the south against the government of Porfirio Diaz. Though Zapata's rebel forces were primarily interested in land reform --"tierra y libertad" (land and liberty) was the slogan of the uprising -- when Zapata's peasant troops penetrated Mexico City, they carried Guadalupan banners. Nobel laureate Octavio Paz wrote in 1974 that "Mexican people, after more than two centuries of experiments, have faith only in the Virgin of Guadalupe and the National Lottery"

 

The Virgin of Guadalupe has also symbolized the Mexican nation since Mexico's War of Independence. Both Miguel Hidalgo and Emiliano Zapata's armies traveled underneath Guadalupan flags. The Mexican novelist Carlos Fuentes once said that "...one may no longer consider himself a Christian, but you cannot truly be considered a Mexican unless you believe in the Virgin of Guadalupe."

 

More recently, the contemporary Zapatista National Liberation Army (EZLN) named their "mobile city" in honor of the Virgin: it is called Guadalupe Tepeyac. EZLN spokesperson Subcomandante Marcos wrote a humorous letter in 1995 describing the EZLN bickering over what to do with a Guadalupe statue they had received as a gift.

 

In 1994, the mexican sculptor Eduardo Leal de la Gala make a tree dimension version in wood of the Lady of Guadalupe for the Cultural Center of the Mexican Embassy in Paris, France.

 

Mestizo culture and Mexican identity

 

Guadalupe is often considered a mixture of the cultures which blend to form Mexico, both racially and religiously Guadalupe is sometimes called the "first mestiza" or "the first Mexican". In the Journal for the Scientific Study of Religion, Mary O'Connor writes that Guadalupe "bring[s] together people of distinct cultural heritages, while at the same time affirming their distinctness."

 

One theory is that the Virgin of Guadalupe was presented to the Aztecs as a sort of "Christianized" Tonantzin, necessary for the clergymen to convert the Indians to their True Faith. As Jacques Lafaye wrote in Quetzalcoatl and Guadalupe, "...as the Christians built their first churches with the rubble and the columns of the ancient pagan temples, so they often borrowed pagan customs for their own cult purposes." An alternate view is that Guadalupe-Tonantzin gave the native Americans a hidden method to continue worshipping their own goddess in a Christianized form; similar patterns of syncretic worship can be seen throughout the Catholic Americas (e.g. Vodun, Santería). Guadalupan religious syncretism is both lauded and disparaged as demonic.

 

Some theologians also associate the Virgin of Guadalupe with a special relationship between the indigenous peoples of the American continents and the Catholic Church. This perspective developed as the scriptural terms of truths "hid ... from the wise and prudent" but "revealed...unto babes" (Matthew 11:25), but later developed into the "spiritual mestizaje of the Americas", and the "option for the poor" provided by Liberation theology.

 

The author Judy King asserts that Guadalupe is a "common denominator" uniting Mexicans. Writing that Mexico is composed of a vast patchwork of differences -- linguistic, ethnic, and class-based -- King says "The Virgin of Guadalupe is the rubber band that binds this disparate nation into a whole."

 

This sentiment was echoed by two celebrants interviewed in the New York Times at the Virgin's feast day in 1998: "We say that we are more Guadalupanos than Mexicans," said the Jesuit Brother Joel Magallan. "We say that because our Lady Guadalupe is our symbol, our identity." David Solanas, another feast-goer, agreed, saying "We have faith in her. She's like the mama of all the Mexicans."

 

The origin of the name "Guadalupe" is controversial. According to a sixteenth-century report the Virgin identified herself as Guadalupe when she appeared to Juan Diego's uncle, Juan Bernardino. It has also been suggested that "Guadalupe" is a corruption of a Nahuatl name "Coatlaxopeuh", which has been translated as "Who Crushes the Serpent. In this interpretation, the serpent referred to is Quetzalcoatl, one of the chief Aztec gods, whom the Virgin Mary "crushed" by inspiring the conversion of indigenous people to Catholicism. However, many historians believe that the 1533 Guadalupan shrine was dedicated to the Spanish Lady of Guadalupe in Extremadura -- not to the Mexican Virgin venerated today. Thus, while the name "Guadalupe" would have had certain connotations to Nahuatl speakers, as noted above, its ultimate origins would be the Arabic-Latin term "Wadī Lupum", meaning "Valley of the Wolf".

 

María Guadalupe, or just Lupe, is a common female and male name among Mexican people or those with Mexican heritage.

 

Controversies

 

As early as 1556 Francisco de Bustamante, head of the Colony's Franciscans, delivered a sermon disparaging the holy origins of the painting: “The devotion that has been growing in a chapel dedicated to Our Lady, called of Guadalupe, in this city is greatly harmful for the natives, because it makes them believe that the image painted by Marcos the Indian is in any way miraculous.”

 

In 1611 the Dominican Martin de Leon, fourth viceroy of Mexico, denounced the cult of the Virgin of Guadalupe as a disguised worship of the Aztec goddess Tonantzin.The missionary and anthropologist Bernardino de Sahagún held the same opinion: he wrote that the shrine at Tepeyac was extremely popular but worrisome because people called the Virgin of Guadalupe Tonantzin. Sahagún said that the worshippers claimed that Tonantzin was the proper Nahuatl for "Mother of God" -- but he disagreed, saying that "Mother of God" in Nahuatl would be "Dios y Nantzin."

 

In 2002, art restoration expert José Sol Rosales examined the icon with a stereomicroscope and identified calcium sulfate, pine soot, white, blue, and green "tierras" (soil), reds made from carmine and other pigments, as well as gold. Rosales said he found the work consistent with 16th century materials and methods.

 

Norberto Rivera Carrera, Archbishop of Mexico, commissioned a 1999 study to test the tilma's age. The researcher, Leoncio Garza-Valdés, had previously worked with the Shroud of Turin. Upon inspection Garza-Valdés found three distinct layers in the painting, at least one of which was signed and dated. He also said that the original painting showed striking similarities to the original Lady of Guadalupe found in Extremadura Spain, and that the second painting showed another Virgin with indigenous features. Finally, Garza-Valdés indicated that the fabric on which the icon is painted is made of conventional hemp and linen, not agave fibers as is popularly believed. The photographs of these putative overpaintings were not available in the Garza-Valdés 2002 publication, however. Gilberto Aguirre a San Antonio optometrist and colleague of Garza-Valdés who also took part in the 1999 study, examined the same photographs and stated that, while agreeing the painting had been tampered with, he disagreed with Garza-Valdes' conclusions. Gilberto Aguirre claims the conditions for conducting the study were inadequate. No control of the lighting and the fact that the painting was shot through an acrylic plate scientifically invalidates any results. He also questions Garza-Valdés' claim of ultraviolet light revealing two underlying images because according to Aguirre, ultraviolet light can't penetrate sub-surfaces. The team did take Infrared pictures but those didn't show additional images underneath the present one.

 

Similar Marian apparitions have been reported in many cities and towns throughout Mexico; in the Mexican town of Tlaltenango in the state of Morelos, a painting of Our Lady of Guadalupe is claimed to have miraculously appeared in the inside of a box that two unknown travelers left in a hostel. The owners of the hostel called the local priest after noticing enticing aromas of flowers and sandalwood coming out of the box. The image has been venerated on September 8 since its finding in 1720, and is accepted as valid apparition by the local Catholic authorities.

 

It is important to note that at least 300 apparition of the Virgin Mary are reported every year to local church authorities, most of them seen in burnmarks in pieces of toast and Tortillas. In one of the most recent cases, believers have seen a vision of the Virgin of Guadalupe in a humidity stain in the Mexico City metro. This apparition is called the "Virgin of the Subway."

 

Religious theories regarding the image

 

Artistic symbolism

 

The image of Our Lady of Guadalupe is often read as a coded image. Miguel Sanchez, the author of the 1648 tract Imagen de la Virgen María, described the Virgin's image as the Woman of the Apocalypse from the New Testament's Revelation 12:1: "arrayed with the sun, and the moon under her feet, and upon her head a crown of twelve stars." Mateo de la Cruz, writing twelve years after Sánchez, "argued that the Guadalupe possessed all the iconographical attributes of Mary in her Immaculate Conception". Likewise, a 1738 sermon preached by Miguel Picazo argued that the Guadalupe was the "best representation" of the Immaculate Conception.

 

Many writers, including Patricia Harrington and Virgil Elizondo, describe the image as containing coded messages for the indigenous people of Mexico.

 

"The Aztecs...had an elaborate, coherent symbolic system for making sense of their lives. When this was destroyed by the Spaniards, something new was needed to fill the void and make sense of New Spain...the image of Guadalupe served that purpose."

 

Her blue-green mantle was described as the color once reserved for the divine couple Ometecuhtli and Omecihuatl; her belt is read as a sign of pregnancy; and a cross-shaped image symbolizing the cosmos and called nahui-ollin is said to be inscribed beneath the image's sash.

 

Yet another interpretation of the image is offered by the historian William B. Taylor, who recounted that Guadalupe has also been "acclaimed goddess of the maguey [agave]" and pulque was drunk on her feast day. A 1772 report described the rays of light around Guadalupe as maguey spines.

 

Alleged miraculous properties

 

Some consider it miraculous that the tilma, supposing it's still the original, maintains its structural integrity after nearly 500 years, since a replica of the image was once made, using the same colors and the same material for the tilma, and it lasted only about 15 years before it disintegrated.In addition to withstanding the elements, the tilma resisted a 1791 ammonia spill that made a considerable hole, which was then completely repaired in two weeks with no external help. In 1921, an anarchist placed an offering of flowers next to the image. A bomb hidden within the flowers exploded and destroyed the shrine. However, the image suffered no damage.

 

Photographers and ophthalmologists have claimed to locate images reflected in the eyes of the Virgin.In 1929 and 1951 photographers found a figure reflected in the Virgin's eyes; upon inspection they said that the reflection was tripled in what is called the Purkinje effect. This effect is commonly found in human eyes.The ophthalmologist Dr. Jose Aston Tonsmann later enlarged the image of the Virgin's eyes by 2500x magnification and said he saw not only the aforementioned single figure, but rather images of all the witnesses present when the tilma was shown to the Bishop in 1531. Tonsmann also reported seeing a small family -- mother, father, and a group of children -- in the center of the Virgin's eyes.

 

In response to the eye miracles, Joe Nickell and John F. Fischer wrote in Skeptical Inquirer that images seen in the Virgin's eyes could be the result of the human tendency to form familiar shapes from random patterns, much like a psychologist's inkblots -- a phenomenon known as religious pareidolia.

 

Richard Kuhn, who received the 1938 Nobel Chemistry prize, is said to have analyzed a sample of the fabric in 1936 and said the tint on the fabric was not from a known mineral, vegetable, or animal source.

 

In 1979 Philip Serna Callahan studied the icon with infrared light and stated that portions of the face, hands, robe, and mantle had been painted in one step, with no sketches or corrections and no paintbrush strokes.

 

Catholic devotions

 

With the Brief Non est equidem of May 25, 1754, Pope Benedict XIV declared Our Lady of Guadalupe patron of what was then called New Spain, corresponding to Spanish Central and Northern America, and approved liturgical texts for the Mass and Liturgy of the Hours in her honour. Pope Leo XIII granted new texts in 1891 and authorized coronation of the image in 1895. Pope Saint Pius X proclaimed her patron of Latin America in 1910. In 1935 Pope Pius XI proclaimed her patron of the Philippines and had a monument in her honor erected in the Vatican Gardens. In 1966 Pope Paul VI sent a Golden Rose to the shrine.

 

Pope John Paul II visited the shrine in the course of his first journey outside Italy as Pope from 26 to January 31, 1979, and again when he beatified Juan Diego there on 6 May 1990. In 1992 he dedicated to Our Lady of Guadalupe a chapel within St. Peter's Basilica in the Vatican. At the request of the Special Assembly for the Americas of the Synod of Bishops, he named Our Lady of Guadalupe patron of the Americas on January 22, 1999 (with the result that her liturgical celebration had, throughout the Americas, the rank of Solemnity), and visited the shrine again on the following day. On July 31, 2002, he canonized Juan Diego, and later that year included in the General Calendar of the Roman Rite, as optional memorials, the liturgical celebrations of Saint Juan Diego Cuauhtlatoatzin (December 9) and Our Lady of Guadalupe (12 December).

 

Replicas of the tilma can be found in thousands of churches throughout the world, including Notre Dame Cathedral in Paris and the Basilica of Saint Peter in Rome, and numerous parishes bear her name.

"How can we experience the Peace that Jesus promises us? The key lies in PRAYER. The Catechism of the Catholic Church tells us that PRAYER should engage “thought, imagination, emotion, and desire” (2708). Mobilizing our God-given faculties in this way can bring the Truths of our Faith to life and help us feel God’s presence in new ways. PRAYER works best when we ask the Holy Spirit to take our imagination and fill it with insight." wau.org

 

In 2014 - Our family is in need of prayers right now. Teenage issues. Thanks...

 

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Image in use at:

~ www.philadelphiaeritreanchurch.com/prayer-ministry.html

~ lynnlegacy.weebly.com/

 

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Filename - In Need Of Prayer - DSC_6424 ChristTheKing Sunset tag 2014

 

Following the Son...

Blessings,

Sharon 🌻

 

God's Beauty In Nature is calling us into a deeper relationship with Him...

 

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Art4TheGlryOfGod Photography by Sharon

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Faith, Hope & Love in daily Art meditations...

 

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#prints available upon request

A pierced copper lantern door. The piercings are from the inside out. That safety feature doesn’t work if the metal is pierced inwardly. If dropped, the pressure extinguishes the interior candle.

 

There are 7 points of Indented Skirting across the bottom of the door representing the first 100 years that University Lodge No. 496 has been in existence, and 7 across the top to represent the next 100 years. 7 points - 7 Masons to make it perfect. There are two columns which are joined at the top by a keystone. Inside the columns is a Masonic altar with a kneeling stool in front. There is a VOSL on the altar and on that are the Square and Compasses. On either side of the altar are three candles and a Deacon's wand. The letter "G" is central with three rays of light passing through. There are other rays of light eminating from the Eye of God. Knock the clasp out of the way, open the door of the lantern and find the light, which in this case will come from single beeswax candle.

3,5 and 7 strikes are repeated throughout.

 

www.flickr.com/photos/21728045@N08/7231658058/in/album-72...

 

I was initiated, and advanced to the honourary Degree of a Mark Master Mason by Phoenix Chapter No. 34, Cookstown, ON.

www.royalarchmasons.on.ca

 

en.m.wikipedia.org/wiki/Order_of_Mark_Master_Masons

 

Probably the most beautiful symbol of Freemasonry is that of the Keystone!

 

It does not appear in the symbolism of the Lodge, but is reserved for those degrees dealing with the Chapter and, its symbolism, where it is found in all but one of the degrees of that system. The reason for its absence in lodge symbolism is that the lodge deals with preparation for eternal life, whereas the Chapter deals with the completion. (This reminds me of the Jason Bourne movies which refer to him rebuilding his life)

 

Keystone Symbol - The Keystone is the symbol of completion.

 

For all practical purposes the Keystone is the last stone placed in the arch, and as such represents completion. The placing of the Keystone in the symbolic arch of the Chapter, represents the completion of the individual Temple which each craftsman is erecting.

 

True, the Temple material was destroyed, but it was only the symbol of the Spiritual Temple which can never be destroyed. Royal Arch Masonry efforts are towards building spiritual Temples and its ceremonies, its legends, and its teachings, while beautiful in themselves, are there for the sole purpose of teaching great spiritual truths.

 

Our spiritual Temple can be completed only by death, the great leveller, but if that Temple be built by plumb line, by level, and by square, we are taught that its foundations shall never crumble nor decay, and that when we have reached “that bourne from which no traveller returns” we may enjoy the fruits of our labours here on earth throughout the endless eons of time.

 

And we may add again, the Keystone, the emblem of completion, is the outstanding symbol of Masonic teaching!

 

Cookstown Masonic Temple.

 

THE WAGES OF AN ENTERED APPRENTICE - June 09, 1958

 

PRESENTED TO: PORT ARTHUR LODGE A.F. & A.M. No. 499 BY HORNEPAYNE LODGE A.F. & A.M. No. 636

THUNDER BAY, ONTARIO.

 

THE WAGES OF AN ENTERED APPRENTICE

 

The catechisms of the Craft and the conventional lecture on the Tracing Board of the Second Degree, all of which speak with that authority that belongs to age, tell us that the wages of an Entered Apprentice are Corn, Wine and Oil. Sometimes it is added that he received Corn for food, Wine for nourishment, and Oil for comfort. The broad difference that was thought to be set up between the Apprentice and the Fellowcraft apparently was that the Fellowcraft was paid in coin while the apprentice was paid in kind. I fear it would be difficult to produce any authority for this, and probably the distinction between the liaisons of the two degrees is the invention of some imaginative brother who may have got the hint from a practise that was not uncommon among early operatives. Two or three centuries ago the conditions of labour were laid down as firmly as they are today by our powerful trade unions. A master could not employ more than a certain very limited number of apprentices - often the number was restricted to one - and these apprentices were taken bound to serve their masters for a period of seven years. Not infrequently, alike in mason and other trades, the apprentice went into residence with his master and during the early years of his apprenticeship received no remuneration except board and lodging. Only when he became a journeyman, or Fellowcraft, and was free from the master who had taught him his business, was he entitled to wages in the form of cash. If, as it is possible, some elaborator of Freemasonry, got the hint here as to the remuneration of an apprentice one can easily understand that commonplace language such as “board and lodging” would not appeal to him, and that he would seek to ornament the matter with just such combination of words as “Corn, Wine and Oil.”

 

One of the traditions of the craft, dearly beloved by uncritical Freemasons, says that the whole number of workmen engaged on the Temple at Jerusalem amounted to 217,281 persons, and that of these 80,000 were Fellowcraft and 30,000 were Entered Apprentices - the latter of whom were arranged into one hundred lodges with three hundred members in each. This immense multitude was paid weekly on the sixth day of the week; and one tradition solemnly asserts that the 80,000 Fellowcraft toiled up the Winding Stair to the Inner Chamber to receive their wages. Mackey tells us in this “Lexicon” that the Fellowcraft “were paid in corn, wine and oil”, and the authors of “The Reflected Rays of Light upon Freemasonry” adopting the same view say “What could be more absurd than to believe that eighty thousand craftsmen had to ascend such a stair, to the narrow precincts of the Middle Chamber to receive their wages in Corn, Wine and Oil? “It is very evident that Mackey and the authors of “Reflected Rays” have misread the Lecture on the Second Tracing Board. It was the Entered Apprentice who received the corn, wine and oil and wherever he got it, he did not receive it in the Inner Chamber. To gain access to that apartment a workmen required the pass-grip and pass-word of a Fellowcraft, and it is obvious that no Entered Apprentice could have possessed these.

 

One may pause here for a moment to remark that according to another tradition, all the workers of every degree were paid in current coin. The total wage bill is alleged to have amounted to about £140,000,000 sterling, and it was distributed among the craftsmen on a progressive scale which was quite obviously adjusted on the principle of the more honour the more pay. At the one end of the industrial line stood the humble Entered Apprentices who received one shekel, or about 2s 3d of English money (.50) per day, while at the other end, was the Super-Excellent Mason who received 81 shekels per day, equal to about £9 2s 3d sterling (One Masonic author very generously described this as “only a fanciful speculation of some of our ancient brethren, “and we may return, therefore, to our Corn, Wine and Oil.

 

If I am right in my theory that the wages of an Entered Apprentice in Speculative Freemasonry were suggested by the board and lodging which were the reward of the operative youth while learning t his trade, I think it is clear that the person who fixed to Wages of the Speculative A found his material in the Volume of the Sacred Law. We read in the Second Chapter of the Second Book of Chronicles that when Solomon appealed to the King of Tyre for assistance in building the Temple, he said, “Behold, I will give to thy servants, the hewers that cut timber twenty thousand measures of beaten wheat, and twenty thousand measures of barley, and twenty thousand baths of wine, and twenty thousand baths of oil.” The offer of Solomon was accepted by the King of Tyre who replied “now, therefore, the wheat, and the barley, the oil and the wine, which my lord hath spoken of, let him send unto his servants; and we will cut wood out of Lebanon as much as thou shalt need.” The account preserved. In the 5th Chapter of the first book of Kings, indicates that the gifts were made annually to Hiram’s work people, but there is a discrepancy as to the amount. In 1st Kings the Wines is omitted, and the oil is set down as “twenty measures” equal to about 1340 gallons, whereas the 20,000 baths of 2nd Chronicles were more than ten times as much, being the equivalent of about 165,000 gallons.

 

Old Sheckels:

www.flickr.com/photos/21728045@N08/31064028256/in/datepos...

 

www.flickr.com/photos/dynamosquito/5723176457/in/photolis...

 

THE WAGES OF A FELLOW CRAFT MASON

 

From The Grand Lodge Of Texas

 

During the second section of the Fellow Craft Degree, the new initiate is presented with the wages of a Fellow Craft Mason. He is told the reward for the Freemason who has observed the moral and divine law and not wasted his time in idleness or vice is to be corn, wine and oil. Such wages were indeed true in ancient days when corn, wine and oil represented wealth and were used for money. The Fellow Craft Mason received these wages, not in a literal sense, but symbolically.

 

In ancient days, "corn" was not what we think of as corn today. Instead it was a grain, such as wheat or barley, which was called corn. Thus, an ear of grain (corn) represents plenty. It is also a symbol of nourishment.

 

Wine is mentioned in Psalms 104 as something "that gladdens the heart of man" and, as such, can symbolize health and refreshment of body and spirit. On another level, wine can represent the completed and perfected human life. Wine starts as an inferior juice when newly pressed from the grape, representing youth or immaturity. But with time and through fermentation, it can become a completed product, wine. Wine represents the maturity of mind and spirit we should strive to obtain in our relationship with God, while the fermentation process symbolizes the struggles of life we encounter in developing that relationship.

 

The oil is olive oil, which was a necessity in ancient times as it served multiple purposes. It was used in the preparation of food, served as a medicine both internally and externally, and provided a source of light in the ancient oil lamps. In this view, oil can represent nourishment, health, and peace. As a food item, oil symbolizes nourishment for our physical bodies but also the moral development we as Freemasons should be striving to obtain. As a medicine or remedy, it represents physical health and the spiritual health (or joy) we obtain in our relationship to God. As a source of light, oil represents the physical and spiritual peace we obtain by overcoming the vices of life.

 

Taken as a whole, the corn, wine and oil represent both the physical and spiritual nourishment, refreshment and joy the Freemason receives for living an industrious life devoted to the service of God and his fellowman. The faithful Fellow Craft Mason is assured that his wages, his reward, shall not be just sufficient but plentiful to supply all of his physical, moral, and spiritual needs. He will have health of body, mind, and soul. He will enjoy peace in this life, in the hour of death, and in the life to come.

 

The Grand Lodge of Scotland

 

MASTER'S WAGES

 

It is rewarding to know that we as Freemasons can answer the

question as to what induced us to become Master Masons, and one answer, of course, is to receive Master's Wages.

 

Our Operative Brethren received their Master's Wages in coin of the realm. Speculatives content themselves with intangible wages, and occasionally some are hard pressed to explain to the wondering initiate just what, in this practical age, a "Master's Wages" really are.

 

The wages of a Master may be classified under two heads: first,

those inalienable rights which every Freemason enjoys as a result of payment of fees, initiation and the payment of annual dues to his Lodge; second, those more precious privileges which are his if he will but stretch out his hand to take.

 

The first right of which any initiate is conscious is that of

passing the Tyler and attending his Lodge, instead of being

conducted through the West Gate as a preliminary step to initiation. For a time this right of mingling with his new brethren is so engrossing that he looks no further for his Master's Wages.

 

Later he learns that he has also the right of visitation in other

Lodges, even though it is a "right" hedged about with restrictions. He must be in good standing to exercise it.

 

Generally this right of visiting other Lodges is a very real part of

what may be termed his concrete Master's Wages, and many are the Freemasons who find in it a cure for loneliness in strange places; who think of the opportunity to find a welcome and friends, where otherwise they would be alone, as wages of substantial character.

 

The opportunities to see and hear the beautiful ceremonies of

Freemasonry, to take from them again and again a new thought, are wages not to be lightly received. For him with the open ears and the inquiring mind, the degrees lead to a new world, since familiarity with ritual provides the key by which he may read an endless stream of books about Freemasonry.

 

"Master's Wages" are paid in acquaintance. Unless a newly made Master Mason is so shy and retiring that he seeks the farthest corner of his Lodge-room, there to sit shrinking into himself, inevitably he will become acquainted with many men of many minds, always an interesting addition to the joy of life. What he does with his acquaintances is another story, but at least wages are there, waiting for him. No honest man becomes a Freemason thinking to ask the Craft for relief. Yet the consciousness that poor is the Lodge and sodden the hearts of the brethren thereof from which relief will not be forthcoming if the need is bitter, is wages from which much comfort may be taken.

 

Freemasonry is not, per se, a relief organisation It does not exist merely for the purpose of dispensing charity. Nor has it great funds with which to work its gentle ministrations to the poor.

 

Fees are modest; dues often are too small, rather than too large. Yet, for the Brother down and out, who has no fuel for the fire, no food for his hungry children, whom sudden disaster threatens, the strong arm of the fraternity stretches forth to push back the danger. The cold are warmed, the hungry fed, the naked clothed, the jobless given work, the discouraged heartened. "Master's Wages" surely far greater than the effort put forth to earn them.

 

Freemasonry is strong in defence of the helpless. The widow and the orphan need ask but once to receive her bounty. All Brethren hope to support their own, provide for their loved ones, but misfortune comes to the just and the unjust alike. To be one of a world-wide Brotherhood on which widow and child may call is of untold comfort, "Master's Wages" more precious than coin of gold.

 

Finally, it is the right of Mason's burial. At home or abroad a

Freemason, known to desire it, is followed to his last home by

sorrowing Brethren who lay him away under the apron of the Craft and the sprig of Acacia of immortal hope. This, too, is "Wages of a Master".

 

"Pay the Craft their Wages, if any be due."

 

To some the practical wages mentioned are the important payments for a Freemason's work. To others, the more tangible but none the less beloved opportunities to give, rather than to get, are the "Master's Wages" which count the most.

 

Great among these is the Craft's opportunity for service. The world is full of chances to do for others, and no man need apply to a Masonic Lodge only because he wants a chance to "do unto others as he would that others do unto him". But Freemasonry offers peculiar opportunities to unusual talents which are not always found in the profane world.

 

There is always something to do in a Lodge. There are always

committees to be served and committee work is usually thankless work. He who cannot find his payment in his satisfaction of a task well done will receive no "Master's Wages" for his labours on Lodge committees.

 

There are Brethren to be taught. Learning all the "work" is a man's task, not to be accomplished in a hurry. Yet it is worth the doing, and in instructing officers and candidates many a Mason has found a quiet joy which is "Master's Wages" pressed down and running over.

 

Service leads to the possibility of appointment or election to the

line of officers. There is little use to speak of the "Master's

Wages" this opportunity pays, because only those who have occupied the Oriental Chair know what they are. The outer evidence of the experience may be told, but the inner spiritual experience is untellable because the words have not been invented. But Past

Masters know! To them is issued a special coinage of "Master's

Wages" which only a Worshipful Master may earn. Ask any of them if they were not well paid for the labour.

 

If practical "Master's Wages" are acquaintance in Lodge, the

enjoyment of fellowship, merged into friendship, is the same payment in a larger form, Difficult to describe, the sense of being one of a group, the solidarity of the circle which is the Lodge, provides a satisfaction and pleasure impossible to describe as it is clearly to be felt. It is interesting to meet many men of many walks of life;

 

it is heart-warming continually to meet the same group, always with the same feeling of equality. High and low, rich and poor, merchant and farmer, banker and fisherman, doctor and ditch-digger, meet on the level, and find it happy - "Master's Wages", value untranslatable into money.

 

Finally - and best - is the making of many friends. Thousands of

Brethren count their nearest and dearest friends on the rolls of the Lodge they love and serve. The Mystic Tie makes for friendship. It attracts man to man and often draws together "those who might otherwise have remained at a perpetual distance". The teachings of brotherly love, relief and truth; of temperance, fortitude, prudence and justice; the inculcation of patriotism and love of country, we everyday experience in a Masonic Lodge. When men speak freely those thoughts which, in the world without, they keep silent, friendships are formed. Count gain for work well done in what coin seems most valuable; the dearest of the intangibles which come to any Master Mason are those Masonic friendships of which there are no greater "Master's Wages".

 

Map: www.flickr.com/photos/internetarchivebookimages/147770369...

 

Portable Masonic Wages - Phoenix Masonry

 

A portable leather case of corn, wine and oil is symbolic of the wages paid to a Fellow Craft Mason as he makes his way or "passes" through the middle chamber. The "corn, wine, and oil are emblematical of nourishment, refreshment and joy and teach us this important lesson... that we should be ever-ready to nourish the needy, refresh the destitute, and pour the oil of joy in the hearts of the afflicted."

 

The corn in the Masonic rituals is a synonym of grain or wheat. In ancient rituals was used as an emblem of the Greek goddess

Demeter, or of the Roman Cybelis. Both female figures were conceived as appearances of the Mother Earth. In Greek pottery someone can see that in festivities in honour of Demeter the priests and the faithful were crowned with ears of wheat. This symbolized the fertility of the earth, which with the grain gives the bread to the mankind. Thus was corn or grain according to this symbolism the personification of the idea of plenty, abundance, and due to the divine intervention promised fertility.

 

Following the same religious beliefs was wine the symbol of Greek God Dionysos. By drinking the wine the Dionysiac priests and initiated participants to the Bacchical mysteries were able to come to the psychic condition of "methexis" - a condition of holy madness -, so they could play the drama of ritual death and rebirth of Dionysos. The wine helped them to loose their identity and come as divine actors to a psychological situation, under which they understood hidden truths and the divine allegory by using their feelings and insights rather than their intellect. The wine was seen

as a symbol of joy, exaltation ,and as a mean towards the initiation through the emotion and the instinct, by acting in Bacchical rituals, after having eliminated the logic.

 

The oil was, as an extract of the olive fruit, a reward of the

Greek goddess of knowledge Athena - Pallas, who had as emblem, among others, the olive-tree. One of the principal uses of oil was to bring the light in homes, so it was seen in its more esoterical significance as a symbol of spiritual Enlightenment, in other words as a symbol of the eternal lantern of divine knowledge. In the same meaning was the oil a symbol of peace through Enlightenment. Plants of the olive tree were given as a reward to the winners of the Olympic games, during which every war must be breached. Thus Athena brought to

the faithful with the present of oil the reward of hidden knowledge, enlightenment and peace.

 

In the Biblical symbolism the three products possessed a similar meaning and significance to this of the Greco-roman world. King Solomon gave corn, wine and oil to the builders of the Temple as a reward for their labors. The ear of corn together with the flood of water personifies in the Hebrew word Shibboleth the abundance and wealth. The wine was seen as an element of consecration and a divine refreshment. The Hebrews anointed their Kings, Prophets and High Priests with oil mixed with other spices, because the oil was the major element of the ceremony, which was leading towards the path of the divine initiation.

 

In the Christian symbolism the corn refers to the bread and this

last one makes someone remember of the body of Jesus Christ in the Eucharist, as well as the wine refers to the blood of him. The oil symbolizes the Baptism. The three substances are the most significant of the Christian initiation. In Christian Masonic

degrees these three rewards of the Mason bring with them the

remembrance of the Holy Passion and the promise of the Resurrection.

 

According to all above mentioned symbolical languages the Mason receives as a reward for his labors in the Lodge the present of grain, because he fertilized himself and all other Masons by working in the building of himself and the building of the Temple. He receives the wine to remember that through his emotion and instinct conquered the hidden knowledge by playing in the rituals the passions of God his symbolical murder and his eternal rebirth. Thirdly, he receives the oil to remember that he achieved at the end of the road the spiritual enlightenment, the baptism, and his inner peace as a reflection of the eternal peace of God.

 

Mark Master Degree - Its Ritual and Antiquity

 

R. E. Trebilcock

 

RITUAL OF THE MARK MASTER DEGREE

 

The degree of Mark Master has continued with as few changes as any Masonic degree of which we have knowledge. It is impossible for anyone to specify accurately what the ritual consisted of previous to 1797, but in that year, Thomas Smith Webb issued the first complete Masonic Monitor which included the Capitular degrees.

 

We have before us, as we write, this first edition of Webb; in it he says of the degree:

 

The first section explains the manner of convocating and opening a Master Mark Lodge. It teaches the duties of the respective officers, and recapitulates the mystic ceremony of introducing a candidate. In this section is exemplified the regularity and good order that was observed by the craftsmen on Mount Libanus, and in the plains and quarries of Zeredathah, and ends with a beautiful display of the manner by which one of the principal events took place.

 

In the second section, the Master Mark Mason is particularly instructed in the history of this degree, and the increased obligation he is under to stretch forth his assisting hand to the relief of an indigent and worthy brother.

 

The distinguishing marks and characteristics are also explained and illustrated in this section. In the course of the lecture the following texts of Scripture are recited, viz.:

 

Then follow five quotations taken from Psalms, Matthew, Mark, Luke, and Acts all having to do with the "stone which the builders rejected." In many jurisdictions this has been changed by using quotations which are not so monotonous, since references are made throughout the degree to the same passages.

 

The Charge which follows is identical with that in use to this day; the Parable of the Vineyard occupied an important place; and the Mark Master Song, as now used, was printed in full.

 

The degree of Mark Master in 1797 is that of 1964!

 

THE SCRIPTURE USED IN MARK DEGREE

 

Quotations from the Scriptures appear very prominently throughout the ritual of the Mark Master degree, beginning with the opening and appearing also in the closing ceremonies.

 

These include extracts from I Peter, Ezekiel, Isaiah, Revelations, Matthew and Proverbs. In a few instances not all of the verse has been used, to enable it to fit into the ritual ceremony. A few changes are necessary so as to be inoffensive to any religious belief.

 

An instance of this appears in the opening ceremonies as taken from I Peter:

 

Wherefore, laying aside all malice, and all guile, and hypocrisies, and envies, and all evil speakings; if so be ye have tasted that the Lord is gracious; to whom coming, as unto a living stone, disallowed indeed of men, but chosen of God, and precious; ye also as lively (changed to "living") stones, be ye built up a spiritual house (change to "are built up, etc.), an holy priesthood, to offer up spiritual sacrifices acceptable to God by Jesus Christ. ("by Jesus Christ" stricken out to make acceptable to Hebrew and Moslem.)

 

Verse 3 is omitted entirely, having no connection with the ritual. Instead of continuing to quote from Peter, the next section jumps over to Isaiah 28:16:

 

Therefore thus saith the Lord God (changed to "Wherefore, also it is contained in the Scripture")

 

Behold, I lay in Zion for a foundation a stone, a tried stone, a precious cornerstone, a sure foundation; he that believeth shall not make haste to pass it over. ("to pass it over" is stricken out in the ritual.)

 

And there are changes made in verse 7 of I Peter, 2:

 

Unto you therefore which believe he is precious (ritual reads "it is an honor") but unto them which be disobedient (ritual says "and even to them which be disobedient,"), the stone which the builders disallowed, the same is made the head of the comer.

 

And jumping to verses 15-17 of the same chapter, we read:

 

For so is the will of God (the ritual says "Brethren, this is the will of God"), that with well doing, ye may put to silence ("may" is left out of the ritual), the ignorance of foolish men: as free, and not using your liberty for a cloke (spelled cloak in ritual), of maliciousness, but as the servants of God. Honour all men. Love the brotherhood. Fear God. Honour the King. (The ritual says: "Honor all men; love the brotherhood; fear God.")

 

The Scripture of the perambulations is taken from Ezekiel 44, verses 1, 2, 3, and 5, and there is no change in the ritual from that of the Scripture. These passages refer to the vision of Ezekiel, to understand which we must refer to Ezekiel 40 v. 2-3:

 

In the visions of God brought he me into the land of Israel, and set me upon a very high mountain ... and he brought me thither, and behold, there was a man whose appearance was like the appearance of brass ... and he stood in the gate (of the City of Jerusalem).

 

The "man" thereupon conducted him about the Temple giving information and instruction to Ezekiel, when, finally,

 

He brought me back the way of the gate of the outward sanctuary which looketh toward the east; and it was shut.

 

Then follows verses 2, 3, and 5, omitting 4, which has no connection.

 

We encounter in the ritual, the following:

 

what you give, give freely, for the Lord loves a cheerful giver.

 

The passage is taken from II Corinthians 9:7:

 

Every man according as he purposeth in his heart, so let him give; not grudgingly, or of necessity: for God loveth a cheerful giver.

 

A passage from Ezekiel is twice used in the ritual (Ezekiel 44:5), where Ezekiel is told to listen carefully to all that has been said; this applies equally to the instruction being given the candidate:

 

Mark well, and behold with thine eyes, and hear with thine ears, all that I say unto thee concerning all the ordinances of the house of the Lord, and all the laws thereof, and mark well the entering in of the house with every going forth of the sanctuary.

 

In the Revelation of St. John the Divine appears a passage of importance to the Mark Master. It is in Revelation 2:17, and refers to the message to the churches:

 

To him that overcometh will I give to eat of the hidden manna, and will give him a white stone, and in the stone a new name written, which no man knoweth saving he hath received it.

 

The white stone with the name written thereon is one of the principal pieces of furniture of a Mark Master lodge and its traditions and symbolism are carefully explained to each candidate. Not only did the "white stone" convey the name, but it was also the stone found necessary in completing the temple. Just so is the name essential for completing the spiritual temple.

 

And finally, we come to the beautiful parable of the vineyard, quoted exactly from Matthew 20:1-16. The quotation follows a conversation between Jesus and Peter, his disciple. The discussion is on the matter of everlasting life and the parable is used to impress upon Peter that whosoever seeks eternal life shall find it whether that search begins in youth, in manhood, or in age when one comes in "at the eleventh hour," "receiving as much as they who have borne the burden of the day."

 

How appropriately it is introduced into the Mark Master degree, only those who receive it, and study it, may know.

 

The closing passage of scripture is taken from Proverbs 3:1, and carries on the story of eternal life by calling attention to those things necessary to attain it.

 

Read it:

 

Forget not God's law; but let thine heart keep his commandments; for length of days, and long life, and peace, shall they add to thee.

 

Let not mercy and truth forsake thee; bind them about thy neck; write them upon the table of thine heart: so shalt thou find favor and good understanding in the sight of God and man.

 

And what a fine theme on which to close a Masonic degree!

 

A MARK MASTER'S WORKING TOOLS

 

Why were the chisel and mallet chosen as the working tools of a Mark Master? What particular relationship do these tools have with the degree of Mark Master?

 

First, let us see what we are told about these implements:

 

The Mallet morally teaches us to correct irregularities, and to reduce man to a proper level; so that, by quiet deportment, he may, in the school of discipline, learn to be content.

 

What the Mallet is to the workmen, enlightened reason is to the passions; it curbs ambition, depresses envy, moderates anger, and encourages good dispositions; whence arises among good Freemasons, that comely order, Which nothing earthly gives, or can destroy; The soul's calm sunshine, and the heartfelt joy.

 

The Chisel morally demonstrates the advantages of discipline and education. The mind, like the diamond in its original state, is rude and unpolished; but as the effect of the Chisel on the external coat soon presents to view the latent beauties of the diamond, so education discovers the latent virtues of the mind, and draws them forth to range the large field of matter and space, to display the summit of human knowledge, our duty to God and to man.

 

A progressive study of Masonic working tools will show both a practical and a symbolic use of these instruments; this is the teaching of Freemasonry, and how well we absorb this teaching will decide how good a Freemason we are.

 

In the first place, their practical purpose is explained in the Mark Master lecture; but the candidate is not told that with these tools he can communicate with another brother, for it is with these instruments that he makes the Masonic cipher alphabet. It is with these instruments that he can place his individual mark upon each piece of work which he may complete for the building of the temple. And here for the first time he is taught individual responsibility. Heretofore he has been working for the combined interest of the human family; now he is taught that he has an individual responsibility, and that each piece of work which he presents has a distinct personal value; that his work must be square and true and that those who inspect will: through his mark, be able to detect imperfect work, or work presented by imposters.

 

But most important is the thought that each of us must perfect our own lives; that it is in our power to build a substantial structure or an imperfect one. Our lives are like blocks of stone which the sculptor, by striking off bits here and there, may form into a beautiful work of art, the value of which depends solely on the vision of the artist himself. The Chisel and Mallet are his instruments for producing his masterpiece. So, does the Mark Master, using his Chisel and Mallet as spiritual instruments, perfect his character by striking off all those vices and irregularities which mar a life, and reveal a perfect character, the finest gift one can offer to the Great Overseer.

 

In the lodge we are taught the value of each stone that goes into the temple, materially and spiritually. In the chapter we are taught that we are the architects of our own lives and that it is within our power to say whether that life be good or bad.

 

How important to us, as Freemasons, are the teachings of the Chisel and the Mallet which give us an insight into our duties and our possibilities!

 

THE ANTIQUITY OF THE MARK

 

William J. Hughan, the most famous of the English Masonic historians says of the Mark degree:

 

The antiquity of Mark Masonry cannot be doubted. Operatively considered and even speculatively, it has enjoyed special prominence for centuries; records of the custom being followed by speculative brethren, according to existing records, dating back to 1600, in which year, on the 8th day of June, "Ye principal warden and chief master of maisons, Wm. Schaw, master of work to ye Kingis Maistie", met members of the Lodge of Edinburgh (Now No. 1) at Holyrood House, at which meeting the Laird of Auchinleck was present, and attested the minutes of the assembly by his Mark, as did the operatives, in accordance with the Schaw Statutes of December 28, 1598, which provided "That the day of reassauying (receiving) of said fellow of craft or master be ord'lie buikit and his name and Mark insert in the said buik."

 

Another minute book of the same lodge contains a list of members in 1767, setting out after each name the date on which the member received the degree of R.A. The earliest date given is 1745.

 

Turning to America, we find a reference in a minute book of a lodge in Virginia of the degree being conferred in 1753.

 

Castells in his book "Organization of the Royal Arch Chapter Two Centuries Ago" says, in his opening chapter, that

 

"The question of the fons et origo of our Supreme Degree is a problem; but we claim that we have solved it, for we have shown in previous works that the Royal Arch is only a dilution of Kabbalism."

 

Let us see on what this claim is founded. He admits in his preface that he had only at his disposal "a few scraps of information, which are like the tiny bits of a jigsaw puzzle, most difficult to combine into a pictorial design," but he believes he has put them together in the right order. But do the scraps of information justify the conclusion at which he has arrived?

 

The Kabbala was a secret science of the Jewish Rabbis for the interpretation of the hidden meaning of the scriptures, claimed to be handed down by oral tradition.

 

In his chapter on the Kabbalistic Degrees, the author refers to an ancient work known as the Sepher-ha-Zohar, a book that appeared in Spain in the thirteenth century. The copies of this book (there are two or three still in existence) were in the manuscript of a professional copyist, who apparently had an earlier copy in his possession.

 

The subject matter is undoubtedly considerably older than the 13th century, but probably had been handed down by tradition and reduced to writing only in then comparatively recent times. It professes to be the work of one Simeon bin Jochai who lived in the first century A.D.

 

Speaking of the first word with which we of the R.A. are familiar, Simeon says,

 

"Now come and see the mystery of the Word. There are Three Degrees (in the word) and each Degree, exists by itself, and although the Three constitute One, they are closely united into One, and are inseparable from each other."

 

Simeon was discussing the word, and had explained that there were three ways of writing it:

 

The simple four-lettered word, without points;

The same four letters with certain vowels, taken from another sacred word;

The same with the vowel points of still another sacred word.

From this Castells infers "that the unwritten word of Kabbalism. consisted of three particles, or syllables, each one being capable of standing by itself; and as it had a meaning of its own, it could be considered either singly or separately. The three syllables, however, formed one word, and were actually united and inseparable. This answers exactly to the Word which the R.A. Companions know of."

 

So far we may, perhaps, agree with Castells, but he goes further, and claims that "The statement of the Zohar implies that each part of the Sacred Word was communicated and shared piecemeal by the three who bore sway among the old time companions, and this was done by them as they passed successively from chair to chair, until the climax was reached when the whole Word became known."

 

He submits, therefore, that the passage refers to the Second Word with which we are familiar "which was the Masonic Word" of the seventeenth century.

 

I would like to be able to agree with Castells in this last deduction, but I am afraid he has built too much on very slender premises.

 

Be that as it may, he proves nothing. The first Word (except as to its correct pronunciation) is known to all the world, and has so been known for many centuries, so the possession of it by the R.A. does not indicate that it came from the Kabbalists. As to the second word, Castells' claim that it was possessed by the Kabbalists is entirely without foundation.

 

Further, there is more in our traditions than the knowledge of a word — the tradition as to the finding of what was lost. Even Castells does not suggest that the Kabbalists had a tradition of a loss of something important and its subsequent discovery. If it could be shown that they had, then the conclusion that our Order was a descendant of Kabbalism would be almost irrefutable.

 

Castells says

 

"the analysis of Kabbalism … leaves no room for doubt … Kabbalism in this country (England) degenerated and gave rise to Freemasonry…. Our views have now been before Masonic students for some years, and if there be any fallacy in them, let those who can disprove them."

 

The fallacy is obvious. He has based his views on insufficient data; the "tiny bits" of his "jigsaw puzzle" are too few and too small to warrant the picture he has built out of them.

 

No, we can trace the Royal Arch back with certainty to a few years before 1744 (say 1740), and the place, England. It is probably very much older, but there we must leave it. Some day, perhaps, some old manuscript may turn up which will give it still greater antiquity, but it is not likely.

As you can imagine, in that I am still posting shots from June, I have got a little behind with my postings. So, for the past two days I have been posting soe un-edited shots from a could of churches we visited whilst in Northumberland, and later I will post shots of the church in Alnwick which we also visited and I snapped.

 

In addition to these, i have shots of four Kentish churches from May to edit and post, as well as some shots from Bejing airport when I left China.

 

At least there are no more orchid shots for a while, eh?

 

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This is an ancient place of worship – the Gospel has been preached here for probably 1,200 years. The Anglo-Saxons had a royal burgh here and the existence of the Anglian cross would indicate that there was a church here in those days.

 

It is surprising that any relics of old churches are found in the Coquet Valley. There were two periods of destruction of churches in England – the Reformation and Cromwell’s Commonwealth. In addition to that, in this area there were Viking and Norman invasions, followed for many years by the incursions of the Scots. The Coquet valley, serene as it may seem today, was one of the most violent parts of England.

 

The monastic church at Rothbury must have been destroyed either by the Vikings or even the Normans; however the eastern part seems to have survived to become the foundation of a new building at some time in the thirteenth century, part of which can still be seen in the chancel, the chancel arch and the east walls of the transepts.

 

In the eighteenth century the church had galleries, dormer windows and a three-decker pulpit but these all disappeared in the restoration of 1850, undertaken by the Rector, Canon C. Vernon Harcourt. With a few additions and alterations this is the church we see today. This was a busy period of church building in the valley. Within two years, the churches at Rothbury, Alwinton and Holystone were either rebuilt, modified or restored.

 

Most of the stained glass in the Church is Victorian, the exceptions being two windows on the north wall in memory of local head teachers and those in the Memorial Chapel in the south transept.

 

In the Baptistry (1) is the greatest treasure of the church; the pedestal of the font. This is part of the shaft of the Anglo-Saxon cross, dated around 800AD. More remnants of this cross were discovered during the 1850 restoration; they are now in the Museum of Antiquities, Newcastle. On the north side is what is said to be the earliest carving of the Ascension in this country. The Disciples can be seen gazing up to the ascending Christ. The south side is a panel of intricate knotwork, the west side has a carving of beasts preying on one another and on the east side an animal (a lion) can be seen walking between double branches bearing fruit in clusters of three.

 

The bowl of the font dates from 1664 replacing one damaged during the unrest of the Civil War and the Commonwealth. The font cover is twentieth-century, given in memory of Lady Armstrong. Lord Armstrong’s funeral hatchment hangs on the south wall (2).

 

In the corner stands a small bell which hung in the tower above until 1893 when the present peal of eight bells was given to the church. It is inscribed ‘John Thomlinson, Rector of Rothbury 1682’. It was a product of the well known Whitechapel Foundry.

 

On the east side of the Baptistry screen are the boards bearing the names of the Rectors of Rothbury from Lucas in 1287, to the last Rector of the parish of Rothbury. In the new parish of Upper Coquetdale, the incumbent also carries the title of Rector.

 

The Bells

 

There is a peal of eight bells in the tower with the tenor bell weighing 13cwt 3qr 15lb. They were presented to the church in 1893 in memory of William Dawson by his sister, Mary.

 

The Nave

 

The nave was totally restored in 1850 – of necessity it would seem. However, the nave arch has origins as far back as the thirteenth century.

 

The pews are numbered, possibly from the era when individuals or families had their own private pew. Either for a standard fee, or in some cases by auction, a pew could be acquired for personal occupation. This custom died mostly during the late Victorian period. The numbering system was sometimes retained after this time as a means of keeping maintenance records.

 

The pulpit (3) is a fine piece of Victorian carving, given in 1901 in memory of Lady Armstrong depicting Bernard Gilpin, the 16th century “Apostle of the North” along with Saints Columba, Paulinus, Hilda and Aidan. The brass eagle lectern is of the same period.

 

The screen (4), another piece of beautiful wood carving, was installed in 1901 in memory of Lord Armstrong. On the mouldings of the beam is a series of eighteen shields blazoned with the arms of landowners, benefactors, patrons, and communities connected with Rothbury Church and parish from the 12th century down to the time of installation.

 

The inner porch on the south door (5) was erected in 1929 in memory of Dr Thomas Sharpe, Rector 1720 – 1758; another great benefactor of the Parish. One legacy of Dr. Sharpe is “Sharpe’s Folly” half a mile away at Whitton. It is a 30ft high tower, reported to be built to provide local masons with employment, but also to be used as an observatory.

 

The Chancel

 

There are two thirteenth century arches in the north wall of the chancel, separating the chancel from the vestries (6). The building containing the vestries stands on the site of the old Cartington chantry, and was built in 1886. The chantry which belonged to the Cartington estate was endowed for the maintenance of a priest to celebrate masses for the benefit of the souls of the founder and his family. After the Reformation, when prayers for the dead were forbidden, the chantry appears to have fallen into decay over the next hundred years. The arches were sealed to keep out inclement weather (and vandals), and remained that way for another two hundred years before the modifications in 1886.

 

In 1658 it was, ordered that “no grave be dig’d in ye bodye of the Church under the price of 5/-. Because it not being flag’ d would not only spoile the seats and floor, but endanger ye people’s health by infectious aire” – consequently the chancel had a marble pavement laid about 1710 (this was later covered) and the Nave was flagged for the first time in 1730.

 

The oak choir stalls are dedicated to the memory of Edward Mallet Young, Rector of Rothbury, 1894-1900.

 

The oak screen that divides the chancel from the priest’s vestry (6) is decorated with tracery work, and in its twelve panels there are the family coats of arms of twelve of the rectors of Rothbury.

 

The organ screen is a memorial to those who fell in the First World War. This screen is surmounted by organ pipes which are purely decorative. Looking between these pipes, the highly decorated genuine functional pipes may be seen.

 

Around 1840, the music in the services was provided by a string band, clarinets and violins, which were succeeded by a barrel organ. The present organ was given by Lord Armstrong and the rector, Rev. C.G.V. Harcourt in 1866. It was built by Hill and Sons of London in 1866, a company that operated in London from 1862 to 1917 before becoming Hill, Norman and Beard. When installed, it was sited at the west end of the church. Its precise location is not known but it may be assumed from the design of the instrument that the organist would sit with his back to the congregation. Playing while trying to control the choir at the east end of the church at the same time must have been extremely difficult, and it is probable that the choir sat at the west end of the church at that time.

 

The organ was later moved to its present position (7), certainly earlier than 1901, and would presumably be following or at the time of building the new vestry in 1887.

 

It is a two manual instrument with eleven speaking stops, and has never been modified in design – it still has a flat pedal board and the swell pedal is unbalanced, being able to be notched in position as the organist wishes.

 

An electric blower was installed many years ago, but the handle for hand blowing the bellows is still in place should it ever be needed.

 

The Sanctuary

 

On the east wall behind the altar is a finely made reredos (8) of Corsham Down stone, alabaster, and marble, consisting of five trefoil-headed arches.

 

The paneling in the sanctuary was installed in the early twentieth century. On the north side is the Thomlinson Memorial. (9) Dr John Thomlinson was Rector of Rothbury from 1679 to 1720. He was one of the greatest benefactor of the Parish; among many other things he founded a school where there were two masters “to teach gratis all such children within the Parish to read and understand the English, Latin and Greek tongues and to write, cast accounts and the Church catechism”.

 

The heraldic devices on the paneling belong to former Rectors who were also Lords of the Manor of Whitton.

 

To the south of the Altar is a thirteenth century Piscina (10) where the priest washes his fingers before the consecration in the Communion service. The carpet in the sanctuary and along the altar rail was worked by eighteen ladies of the Parish in 1972, the design being based on the knotwork of the Font.

 

The Memorial Chapel

 

The Chapel (11) is dedicated to the memory of the men of Rothbury who died in both World Wars.

 

The altar came from Sleights Church in North Yorkshire, the ends of the altar and the paneling from the old oak pews of the Church which in turn were made from trees from the ancient Rothbury Forest.

 

The windows were designed by LE. Evetts in keeping with the clear glass of old Northumbrian churches. He also executed the Regimental badges.

 

External features

 

The foundations of the tower are medieval but it has been much restored, and the village clock was placed in the tower in 1897. In more recent years the clock has been modified and is now electrically powered.

 

The west door was restored in the Early English style and is generally used on special occasions such as weddings, funerals and festivals.

 

In the outer porch (12) wall are three mediaeval stones, thought to be fragments from old grave covers.

 

On the south outside wall of the Chancel are two scratch sundials (13,14) – these are frequently found near the Priest’s Door of medieval churches as they are here. Also, on the south lawn, is a block sundial (15) – this used to be on the roof of the porch. It had four dials and was white-leaded for easier reading. (in 1728 this cost 1s 9d.).

 

The graveyards around the church and on the west side of the road are no longer in use. They contain the graves of some interesting people including the Armstrong family of Cragside.

 

coquetdaleanglican.org/thropton/

I had thought I had already been to East Malling, but was mistaken. All part of the same spread of modern housing and building spreading out from Maidstone which both Ditton and Leybourne were part of.

 

I found a place to park opposite the tumbling waters of the East Malling Stream on the other side of the road, with the tower of St James in front of me.

 

I had hopes it would be open, it was a Saturday morning, but I found it locked fast and no keyholder info.

 

St James is set in a large churchyard, split into two by the wide path running beside the church. Looks interesting from the outside, one to return to in September.

 

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An impressive church, though this is not the impression one gains when approaching it from the west, where the tower is almost all that is visible. Norman in origin, but much enlarged in the thirteenth and fourteenth centuries and remodelled in the fifteenth, St James has had a bush or two with Anglo Catholic practice which has resulted in the introduction of some fine furnishings. Pride of place must go to the Lady Chapel altar by Sir Ninian Comper, one of three to be found in this part of the Medway Valley. Also commemorated here are members of the Twisden family, whose house Bradbourne, stands north of the church. Until the 1930s the chancel was privately maintained by the family and retained its box pews until the death of the last Baronet when this part of the church was restored to its pre-Reformation form. In its floor is a slab to Col Tomlinson, who guarded King Charles I until his execution in 1649. He was related by marriage to the Twisdens. The organ at the west end of the church was formerly in Bradbourne House and was donated to the church in 1934.

 

www.kentchurches.info/church.asp?p=East+Malling

 

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EAST MALLING.

EASTWARD from Leyborne lies East Malling, called in the Textus Roffensis, MEALLINGES, and in Domesday, METLINGES.

 

THIS PARISH is delightfully situated; it is both pleasant and healthy; the soil is for the most part sand, covering the quarry rock; to the southward it inclines more to a loam and red brick earth; but most of it is very fertile, as well for corn as for plantations of fruit and hops, which latter thrive here remarkably well. The high road from London through Wrotham to Maidstone, crosses this parish at the thirtieth mile stone: the hamlet of Larkfield-street, which gives name to this hundred, is situated on it, where there is a fair held on St. James's day. Hence this parish extends northward for more than a mile, to the river Medway, the bank of which is here beautifully shaded with young oaks. Here is a hamlet called New Hythe, situated close to the river, so called from the shipping and relading of goods at it. The civil liberty of the corporation of Maidstone claims over this place.— There once belonged a chapel to this district, called New Hythe chapel, which was suppressed in king Edward VI.th's time, when it was valued at eleven shillings clear yearly value; the first founder of it was not known. Daily mass was said in it. Hugh Cartwright, gent. of East Malling, had soon afterwards a grant of it.

 

Adjoining to the southern side of the high road and hamlet of Larkfield, is the small, but beautifully situated, park of Bradborne, the plantations of which, as well as the stream which flows through it, are so judiciously and ornamentally disposed round the mansion, as to render it, for its size (its smallness being by art wholly concealed from the sight) the most elegant residence of any in these parts. Close to the southern pale of the park, is the village of East Malling, at the north end of which is a handsome house, the property of Sir John Twisden, the church, and parsonage. Hence there is a street called Mill-street, from a corn mill there, which is turned by the before mentioned stream. Through the village, which has in it some tolerable good houses, one of which was lately the property of James Tomlyn, esq. the ground rises up to East Malling heath, on the entrance of which, near the direction post, there appears to be a Roman tumulus. On this heath are several kilns for making bricks and tile; it lies on high ground, and is a pleasant spot, though surrounded on the east and west sides by large tracts of coppice woods. The park of Teston bounds up to the south east corner of it, and the road from thence to Town Malling and Ofham leads along the southern part of it, through the woods.

 

AT THE TIME of taking the general survey of Domesday in the year 1080, being the fifteenth of the Conqueror's reign, this place was part of the possessions of the archbishop of Canterbury, under the title of whose lands it is thus entered in that record.

 

In the lath of Elesfort, in Laurochesfel hundred, the archbishop (of Canterbury) himself holds Metlinges in demesne. It was taxed at two sulings. The arable land is seven carucates. In demesne there are three carucates and thirty-eight villiens, with twelve borderers having five carucates. There is a church and five servants, and two mills of ten shillings, and twenty-one acres of meadow. Wood for the pannage of sixty hogs. In the whole value, in the time of king Edward the Confessor it was worth nine pounds, the like when he received it, and now as much, and yet it pays fifteen pounds.

 

The manor of East Malling was given not many years afterwards by Anselm, archbishop of Canterbury, by the name of Parvas Meallingas, to the nunnery of the adjoining parish of West Malling, founded by Gundulph, bishop of Rochester, his cotemporary. In the 7th year of king Edward I. the abbess of Malling claimed several liberties within this manor; and in the twenty-first year of that reign, she claimed to have in it view of frank pledge, assize of bread and ale, and gallows, which she found her church possessed of at the time of her coming to it; and it was allowed her by the jury.

 

In the time of king Richard II. the temporalities of the abbess of Malling in this parish and Town Malling were valued at forty-five pounds.

 

This monastery being dissolved in the 30th year of Henry VIII. anno 1538, this manor was, with the rest of its possessions, surrendered into the kings hands. After which the king, in his 31st year, granted in exchange, among other premises, to Thomas Cranmer, archbishop of Canterbury, this manor and parsonage, late belonging to the before-mentioned abbey, excepting all advowsons, presentations, &c. to hold by knight's service; and as the king was entitled to the tenths of them, he discharged the archbishop of them, and all other outgoings whatsoever, except the rent therein mentioned. Which grant was in consequence of an indenture made before, between the king and the archbishop, inrolled in the Augmentation-office.

 

The manor of East Malling, and the premises before-mentioned, were again exchanged with the crown in the beginning of the reign of queen Elizabeth, in the 12th year of which the queen granted this manor in lease to Sir Henry Brook alias Cobham, knt. fifth son of George, lord Cobham; after which it was in like manner possessed by Pierpoint, who lies buried in Town Malling church, and afterwards by Hugh Cartwright, esq. who bore for his arms, Argent, on a fess engrailed, sable, three cinquefoils of the first. On whose decease his widow, Mrs. Jane Cartwright, one of the seventeen daughters of Sir John Newton, became entitled to it, and carried her interest in it to her second husband, Sir James Fitzjames, and he passed it away to Humphrey Delind, who soon afterwards alienated it to Sir Robert Brett, descended of the ancient family of the Bretts, in Somersetshire, who bore for his arms, Or, a lion rampant, guies, within an orle of cross-croslets fitchee of the second. He died in 1620, and was buried in Town Malling church, having had by Frances his wife, the only daughter of Sir Thomas Fane, by Mary, baroness Le Despencer his wife, who died in 1617, an only son Henry, who died in 1609, and both lie interred with him in that church. The next year after the death of Sir Robert Brett, king James granted this manor in fee to John Rayney, esq. which grant was farther confirmed to Sir John Rayney, his eldest son, in the second year of king Charles I. Sir John Rayney was of Wrotham place, and was created a baronet of Nova Scotia in 1641; and his son of the same name, about the year 1657, passed it away by sale to Thomas Twisden, serjeant at law, afterwards knighted, and made one of the judges of the King's Bench, and created a baronet.

 

He afterwards seated himself at Bradbourn, in this parish, and in his descendants, baronets, seated there likewise, it has continued down to Sir John Papillon Twisden, bart. of Bradbourn, who is the present owner of it.

 

There is a court leet and court baron held for this manor.

 

BRADBOURN is a seat in this parish, which has long been the residence of a gentleman's family. It was formerly accounted a manor, and in the reign of king Henry VIII. was in the possession of the family of Isley, of Sundridge, in this county, in which it continued till Sir Henry Isley, in the 31st year of that reign, exchanged it with the king for other premises; which exchange was confirmed by letters patent under the great seal the next year.

 

In the reign of queen Elizabeth, it was in the possession of the family of Manningham, descended out of Bedfordshire, who bore for their arms, Sable, a fess ermine, in chief three griffins heads erased or, langued gules. The last of this name here was Richard Manningham, esq. who about the year 1656 alienated Bradbourn to Thomas Twisden, esq. serjeant at law, who was the second son of Sir William Twisden, bart. of Roydon-hall in East Peckham, and of the Lady Anne Finch, his wife, daughter of the first countess of Winchelsea, and continued to bear the antient coat of arms of his family, being Gironny of four argent and gules, a saltier and four cross croslets, all counterchanged, with due difference; and for his crest, On a wreath, a cockatrice azure, with wings displayed or. On the year of king Charles's restoration, he was knighted by him, and made one of the judges of the king's bench, and on June 13, anno 19 Charles II. 1666, was created a baronet. He discharged his office of judge during the space of eighteen years, when he obtained his quietus, on account of his great age and infirmities. He altered the spelling of his name from Twysden, as it was spelt by his ancestors, and is still by the Twysdens of East Peckham, baronets, to Twisden, to distinguish the two branches of the family, and this alteration has been followed by his descendants, to the present time. He resided at this seat, the grounds of which he imparked in the year 1666, and dying in 1683, aged 81, was buried in East Malling church. He married Jane, daughter of John Tomlinson, esq. of Whitby, in Yorkshire, who surviving him, died in 1702, by whom he had several sons and daughters. Of the former, Sir Roger Twisden, knight and baronet, the eldest son, succeeded him in title and estate, and resided at Bradbourn. He married Margaret, daughter of Sir John Marsham, knight and baronet, of Whornes-place, and died in 1703, leaving three sons and two daughters. He was succeeded in title and this estate by his eldest son, Sir Thomas Twisden, bart. who was likewise of Bradbourn, and served in parliament for this county in the second parliament of king George I. He married Anne, the daughter and heir of John Musters, esq. of Nottinghamshire, by whom he had four sons; Sir Thomas, his successor; Sir Roger, successor to his brother; and William, and John deceased. He died in 1728, and was succeeded by his eldest son, Sir Thomas Twisden, before-mentioned, who going abroad died at Grenada, in Spain, in 1737, unmarried, and was succeeded in dignity and this estate by his brother, Sir Roger Twisden, bart. who resided at Bradbourn, which he so highly improved, that there are few seats of private gentlemen, that exceed it, either in convenience, beauty, or pleasantness.

 

He served in parliament for this county in the 5th and 6th parliament of king George II. and having resided here with the worthiest of characters, he died in 1772, and was buried with his ancestors in East Malling church. By Elizabeth, his wife, daughter and heir of Edmund Watton, esq. of Addington, and widow of Leonard Bartholomew, esq. who survived him, and died in 1775, he left three sons, Roger; William, who resided at Hythe, and married Miss Kirkman, and died s. p. and John Papillon. He was succeeded by his eldest son, Sir Roger Twisden, bart. of Bradbourn, who died in 1779, leaving his wife Rebecca, daughter of Isaac Wildash, esq. of Chatham, big with child, which proved to be a daughter, on which his only surviving brother Sir John Papillon Twisden, bart. succeeded him both in title and his estates in this parish, of which he is the present possessor. He resides at Bradbourn, and in 1782 married a daughter of admiral Sir Francis Geary, of Polsden, in Surry, bart. by whom he has a son, born in 1784.

 

CHARITIES.

Mr. RICHARD BURNET gave by will in 1578, four bushels of wheat, in money 20s. to be distributed yearly to the poor of this parish for ever, on Good Friday, vested in the churchwardens.

 

Mrs. MARY TURNER, in 1679, gave by will 20s. to be distributed to twenty poor widows of this parish on Lady-day for ever, vested in the same.

 

THE LADY JANE TWISDEN, relict of judge Twisden, gave by will in 1702, toward putting out poor children, born in this parish, apprentices, the sum of 100l. now vested in the same, and of the annual produce of 4l. 4s.

 

JAMES TOMLYN gave by will in 1752, to teach poor children to write, and the church catechism, and to read, 5l. yearly for ever, issuing out of land in this parish, called Crouch, vested in the churchwardens, and now of that annual produce.

 

EAST MALLING is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.

 

The church of East Malling is dedicated to St. James. It is a handsome building, with a square tower at the west end of it.

 

Archbishop Anselm, who lived in the time of king William Rufus, gave the church of East Malling to the nunnery of the adjoining parish of West Malling, and granted, that the abbess and nuns there should hold it appropriated to them. (fn. 1)

 

¶Simon, archbishop of Canterbury, in 1363, on the complaint of Sir John Lorkyn, perpetual vicar of this church, that the portion of his vicarage, the church of which was held appropriated by the abbess and convent of Malling, was insufficient for his decent support and for the payment of episcopal dues, and the support of other burthens incumbent on him; and the abbess and convent being desirous of providing a proper support for the vicar and his successors, as far as was necessary, and agreeing, under their common seal, to assign to him and them the portions under-mentioned, which the archbishop approved of as sufficient, and the vicar likewise agreed to—decreed, and ordained, that the vicar and his successors, should have the mansion belonging to the vicarage, with the garden of it, and six acres and three roods of arable land, and two acres of meadow, which they used to have in past times, free and discharged from the payment of tithes, together with the herbage of the cemetery of the church, and the trees growing on it, and the tithes of silva cedua, lambs, wool, pigs, geese, ducks, eggs, chicken, calves, cheese, and the produce of the dairy, pidgeons, hemp, and flax, apples, pears, pasture, honey, wax beans planted in gardens, and of all other seeds whatsoever sown in them, and also the tithes of sheaves arising from orchards or gardens, dug with the foot, together with the tithes as well of the cattle of the religious in their manors and lands wheresoever situated within the parish, either bred up, feeding, or lying there, and of all other matters above-mentioned, being within the said manors and lands, as of the cattle and matters of this sort of all others whatsoever, arising within the parish; and further, that the vicar and his successors, ministering in the church, should take at all future times all manner of oblations, as well in the parish church, as in the chapel of St. John, at Newhethe, in this parish, and all other places within it, then or in future, and the tithes of business of profit, of butchers, carpenters, brewers, and other artificers and tradesmen whatsoever, to this church in any wise belonging, and likewise the residue of the paschal wax, after the breaking of the same, and legacies then, or which might afterwards be left to the high altar, and the rest of the altars, or images; and he decreed, that only the tithes of the two mills in this parish belonging to the religious, and also the great tithes of sheaves, and of hay wheresoever arising within the parish, should in future belong to the abbess and convent. And he taxed this portion of the vicar at ten marcs sterling yearly value; according to which he decreed, that the vicar should pay the tenth, whenever the same ought to be paid in future; and that the vicar for the time being should undergo the burthen of officiating in this church, either by himself, or some other fit priest, in divine services, and in finding of bread and wine, for the cele bration of the sacraments, and of the two processional tapers, as heretofore; and that he should receive and undergo all other profits and burthens, otherwise than as before-mentioned.

 

The vicarage is valued in the king's books at 10l. 8s. 4d. and the yearly tenths at 1l. 0s. 10d.

 

Sir John Twisden is the present patron of this vicarage.

 

The vicar of East Malling is always intitled to be one of the ministers, who preach at the lecture founded in Town Malling church, that is, one sermon every fortnight, on a Saturday, being the market-day; and he receives ten shillings for each sermon he preaches.

 

www.british-history.ac.uk/survey-kent/vol4/pp508-517

Tallinn, the capital city of Estonia, is situated on the shore of the Gulf of Finland of the Baltic Sea. It is only 80 kilometres south of Helsinki. From the 13th century until the first half of the 20th century Tallinn was known as Reval.

 

The first recorded claim over the place was laid by Denmark after a raid in 1219 led by Valdemar II. In 1227, the Order of the Brothers of the Sword conquered Reval and three years later recruited 200 Westphalian and Lower Saxon merchants from Gotland, who settled below the castle and were granted freedom of customs and land. In 1238 Reval fell back to Denmark, Under renewed Danish rule, the city rapidly grew in size and economic importance. In 1248, the Danish king granted it the Lübische Stadtrecht (town charter). Due to the strategic location, its port became a significant trade hub, especially in the 14–16th centuries when Tallinn grew in importance as the northernmost member city of the Hanseatic League.

 

The king of Denmark sold Reval along with other land possessions in northern Estonia to the Teutonic Knights in 1346.

 

The Püha Vaimu kirik (Church of the Holy Spirit) is mentioned in written sources for the first time in 1319. The church was part of a greater almshouse complex and dedicated to the Holy Ghost.

 

In 1630, the tower received its current appearance, which however is a reconstruction as the tower was ravaged by fire in 2002. The two-nave church was the first church in Estonia where services were held in Estonian, and in 1535 the first excerpts of the Catechism were printed here in Estonian.

      

"From the town of Sant Joan (Mallorca) to the San Diego Mission on the two-hundredth anniversary of the death of its illustrious son, Fray Luis Jaume Vallespir O.F.M., a martyr in California. November 5, 1975."

 

According to Wikipedia:

 

Luis Jayme O.F.M. (October 18, 1740 – November 4, 1775), born Melchor Jayme, was a Spanish-born Roman Catholic priest of the Franciscan Order. Born at the farm Son Baró in the village of Sant Joan, Majorca, his earliest schooling was acquired from the local parish priest. At the age of fifteen Melchor was enrolled at the convent school of San Bernardino, where Fray Junípero Serra had studied some years earlier.

 

Melchor Jayme was admitted to the Franciscan Order on September 27, 1760 in the Convento de Santa Maria de los Angeles de Jesus.

 

Following a year of strict seclusion and rigorous discipline, Jayme solemnly promised to observe the rule of the Friars Minor for the rest of his earthly lifespan; he was known as Fray Luis from thereon. The friar conducted his theological studies at the Convento de San Francisco, and was ordained to the priesthood on December 22, 1764.

 

Fray Luis was appointed "Lector of Philosophy" upon completion of his coursework (a position he occupied at San Francisco from 1765 to 1770). Jayme arrived in New Spain in early 1770 after a long and arduous trans-Atlantic voyage. There he began the special training course at the missionary College of San Fernando de Mexico wherein "soldiers of the Cross" were conditioned to the privation, fatigue, mortification and penance encountered on the missionary frontier.

 

Fray Luis set out for California along with nine other priests to begin a ten-year commitment ministering to the indigenous population.

 

Jayme was assigned to Mission San Diego de Alcalá, where his earliest efforts were devoted to mastering the complexities of the local Kumeyaay language. Once he had gained a facility with its vocabulary, he was able to compile a polyglot Christian catechism. The lack of a dependable water supply, coupled with the proximity of the military personnel at the Presidio, led to the priest asking for and being granted permission to relocate the mission from its original site, atop Presidio Hill, to the valley several miles east, where it is now situated.

 

Almost immediately there was a noticeable increase in the number of conversions which, by 1775, stood at 431. Some of the local Kumeyaay people resented the Spanish intrusion into their land.

 

At approximately 1:30 a.m., on the moonlit morning of November 4, 1775, more than 600 warriors from the surrounding rancherías silently crept into the mission compound. After plundering the chapel, they set the other buildings ablaze. The commotion soon awakened the two missionaries, the Spanish guards, and the Christian neophytes.

 

Rather than run to the stock hold for shelter, Fray Luis walked toward the band of warriors, uttering the traditional Franciscan greeting: "Amar a Dios, hijos!"—"Love God, my children!" The Kumeyaay seized him, stripped off his garments, shot some eighteen arrows into his torso, then smashed his face with clubs and stones.

 

Jayme's body was, at first, interred in the Presidio chapel. When the new church at the mission was completed, the body was reinterred in the sanctuary. There it rested until November 12, 1813 when it was transferred once more.

 

Today, the remains of Fray Luis Jayme lie in a common vault between the main and side altar. He is considered to be the first Catholic martyr in Alta California.

 

Mission Basilica San Diego de Alcalá, San Diego, California.

i finished a legwarmer! holy shit. the color isn't great in this shot, but whatever. [raveled]

"Every man receives his eternal recompense in his immortal soul from the moment of his death in a particular judgment by Christ, the judge of the living and the dead. "We believe that the souls of all who die in Christ's grace . . . are the People of God beyond death. On the day of resurrection, death will be definitively conquered, when these souls will be reunited with their bodies" (Paul VI, CPG § 28)".

 

- from the Catechism of the Catholic Church, §1051 & 1052.

 

My sermon for today, All Souls' day, can be read here.

 

This is a detail from the top of the medieval reredos in All Souls College, Oxford.

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

 

This is an ancient place of worship – the Gospel has been preached here for probably 1,200 years. The Anglo-Saxons had a royal burgh here and the existence of the Anglian cross would indicate that there was a church here in those days.

 

It is surprising that any relics of old churches are found in the Coquet Valley. There were two periods of destruction of churches in England – the Reformation and Cromwell’s Commonwealth. In addition to that, in this area there were Viking and Norman invasions, followed for many years by the incursions of the Scots. The Coquet valley, serene as it may seem today, was one of the most violent parts of England.

 

The monastic church at Rothbury must have been destroyed either by the Vikings or even the Normans; however the eastern part seems to have survived to become the foundation of a new building at some time in the thirteenth century, part of which can still be seen in the chancel, the chancel arch and the east walls of the transepts.

 

In the eighteenth century the church had galleries, dormer windows and a three-decker pulpit but these all disappeared in the restoration of 1850, undertaken by the Rector, Canon C. Vernon Harcourt. With a few additions and alterations this is the church we see today. This was a busy period of church building in the valley. Within two years, the churches at Rothbury, Alwinton and Holystone were either rebuilt, modified or restored.

 

Most of the stained glass in the Church is Victorian, the exceptions being two windows on the north wall in memory of local head teachers and those in the Memorial Chapel in the south transept.

 

In the Baptistry (1) is the greatest treasure of the church; the pedestal of the font. This is part of the shaft of the Anglo-Saxon cross, dated around 800AD. More remnants of this cross were discovered during the 1850 restoration; they are now in the Museum of Antiquities, Newcastle. On the north side is what is said to be the earliest carving of the Ascension in this country. The Disciples can be seen gazing up to the ascending Christ. The south side is a panel of intricate knotwork, the west side has a carving of beasts preying on one another and on the east side an animal (a lion) can be seen walking between double branches bearing fruit in clusters of three.

 

The bowl of the font dates from 1664 replacing one damaged during the unrest of the Civil War and the Commonwealth. The font cover is twentieth-century, given in memory of Lady Armstrong. Lord Armstrong’s funeral hatchment hangs on the south wall (2).

 

In the corner stands a small bell which hung in the tower above until 1893 when the present peal of eight bells was given to the church. It is inscribed ‘John Thomlinson, Rector of Rothbury 1682’. It was a product of the well known Whitechapel Foundry.

 

On the east side of the Baptistry screen are the boards bearing the names of the Rectors of Rothbury from Lucas in 1287, to the last Rector of the parish of Rothbury. In the new parish of Upper Coquetdale, the incumbent also carries the title of Rector.

 

The Bells

 

There is a peal of eight bells in the tower with the tenor bell weighing 13cwt 3qr 15lb. They were presented to the church in 1893 in memory of William Dawson by his sister, Mary.

 

The Nave

 

The nave was totally restored in 1850 – of necessity it would seem. However, the nave arch has origins as far back as the thirteenth century.

 

The pews are numbered, possibly from the era when individuals or families had their own private pew. Either for a standard fee, or in some cases by auction, a pew could be acquired for personal occupation. This custom died mostly during the late Victorian period. The numbering system was sometimes retained after this time as a means of keeping maintenance records.

 

The pulpit (3) is a fine piece of Victorian carving, given in 1901 in memory of Lady Armstrong depicting Bernard Gilpin, the 16th century “Apostle of the North” along with Saints Columba, Paulinus, Hilda and Aidan. The brass eagle lectern is of the same period.

 

The screen (4), another piece of beautiful wood carving, was installed in 1901 in memory of Lord Armstrong. On the mouldings of the beam is a series of eighteen shields blazoned with the arms of landowners, benefactors, patrons, and communities connected with Rothbury Church and parish from the 12th century down to the time of installation.

 

The inner porch on the south door (5) was erected in 1929 in memory of Dr Thomas Sharpe, Rector 1720 – 1758; another great benefactor of the Parish. One legacy of Dr. Sharpe is “Sharpe’s Folly” half a mile away at Whitton. It is a 30ft high tower, reported to be built to provide local masons with employment, but also to be used as an observatory.

 

The Chancel

 

There are two thirteenth century arches in the north wall of the chancel, separating the chancel from the vestries (6). The building containing the vestries stands on the site of the old Cartington chantry, and was built in 1886. The chantry which belonged to the Cartington estate was endowed for the maintenance of a priest to celebrate masses for the benefit of the souls of the founder and his family. After the Reformation, when prayers for the dead were forbidden, the chantry appears to have fallen into decay over the next hundred years. The arches were sealed to keep out inclement weather (and vandals), and remained that way for another two hundred years before the modifications in 1886.

 

In 1658 it was, ordered that “no grave be dig’d in ye bodye of the Church under the price of 5/-. Because it not being flag’ d would not only spoile the seats and floor, but endanger ye people’s health by infectious aire” – consequently the chancel had a marble pavement laid about 1710 (this was later covered) and the Nave was flagged for the first time in 1730.

 

The oak choir stalls are dedicated to the memory of Edward Mallet Young, Rector of Rothbury, 1894-1900.

 

The oak screen that divides the chancel from the priest’s vestry (6) is decorated with tracery work, and in its twelve panels there are the family coats of arms of twelve of the rectors of Rothbury.

 

The organ screen is a memorial to those who fell in the First World War. This screen is surmounted by organ pipes which are purely decorative. Looking between these pipes, the highly decorated genuine functional pipes may be seen.

 

Around 1840, the music in the services was provided by a string band, clarinets and violins, which were succeeded by a barrel organ. The present organ was given by Lord Armstrong and the rector, Rev. C.G.V. Harcourt in 1866. It was built by Hill and Sons of London in 1866, a company that operated in London from 1862 to 1917 before becoming Hill, Norman and Beard. When installed, it was sited at the west end of the church. Its precise location is not known but it may be assumed from the design of the instrument that the organist would sit with his back to the congregation. Playing while trying to control the choir at the east end of the church at the same time must have been extremely difficult, and it is probable that the choir sat at the west end of the church at that time.

 

The organ was later moved to its present position (7), certainly earlier than 1901, and would presumably be following or at the time of building the new vestry in 1887.

 

It is a two manual instrument with eleven speaking stops, and has never been modified in design – it still has a flat pedal board and the swell pedal is unbalanced, being able to be notched in position as the organist wishes.

 

An electric blower was installed many years ago, but the handle for hand blowing the bellows is still in place should it ever be needed.

 

The Sanctuary

 

On the east wall behind the altar is a finely made reredos (8) of Corsham Down stone, alabaster, and marble, consisting of five trefoil-headed arches.

 

The paneling in the sanctuary was installed in the early twentieth century. On the north side is the Thomlinson Memorial. (9) Dr John Thomlinson was Rector of Rothbury from 1679 to 1720. He was one of the greatest benefactor of the Parish; among many other things he founded a school where there were two masters “to teach gratis all such children within the Parish to read and understand the English, Latin and Greek tongues and to write, cast accounts and the Church catechism”.

 

The heraldic devices on the paneling belong to former Rectors who were also Lords of the Manor of Whitton.

 

To the south of the Altar is a thirteenth century Piscina (10) where the priest washes his fingers before the consecration in the Communion service. The carpet in the sanctuary and along the altar rail was worked by eighteen ladies of the Parish in 1972, the design being based on the knotwork of the Font.

 

The Memorial Chapel

 

The Chapel (11) is dedicated to the memory of the men of Rothbury who died in both World Wars.

 

The altar came from Sleights Church in North Yorkshire, the ends of the altar and the paneling from the old oak pews of the Church which in turn were made from trees from the ancient Rothbury Forest.

 

The windows were designed by LE. Evetts in keeping with the clear glass of old Northumbrian churches. He also executed the Regimental badges.

 

External features

 

The foundations of the tower are medieval but it has been much restored, and the village clock was placed in the tower in 1897. In more recent years the clock has been modified and is now electrically powered.

 

The west door was restored in the Early English style and is generally used on special occasions such as weddings, funerals and festivals.

 

In the outer porch (12) wall are three mediaeval stones, thought to be fragments from old grave covers.

 

On the south outside wall of the Chancel are two scratch sundials (13,14) – these are frequently found near the Priest’s Door of medieval churches as they are here. Also, on the south lawn, is a block sundial (15) – this used to be on the roof of the porch. It had four dials and was white-leaded for easier reading. (in 1728 this cost 1s 9d.).

 

The graveyards around the church and on the west side of the road are no longer in use. They contain the graves of some interesting people including the Armstrong family of Cragside.

 

coquetdaleanglican.org/thropton/

Many years back when I stayed at 21 De Monte Street Bandra I saw Fr Faun in my building he had come to bless the home of my neighbor Trevor Fuis ..

Fr Jaun knew me so I innocently asked him do priests bless only Catholic homes or do they bless other people's home ..Fr Jaun gave me a smile came to my house met my kids wife blessed my house and shared the hospitality of my wife's cup of tea

And from that day Fr Jaun and I have been connected firmly in faith and humanity .

Both my granddaughter s Marziya and Nerjis have been very close to Fr Jaun and every Easter they came to meet him at the Church ...but this year I did not bring Nerjis I was going to shoot the Easter Sunday Latin Mass using my Manfrotto monopod so I would not be able to handle her and good Fr Jaun asked me about them .

I am indebted deeply to the Christians for what I am my schooling my upbringing after my parents was their gift to me they got rid of my rough edges ..they made me understand the real meaning and essence of mutual coexistence and above all tolerance .

I met some great priest s in my childhood Late Fr Leslie Ratus and late Fr Stephan Nazareth both at Holy Name my Alma Mater .

And now 65 years of age it is Fr Jaun who has helped me groomed me into becoming a good human being .

A lady at the Latin Mass today was surprised when she came to know I was a Muslim .

I told her sincerely I was a good Muslim as my school my teachers my priests had helped me .

I did not tell her that in my early school years I opted for Catechism instead of Moral Science .

Thanks all my Christian friends all of you ..Happy Easter to all of you .

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

en.wikipedia.org/wiki/Roman_Catholic_Church

  

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Roman Catholic Church

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Divine Grace • Salvation • Sacraments

Original sin • Mary • Saints

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Catholic Liturgy

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The Roman Catholic Church (Ecclesia Catholica Romana, in Latin), officially known as the Catholic Church,[1][2][3][4] is the world's largest Christian church and represents over half of all Christians and one-sixth of the world's population.[5][6] It is made up of one Western church (the Latin Rite) and 22 Eastern Catholic churches, divided into 2,782 jurisdictional areas around the world.[7] The Church looks to the Pope, currently Benedict XVI, as its highest human authority in matters of faith, morality and Church governance.[8][9] The Church community is composed of an ordained ministry and the laity.[10] Either may be members of religious communities like the Dominicans, Carmelites, Franciscans, Jesuits, Salesians and many others.[10]

 

The Catholic Church defines its mission as spreading the message of Jesus Christ, found in the four Gospels, administering sacraments that aid the spiritual growth of its members and exercising charity.[8][11][12] To further its mission, the Church operates social programs and institutions throughout the world. These include schools, universities, hospitals, missions and shelters, as well as Catholic Relief Services, Caritas Internationalis and Catholic Charities that help the poor, families, the elderly and the sick.[13][14]

 

Through apostolic succession, the Church believes itself to be the continuation of the Christian community founded by Jesus in his consecration of Saint Peter.[15][16] The Church has defined its doctrines through various ecumenical councils, following the example set by the first Apostles in the Council of Jerusalem.[17][18][19] Catholic faith is summarized in the Nicene Creed and detailed in the Catechism of the Catholic Church.[20] Formal Catholic worship is ordered by the liturgy, which is regulated by Church authority. The Eucharist, one of seven Church sacraments and a key part of every Catholic Mass, is the center of Catholic worship.[21]

 

With a two thousand year history, the Church is the world's oldest and largest institution.[22] From at least the 4th century, it has played a prominent role in the history of Western civilization.[23] In the 11th century, the Eastern, Orthodox Church and the Western, Catholic Church split, largely over disagreements regarding papal primacy.[24][25] Eastern churches, which maintained or later re-established communion with Rome, form the Eastern Catholic Churches. In the 16th century, partly in response to the Protestant Reformation, the Church engaged in a substantial process of reform and renewal, known as the Counter-Reformation.[26]

 

The Catholic Church maintains that it is the "one, holy, catholic and apostolic Church" founded by Jesus, but acknowledges that the Holy Spirit can make use of Christian communities separated from itself to bring people to salvation.[27] The Church teaches that it is called by the Holy Spirit to work for unity among all Christians—a movement known as ecumenism.[28][29] Modern challenges facing the Church include the rise of secularism and opposition to its pro-life stance on abortion, contraception and euthanasia.[30]

Contents

[hide]

 

* 1 Origin and mission

* 2 Beliefs

o 2.1 Teaching authority

o 2.2 God the Father, original sin and Baptism

o 2.3 Jesus, sin and Penance

o 2.4 Holy Spirit and Confirmation

o 2.5 Nature of the Church and social teaching

o 2.6 Final judgment and afterlife

* 3 Prayer and worship

o 3.1 Eucharist

o 3.2 Liturgy of the Hours and the liturgical year

o 3.3 Devotional life, prayer, Mary and the saints

* 4 Church organization and community

o 4.1 Ordained members and Holy Orders

o 4.2 Lay members, Marriage

+ 4.2.1 Religious orders

o 4.3 Membership

* 5 Catholic institutions, personnel and demographics

* 6 History

o 6.1 Roman Empire

o 6.2 Early Middle Ages

o 6.3 High Middle Ages

o 6.4 Late Medieval and Renaissance

o 6.5 Enlightenment

o 6.6 Industrial age

o 6.7 Second Vatican Council

o 6.8 Benedict XVI

* 7 References

o 7.1 Footnotes

o 7.2 Bibliography

* 8 External links

 

[edit] Origin and mission

 

See also: History of the Roman Catholic Church and History of the Papacy

 

This detail of a fresco (1481–82) by Pietro Perugino in the Sistine chapel shows Jesus giving the keys of heaven to Saint Peter.

This detail of a fresco (1481–82) by Pietro Perugino in the Sistine chapel shows Jesus giving the keys of heaven to Saint Peter.

 

The Catholic Church traces its foundation to Jesus and the Twelve Apostles. It sees the bishops of the Church as the successors of the apostles and the pope in particular as the successor of Peter, the leader of the apostles.[31][32] Catholics cite Jesus' words in the Gospel of Matthew to support this view: "... you are Peter, and upon this rock I will build my church ... I will give you the keys to the kingdom of heaven. Whatever you bind on earth shall be bound in heaven; whatever you loose on earth shall be loosed in heaven."[8][9][33] According to Catholic belief, the coming of the Holy Spirit upon the apostles in an event known by Christians as Pentecost brought this promised "church" fully into the world.[32]

 

Scholars like Edward Norman note that the Catholic Church was founded by Jesus and that the historical record confirms that it was considered a Christian doctrinal authority from its beginning.[16][34] John McManners, among other leading scholars, cites a letter from Pope Clement I to the church in Corinth (c. 95) as evidence of a presiding Roman cleric who exercised authority over other churches.[35] Others, like Eamon Duffy, acknowledge the existence of a Christian community in Rome and that Peter and Paul "lived, preached and died" there[36] but doubt that there was a ruling bishop in the Roman church in the first century, and question the concept of apostolic succession.[37] Duffy described the second-century list of popes by Irenaeus as "suspiciously tidy", and stated that "There is no sure way to settle on a date by which the office of ruling bishop had emerged in Rome, and so to name the first pope, but the process was certainly complete by the time of Anicetus in the mid-150s, when Polycarp, the aged bishop of Smyrna, visited Rome, and he and Anicetus debated amicably the question of the date of Easter".[38]

 

The Church believes that its mission is founded upon Jesus' command to his followers to spread the faith across the world:[16] "Go therefore and make disciples of all nations, baptizing them in the name of the Father, and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you: and Lo, I am with you always, until the close of the age".[39][40][41] Pope Benedict XVI summarized the Church's mission as a threefold responsibility to proclaim the word of God, celebrate the sacraments, and exercise the ministry of charity. He has stated that these duties presuppose each other and are thus inseparable.[11] As part of its ministry of charity the Church runs Catholic Relief Services, Catholic Charities, Caritas Internationalis, Catholic schools, universities, hospitals, shelters and ministries to the poor, as well as ministries to families, the elderly and the marginalized. Through these programs the Church applies the tenets of Catholic social teaching and tends to the corporal and spiritual needs of human beings.[14]

 

[edit] Beliefs

 

See also: Roman Catholic theology

 

The Catholic Church is trinitarian in that it holds that there is one eternal God who exists as a mutual indwelling of three persons: the Father; the Son, Jesus; and the Holy Spirit. The Nicene Creed is the core statement of Catholic Christian belief,[42] however the Church's beliefs are more comprehensively detailed in the Catechism of the Catholic Church.[20][43] Over the centuries, Catholic teachings have been refined and clarified by councils of the Church convened by Church leaders at important points throughout history.[19] The first such council, the Council of Jerusalem, was convened by the apostles around the year 50.[18] The most recent was the Second Vatican Council, which closed in 1965.[44] The Nicene Creed, which has its origins in the First Council of Nicaea of 325, is recited at all Sunday Masses and also forms the central statement of belief of many other Christian denominations.[42][45] Eastern Orthodox Christians do not accept the filioque clause.[46][47] Protestant churches vary in their beliefs, but generally accept the Nicene Creed with reservations regarding the term "Catholic". They generally differ from the Catholic Church regarding the authority of the Pope, Church Tradition, the Eucharist, and on issues pertaining to divine grace, good works and salvation.[48]

 

[edit] Teaching authority

A 19th-century painting by Carl Heinrich Bloch depicts Jesus preaching the Sermon on the Mount.

A 19th-century painting by Carl Heinrich Bloch depicts Jesus preaching the Sermon on the Mount.

 

The Catholic Church believes that it is guided by the Holy Spirit and so protected from falling into doctrinal error. It bases this belief on biblical promises that Jesus made to his apostles.[17] In the Gospel of Matthew, Jesus tells Peter, "the gates of the netherworld shall not prevail against [the church]",[33] and in the Gospel of John, Jesus says, "... when He comes, the Spirit of truth, He will guide you to all truth".[8][49][50]

 

The Church teaches that the Holy Spirit reveals God's truth through Sacred Scripture, Sacred Tradition and the Magisterium. The sacred scriptures consist of the 73 books of the Catholic Bible. These are made up of those contained in the Greek version of the Old Testament—known as the Septuagint[51]—and the 27 New Testament writings found in the Codex Vaticanus and listed in Athanasius' Thirty-Ninth Festal Letter.[52] Sacred Tradition consists of those teachings believed by the Church to have been handed down since the time of the Apostles.[50] Sacred Scripture and Sacred Tradition are collectively known as the "deposit of faith". These are in turn interpreted by the Magisterium, or the teaching authority of the Church. The Magisterium includes infallible pronouncements of the pope,[53] pronouncements of ecumenical councils, and those of the college of bishops acting in union with the pope to define truths or to condemn interpretations of scripture believed to be false.[53]

 

According to the Catechism, Jesus instituted seven sacraments and entrusted them to the Church.[54] These are Baptism, Confirmation, the Eucharist, Penance, Anointing of the Sick, Holy Orders and Holy Matrimony. Sacraments are visible rituals which Catholics see as providing God's grace to all those who receive them with the proper mindset or disposition (ex opere operato).[55][56] Differing liturgical traditions, or rites, exist throughout the worldwide Church. These reflect historical and cultural diversity rather than a diversity in beliefs.[57] The most commonly used is the Western or Latin rite. Others are the Byzantine rite, the Alexandrian or Coptic rite, the Syriac, Armenian, Maronite and Chaldean rites.

 

[edit] God the Father, original sin and Baptism

 

See also: Original sin

 

Guido Reni's Archangel Michael (1636) shows Michael—one of three archangels—defeating Lucifer.

Guido Reni's Archangel Michael (1636) shows Michael—one of three archangels—defeating Lucifer.

 

Catholic belief that God is the source and creator of nature and all that exists,[58] is expressed in the opening statement of the Nicene Creed: "We believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is seen and unseen ...". The Church perceives God as a loving and caring entity who is directly involved in the world and in people's lives[59] and who desires his creatures to love him and to love each other.[60][61] Before the creation of mankind, however, the scriptures teach that God made spiritual beings called angels. In an event known as the "fall of the angels", a number of them chose to rebel against God and his reign.[62] The leader of this rebellion has been called "Lucifer", "Satan" and the devil among other names. The sin of pride, considered one of seven deadly sins, is attributed to Satan for wishing to be equal to God.[63] One of these fallen angels is believed to have tempted the first humans, Adam and Eve, whose act of original sin brought suffering and death into the world.

 

This event is known as the Fall of Man and according to Catholic belief, left humanity isolated from their original state of intimacy with God.[64][65] The Catechism states that the description of the fall described in Genesis 3 uses figurative language, but affirms "... a deed that took place at the beginning of the history of man" and resulted in "a deprivation of original holiness and justice" that makes each person "subject to ignorance, suffering, and the dominion of death: and inclined to sin".[62] The Church believes that people can be cleansed of original sin and all personal sins through Baptism.[66] This sacramental act of cleansing admits one as a full member of the natural and supernatural Church and is only conferred once in a person's lifetime.[66]

 

[edit] Jesus, sin and Penance

 

In the messianic texts of the Jewish Tanakh which make up much of the Christian Old Testament, Christians believe God promises to send his people a savior.[67] The Church believes that this savior was Jesus who is described in the Nicene Creed as "... the only begotten son of God, ... one in being with the Father. Through him all things were made ...". In an event known as the Incarnation, the Church teaches that God descended from heaven for the salvation of humanity, and became man through the power of the Holy Spirit and was born of a virgin Jewish girl named Mary. Jesus' mission on earth is believed to have included giving people his word and example to follow, as recorded in the four Gospels.[68] The Church teaches that following the example of Jesus helps believers to become closer to him, and therefore to grow in true love, freedom, and the fullness of life.[69][70] Sinning is considered to be the opposite to following Jesus, robbing people of their resemblance to God and turning their souls away from his love.[71] Per Catholic teaching, people can sin by failing to obey the Ten Commandments, failing to love God, or failing to love other people. Some sins are held to be more serious than others. Sins range from lesser or venial sins, to grave or mortal sins which end a person's relationship with God.[72][71] Through the passion of Jesus and his crucifixion, the Church teaches that all people have an opportunity for forgiveness and freedom from sin, and so can be reconciled to God.[67][73] John the Baptist, respected by the Church as a prophet, called Jesus "the Lamb of God who takes away the sin of the world"[74] in reference to the ancient Jewish practice of offering sacrificial lambs to God to obtain some greater good. By reconciling with God and following Jesus' words and deeds, the Church believes one can enter the Kingdom of God which is not a place but a state of being defined by the Church as "... the reign of God over people's hearts and lives."[75][76]

 

Since Baptism can be received only once, the sacrament of Penance (informally known as Confession) is the principal means by which Catholics can obtain forgiveness for subsequent sin and receive God's grace and assistance not to sin again. Catholics believe Jesus gave the apostles special authority to forgive sins in God's name based on Jesus' words to his disciples in the Gospel of John 20:21–23.[77] A penitent confesses his sins to the priest, who may then offer advice. After the priest has imposed a particular penance to be performed, the penitent then prays an act of contrition and the priest administers absolution, formally forgiving the person of his sins.[78] A priest is forbidden under penalty of excommunication to reveal any sin or disclosure heard under the seal of confession. Penance helps prepare Catholics before they can licitly receive the sacraments of Confirmation and the Eucharist.[79][80]

 

[edit] Holy Spirit and Confirmation

Bernini's stained glass window in St. Peter's Basilica depicts the Holy Spirit as a dove, a common motif in Christian art, referencing John the Baptist's proclamation that he saw the Holy Spirit descend upon Jesus at his baptism "like a dove".

Bernini's stained glass window in St. Peter's Basilica depicts the Holy Spirit as a dove, a common motif in Christian art, referencing John the Baptist's proclamation that he saw the Holy Spirit descend upon Jesus at his baptism "like a dove".

 

Jesus told his apostles that after his death and resurrection he would send them the "Advocate", the "Holy Spirit", who " ...will teach you everything and remind you of all that (I) told you".[81][82] In the Gospel of Luke, Jesus told his disciples "If you then, who are evil, know how to give good gifts to your children, how much more will the heavenly Father give the Holy Spirit to those who ask him!"[83]

 

The Nicene Creed states that the Holy Spirit is one with God the Father and God the Son. Thus the Church teaches that receiving the Holy Spirit is an act of receiving God.[84] Through the sacrament of Confirmation, Catholics ask for and are taught by the Church to receive the Holy Spirit. Confirmation is sometimes called the "sacrament of Christian maturity" and is believed to increase and deepen the grace received at Baptism.[83] Spiritual graces or gifts of the Holy Spirit may include the wisdom to see and follow God's plan, as well as judgment, love, courage, knowledge, reverence and rejoicing in the presence of God.[85] The corresponding fruits of the Holy Spirit are love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self control.[85]

 

To be licitly confirmed, Catholics must be in a state of grace, in that they cannot be conscious of having committed a mortal sin. They must also have prepared spiritually for the sacrament, chosen a sponsor or godparent for spiritual support, and selected a saint to be their special patron and intercessor.[83] Baptism in the Eastern rites, including infant baptism, is immediately followed by the reception of Confirmation and the Eucharist.[86]

 

[edit] Nature of the Church and social teaching

 

See also: Catholic social teaching

 

Extreme Unction (Anointing of the Sick) by Rogier Van der Weyden, a detail of his work The Seven Sacraments (1445)

Extreme Unction (Anointing of the Sick) by Rogier Van der Weyden, a detail of his work The Seven Sacraments (1445)

 

Catholic belief holds that the Church " ...is the continuing presence of Jesus on earth."[87] Jesus told his disciples to "Remain in me, as I remain in you ... I am the vine, you are the branches."[88] In Catholic interpretation, the term "Church" refers to the people of God, who abide in Jesus and who, " ...nourished with the Body of Christ, become the Body of Christ."[89] Catholic teaching maintains that the Church exists simultaneously on earth, in purgatory (Church suffering), and in heaven (Church triumphant). Thus the Virgin Mary assumed into heaven and the saints are alive and part of the living Church.[90] This unity of the Church in heaven and on earth is the "Communion of Saints".[91][92]

 

While the Catholic Church believes and teaches that it is the "one, holy, catholic and apostolic Church" founded by Jesus,[93] it also holds that the Holy Spirit can work through other churches to bring people to salvation.[32] In its apostolic constitution Lumen Gentium, the Church acknowledges that the Holy Spirit is active in diverse Christian churches and communities, and that Catholics are called to work for unity among all Christians.[28]

 

The Church operates numerous social ministries throughout the world but teaches that individual Catholics are required to practice spiritual and corporal works of mercy as well. Corporal works of mercy include feeding the hungry, welcoming strangers, immigrants or refugees, clothing the naked, taking care of the sick and visiting those in prison. Spiritual works require the Catholic to share their knowledge with others, to give advice to those who need it, comfort those who suffer, have patience, forgive those who hurt them, give correction to those who need it and pray for the living and the dead.[14] In conjunction with the work of mercy to visit the sick, the Church offers the sacrament of Anointing of the Sick, performed only by a priest who will anoint with oil the head and hands of the ill person and pray a special prayer for them while laying on hands.[94]

 

Church teaching on works of mercy and the new social problems of the industrial era led to the development of Catholic social teaching. Emphasizing human dignity, it criticizes elements of both capitalism and socialism[95][96] and commits Catholics to the welfare of others.[14] The seven main themes are respect for human life and the dignity of each person, the strengthening of the family unit, respect for the rights and responsibilities of each person, the care for the poor, the rights and dignity of the worker, and, the subsidiarity and solidarity of all humans as one family.[14] Modern application of Catholic social teaching has resulted in significant Church efforts to fight what it sees as violations of immigrant, worker, and family rights. In addition, the Church is known for its staunch opposition to abortion and euthanasia. Further matters of concern have included capital punishment and environmental issues.[97]

 

[edit] Final judgment and afterlife

The Last Judgement, by Hieronymus Francken II (c. 1610)

The Last Judgement, by Hieronymus Francken II (c. 1610)

 

Belief in an afterlife is central to Catholic teaching. "We look for the resurrection of the dead and the life of the world to come," is the final statement of the Nicene Creed. The Church teaches that the soul of each individual will be judged by Jesus immediately after death and receive a particular judgment based on the deeds of that person's earthly life.[98] Chapter 25:35–46 of the Gospel of Matthew underpins the Catholic belief that a day will also come when Jesus will sit in a universal judgment of all mankind.[14][99] The Church teaches that this final judgment will bring an end to human history and mark the beginning of a new and better heaven and earth ruled by God in righteousness.[100]

 

There are three states of afterlife in Catholic belief. Purgatory is a temporary condition for the purification of souls who, although saved, are not free enough from sin to enter directly into heaven. It is a state requiring penance and purgation of sin through God's mercy aided by the prayers of others.[98] Heaven is a time of glorious union with God and a life of unspeakable joy that lasts forever.[98] Finally, those who chose to live a sinful and selfish life, did not repent, and fully intended to persist in their ways are sent to hell, an everlasting separation from God.[101] The Church teaches that no one is condemned to hell without having freely decided to reject God and his love.[98] He predestines no one to hell and no one can determine whether anyone else has been condemned.[98] Catholicism teaches that through God's mercy a person can repent at any point before death and be saved "like the good thief who was crucified next to Jesus".[98][102]

 

[edit] Prayer and worship

 

In the Catholic Church, a distinction is made between the formal, public liturgy and other prayers or devotions. The liturgy is regulated by Church authority[103] and consists of the Eucharist and Mass, the other sacraments, and the Liturgy of the Hours. All Catholics are expected to participate in the liturgical life of the Church but individual or communal prayer and devotions, while encouraged, are a matter of personal preference.[104] The Church provides a set of precepts that every Catholic is expected to follow.[105] These set a minimum standard for personal prayer and require the Catholic to attend Mass on Sundays, confess sins at least once a year, receive the Eucharist at least during Easter season, observe days of fasting and of abstinence as established by the Church, and help provide for the Church's needs.[105]

 

[edit] Eucharist

 

See also: Eucharist (Catholic Church), Catholic liturgy, and Sacraments of the Catholic Church

 

The Eucharist, also termed Holy Communion or the Lord's Supper is the center of Catholic worship[106][107] and celebrated at each Mass. The Church believes Old Testament scriptures promising God's salvation to all nations came to fulfillment as Jesus ratified a New Covenant with humanity at the Last Supper through the institution of the Eucharist and his sacrifice on the cross. It believes that the bread and wine brought to the altar at each Mass are changed through the power of the Holy Spirit into the true body and the true blood of Christ through transubstantiation and that by consuming these, believers become part of the Body of Christ.[108][109] In the Gospel of John, Jesus states "I am the bread of life: he who comes to me shall never hunger, and he who believes in me shall never thirst."[110] Explaining this statement, Pope Benedict XVI notes that the sacrament of the Eucharist is the combination of the Word of God coming us (bread), and the sacrifice of Jesus (blood).[111] He further explains that the Word of God points out "the way that leads to life" while the sacrifice of Jesus atones for sins; the combination of the two make possible "a new life in God and with God."[111] Catholicism teaches that just as God's first covenant or solemn agreement with Moses and the Hebrew people was sealed with the blood of sacrificial animals, his new covenant with humanity was sealed with the blood of Jesus.[108] The words of institution for this sacrament are found in the three synoptic Gospels of Matthew,[112] Mark,[113] and Luke,[114] as well as in I Corinthians;[115] "Then he took the bread, said the blessing, broke it, and gave it to them, saying, 'This is my body, which will be given for you; do this in memory of me.' "[116] "Then he took a cup, gave thanks, and gave it to them, saying, 'Drink from it, all of you, for this is my blood of the covenant, which will be shed on behalf of many for the forgiveness of sins.' "[117] The New Covenant is, according to Catholic teaching, celebrated and renewed in the Eucharist.[108]

Pope Benedict XVI celebrates Holy Mass at the canonization of Frei Galvão in São Paulo, Brazil on May 11, 2007.

Pope Benedict XVI celebrates Holy Mass at the canonization of Frei Galvão in São Paulo, Brazil on May 11, 2007.

 

The most common celebration of the Eucharist, the Latin rite or ordinary form, is separated into two parts. The first, called Liturgy of the Word, consists of readings from the Old and New Testaments, a Gospel passage and the priest's homily or explanation of one of those passages.[118] The second part, called Liturgy of the Eucharist is the celebration of the Eucharist.[118] According to professor Alan Schreck, in its main elements and prayers, the Catholic Mass celebrated today "bears striking resemblance" to the form of the Mass described in the Didache and First Apology of Justin Martyr in the late 1st and early 2nd centuries.[119][120] The celebration of the Eucharist in the Eastern Catholic Churches is termed Divine Liturgy. Variations exist in this liturgy between the different Eastern Churches that reflect different cultural traditions.

 

An alternate or extraordinary form of Mass, called the Tridentine Mass, is celebrated primarily in Latin. Originating after the Council of Trent, it reaffirms, in opposition to Protestant belief, that the Mass is the same sacrifice of Jesus' death as the one he suffered on Calvary.[121] Although this form was superseded by the ordinary as the primary form after the Second Vatican Council, it continued to be offered by an indult since Pope John Paul II's 1988 motu proprio, Ecclesia Dei[122] and can now be said by any Roman rite priest according to Pope Benedict XVI's 2007 motu proprio, Summorum Pontificum.[123]

 

Because the Church teaches that Christ is present in the Eucharist,[124] there are strict rules about its celebration and reception. The ingredients of the bread and wine used in the Mass are specified and Catholics must abstain from eating for one hour before receiving Communion.[125] Those who are conscious of being in a state of mortal sin are forbidden from this sacrament unless they have received absolution through the sacrament of Penance.[125] According to Church belief, receiving the Eucharist forgives venial sins.[125] Because the Church respects their celebration of the Mass as a true sacrament, intercommunion with the Eastern Orthodox in "suitable circumstances and with Church authority" is both possible and encouraged.[126] Although the same is not true for Protestant churches, in circumstances of grave necessity, Catholic ministers may give the sacraments of Eucharist, Penance and Anointing of the Sick to Protestants if they freely ask for them, truly believe what the Catholic Church teaches regarding the sacraments, and have the proper disposition to receive them.[126] Catholics may not receive communion in Protestant churches because of their different beliefs and practices regarding Holy Orders and the Eucharist.[127]

 

[edit] Liturgy of the Hours and the liturgical year

 

See also: Liturgy of the Hours

 

In the Gospel of Luke, Jesus instructs his disciples to "pray always".[128] The Liturgy of the Hours, or Divine Office, is the Church's effort to respond to this request. It is considered to be an extension of the celebration of the Mass and is the official daily liturgical prayer of the Church.[129] It makes particular use of the Psalms as well as readings from the New and Old Testament, and various prayers.[129] It is an adaptation of the ancient Jewish practice of praying the Psalms at certain hours of the day or night. Catholics who pray the Liturgy of the Hours use a set of books issued by the Church that has been called a breviary. By canon law, priests and deacons are required to pray the Liturgy of the Hours each day.[130] Religious orders often make praying the Liturgy of the Hours a part of their rule of life; the Second Vatican Council encouraged the Christian laity to take up the practice.[129][131]

 

The liturgical year is the annual calendar of the Catholic Church.[132] The Church sets aside certain days and seasons of each year to recall and celebrate various events in the life of Christ.[132] The Byzantine liturgical year, like the former imperial calendar, starts on 1 September, while in the Western Church the liturgical year begins with Advent, the time of preparation for both the celebration of Jesus' birth, and his expected second coming at the end of time.[132] Christmastide follows, beginning on the night of 24 December (Christmas Eve), and ending with the feast of the baptism of Jesus.[132] Lent is the period of purification and penance that in the Latin church begins on Ash Wednesday and ends on Holy Thursday.[132] (In the Byzantine Catholic churches, "Great Lent" begins on Clean Monday and, counting the Sundays as part of the forty days of Lent, ends on Lazarus Saturday, being followed immediately by Great and Holy Week.) The Holy Thursday evening Mass of the Lord's Supper marks the beginning of the Easter Triduum which includes Good Friday, Holy Saturday and Easter Sunday.[132] These days recall Jesus' last supper with his disciples, death on the cross, burial and resurrection.[132] The seven-week liturgical season of Easter immediately follows the Triduum climaxing at Pentecost. This recalls the descent of the Holy Spirit upon Jesus' disciples after the Ascension of Jesus.[132] The rest of the liturgical year is known as Ordinary Time.[132]

 

[edit] Devotional life, prayer, Mary and the saints

 

See also: Catholic spirituality and Marian doctrines of the Catholic Church

 

Mary, Joseph, and the child Jesus during the flight into Egypt are depicted in a panel from Albrecht Dürer's Seven Sorrows of the Virgin (c. 1494–97).

Mary, Joseph, and the child Jesus during the flight into Egypt are depicted in a panel from Albrecht Dürer's Seven Sorrows of the Virgin (c. 1494–97).

 

In addition to the Mass, the Catholic Church considers prayer to be one of the most important elements of Christian life. The Church considers personal prayer a Christian duty, one of the spiritual works of mercy and one of the principal ways its members nourish a relationship with God.[133] The Catechism identifies three types of prayer: vocal prayer (sung or spoken), meditation and contemplative prayer. Quoting from the early church father John Chrysostom regarding vocal prayer, the Catechism states, "Whether or not our prayer is heard depends not on the number of words, but on the fervor of our souls."[134] Meditation is prayer in which the "mind seeks to understand the why and how of Christian life, in order to adhere and respond to what the Lord is asking."[134] Contemplative prayer is being with God, taking time to be close to and alone with him.[134] Three of the most common devotional prayers of the Catholic Church are The Lord's Prayer, the Rosary and Stations of the Cross.[135] These prayers are most often vocal, yet always meditative and contemplative. Adoration of the Blessed Sacrament is a common form of contemplative prayer, whereas Benediction is a common vocal method of prayer. Lectio divina, which means "sacred reading", is a form of meditative prayer. The Church encourages patterns of prayer intended to develop into habitual prayer. This includes such daily prayers as grace at meals, the Rosary, or the Liturgy of the Hours, as well as the weekly rhythm of Sunday Eucharist and the observation of the year-long liturgical cycle.[134]

 

Prayers and devotions to the Virgin Mary and the saints are a common part of Catholic life but are distinct from the worship of God.[136] Explaining the intercession of saints, the Catechism states that the saints "... do not cease to intercede with the Father for us ... so by their fraternal concern is our weakness greatly helped."[92][136] The Church holds Mary, as ever Virgin and Mother of God". in special regard. She is believed to have been conceived without original sin, and was assumed into heaven. These dogmas, focus of Roman Catholic Mariology, are considered infallible. She is honored with many titles such as Queen of Heaven. Pope Paul VI called her Mother of the Church, because by giving birth to Christ, she is considered to be the spiritual mother to each member of the Body of Christ.[137] Because of her influential role in the life of Jesus, prayers and devotions, such as the Rosary, the Hail Mary, the Salve Regina and the Memorare are old Catholic practices.[135] Pilgrimages to Marian shrines such as Lourdes and Fátima are popular devotions. The Church celebrates several liturgical Marian feasts throughout the Church Year.[138]

 

excerpts from wikipedia

Through baptism into Christ, "the People of God shares in the royal office of Christ. He exercises his kingship by drawing all men to himself through his death and Resurrection. Christ, King and Lord of the universe, made himself the servant of all, for he came "not to be served but to serve, and to give his life as a ransom for many." For the Christian, "to reign is to serve him," particularly when serving "the poor and the suffering, in whom the Church recognizes the image of her poor and suffering founder." The People of God fulfills its royal dignity by a life in keeping with its vocation to serve with Christ." - Catechism of the Catholic Church §786.

 

This photo is of the baptistery and font (with its crown-like cover) of the chapel of St Mary Undercroft, which is under St Stephen's Hall in the Palace of Westminster. Today, 22 November, is the feast of Christ the King, the final Sunday in the Church's calendar.

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

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

 

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

THE FRIARS OF ATHENRY

In County Galway, there is an abbey at Athenry, the oldest town in all Connaught established by the English, who at the present day style it a city in the state and legal documents. It was built by the English in the reign of King John of England. Tuam, on the other hand, the archiepiscopal see and the metropolis of the whole province of Connaught, though a great city in olden times, is not at present of much importance. Athenry is now almost desolate though it still retains the name of a city; it is situated in a pleasant locality, where the air is most salubrious. I do not care to argue about the time the abbey was founded nor about the founder's name, that I may avoid jealous criticism, although I could produce many authentic documents on this point. Accordingly the abbey, made illustrious by its history and its friars, was erected in 1241 by Lord Bermingham, more correctly Brimigiam, and called in Irish, Mac Fheorais, from a certain Horatius Lord Brimigiam who was made baron of Athenry by the king of England, and was the premier of all the Irish barons created by the English. This abbey was in possession of fifteen hundred acres of land and abundant tithes. The said lord completed a fairly large church; but the cloister, chapterhouse, the beautiful guest-house, with two great and most commodious cellars, the novitiate, and the dormitory over the refectory and kitchens were built from the foundations by a wealthy man of that time called O'Heyne; and the southern part of the dormitory over the refectory and kitchen were built by a certain soldier, called Sir Thomas Delphin, an Englishman by birth.

 

Here follows a list of the possessions of this abbey: —

Within the town a piece of ground walled-in near the abbey, a large and excellent mill almost at the very gate of the abbey, and several houses; outside the town, the district of Glaimhe an Bháin, which had formerly belonged to the Benedictines; another very commodious piece of land near the town to the south, called the Friars’ Wood, in Irish Coill na mBráthar; at the north side a district called David's Village, in Irish Baile Dháibhidh, where there is a chapel belonging to the abbey; a mile from the town, to the north-east, there is another farm called Beann-dheara; another farm near Suidfhinn, is called Coill Craobhanta, where there is also a chapel belonging to this abbey. The chapel of Kilcorban, with a good farm attached, belonged also to this abbey, according to Ware, Thomas Burke, bishop of Clonfert, with the consent of his chapter, granted to the friars of the Order of St. Dominic the chapel of St. Mary's, Kilcorban, on the petition of John Fitz Reyry and his brethren of the same Order, and Eugene IV., confirmed the grant, 12th March, 1444, as Ware says, speaking of the monastic foundations of the county Galway. In the parish of Grainseagh, between Binmor and Rathglas, it had a large and fertile district called Rathchalaíg Tuadh Lubaín an Teampuill, with a farm and chapel. This is, as far as my memory goes, what I often read in an old parchment document during the year of my novitiate, 1665. I take notice of these matters here, that some knowledge of them may be preserved among the younger members of this community, and that thus they may more easily explore them, if Jesus Christ take mercy on our country when our sins have been expiated. For we are visited with an iron rod by Him whose judgments are faithful and true, more desirable than gold and precious stones and sweeter than honey and honeycomb." May the God of mercies grant, through the most Sacred Blood of His Son, that we may keep them and repair our transgressions by worthy penance.

 

FATHER DOMINIC BURKE, from 1638 to 1649, was twice prior of this community, to the great spiritual benefit of the house. After finishing his studies in. our most important and religious convent of Bologna, in Italy, he returned home, and on being made prior after some time, repaired the whole abbey and sumptuously decorated the church. During his period of office, the illustrious Edmund Burke of Kilcornan, built the chapel of the most Holy Rosary. The studies flourished under this prior with great success and splendour. This father was vicar-provincial of the entire province for a year. He was confessor to Lord Ulick Burke, Marques of Clanricard, then vice-gerent of the lord-lieutenant of the kingdom, to whose devoted liberality it was principally owing that he was able to repair and decorate the abbey. He was a grave pious, and prudent man, beloved by all; he was faulty, however, in one respect, viz., in opposing Rinuccini, the apostolic nuncio, carried away by his zealous adherence to the aforesaid marquis and being also induced to follow some prelates of his own name. These were Dr. John Burke, archbishop of Tuam; Dr. Hugh Burke, bishop of Kilmacduagh; Dr. Andrew Lynch, bishop of Kilfenora, and many others, even regulars, such as Father Valentine Browne and Father Peter Walsh the Franciscan. This was very unwise conduct. Kind reader, spare me; I say nothing out of malice, but simply state historic facts. This very Father Dominic Burke was an uncle of my father and the two bishops Burke were uncles of my mother, all of whom I venerate and truly love, but I love truth itself more. Father Dominic repented afterwards of the opposition given by him to the apostolic legate; as likewise did the bishops. In 1649 he was attacked by a disease from which he died the same year a pious and resigned death, fortified by the last sacraments of the church. Of all the Dominicans of Ireland, this father alone opposed the nuncio. The latter testified that it seemed to be inborn in the Dominicans to defend the Holy See.

 

FATHER JOHN O'FAHEY, of the same community, studied very hard and with very great success in Italy. After returning home, he was made lector of philosophy in his own native convent, and afterwards master of students and lector of theology: offices which he filled with great applause, and yet preached with learning and eloquence on all festival days. He was a model of great mortification and piety at home and abroad; he always went on foot wherever he had occasion to go; from his profession he never wore linen, being ordinarily clothed in torn garments; and he strongly opposed those who did not submit to the legate of the Holy See. The Catholics had a great veneration for him. On the subjugation of the kingdom and the consequent prostration of religion, he was compelled to leave his country; and he went a second time to Italy and lived at Viterbo where he died a pious death.

 

The good Father William Burke, called the elder, master of sacred theology, made a brilliant course of studies in Spain and taught in our convent of Burgundy. He was an excellent speaker in his native tongue, as well as in English, Spanish and Latin. He was Provincial of Ireland from 1648 inclusive to 1654, and in 1650 was a delegate of the Catholics of Ireland to his most serene highness, the Duke of Lorraine. During his provincialship, he went from home as an exile to Louvain and finished his term of office while living there. Returning to his convent on the restoration of the king, he was made prior; afterwards also at Rathbran in the county Mayo, where he had been born of the illustrious family of the Bourkes of Turlagh. Having attained to a great age, full of years and fortified by the sacraments of the church, he died a pious and penitent death in Rathbran convent, about 1685.

 

FATHER WILLIAM BURKE, otherwise Fitz Redmond, a scion of the distinguished house of the Burkes of Iserkealla, studied in Spain, and after his return lived a most exemplary life in his convent until he was exiled in the course of the year 1650. On the subjugation of the kingdom by the usurper Cromwell, he came to France and remained there until his death in the convent of Vannes, belonging to the religious and learned Congregation of Brittany.

 

FATHER EDMOND BURKE of Gortnameaccan, also of noble birth, studied at Burgos in Spain, and on his way home was captured by Algerian Moors with two other fathers. They were kept in most severe slavery for three years when the Catholic King, Philip IV., sent a ransom for them. This father died a pious death in Andalusia

 

FATHER BRIAN O'HEYNE, after almost finishing his studies in Andalusia, fell sick on the day he said his first mass and died on the eighth day of his sickness, fortified by the last sacraments, with the reputation of virtue: as Father Tully and Father Conor O'Mahony have related in our convent.

 

FATHER JOHN O'DEA, after finishing his studies with success, died a religious and pious death while staying in a convent where no studies are carried on, called in Spanish a pensocha.

 

FATHER DOMINIC BURKE, a most amiable and religious youth, began his studies and almost finished them at Avila, and having been sent to the convent of the Blessed Virgin of Atocha, gave his soul to his Creator after singing his first mass in the convent of the Passion at Madrid, piously refreshed with the adorable Eucharist and extreme unction, 18th August, 1675. He was a cousin of the most illustrious prelate, Dominic Burke, to whom we shall soon refer again.

 

BROTHER WILLIAM BURKE, just after being professed for the same convent, was sent to Spain; and being received into the noble convent of Burgos, began his studies there. He was much beloved, being of the distinguished family of the Burkes of Iserclerain, but was much more loveable by his life, for he had mortified himself so much by a hair-shirt and an iron chain bound around his tender body (as was written to me from that place) that in the year 1679, after a short illness, comforted by the sacraments of the church, he finished his life with a great reputation of virtue. The Acts of the provincial chapter of the province of Castile testify to all this, and they do not commonly give similar testimony without a strong and unshaken foundation.

 

FATHER OWEN O'HEYNE, a pious and upright religious, died towards the end of his studies at Plasencia in Spain, about 1685.

 

BROTHER EDMOND VALE died a pious death in the convent of Holy Cross Segovia.

 

BROTHER PIERCE O’DALY died at Zeres de la Frontera: he was very humble and pious.

 

FATHER TIEGE FITZPATRICK, a youth of great intelligence and very pious, died in the same place before he had finished his studies, refreshed with the last sacraments.

 

BROTHER JOHN LYNCH, about to return home owing to a disease contracted in Spain, died at Bayonne: he was very upright.

 

FATHER HUBERT DELPHIN studied in Spain with singular success. He was an upright and pious man and of a most lively intelligence, and was very distinguished as a preacher. He was so well versed in Sacred Scripture that he seemed to know it entirely by heart. He was preacher-general, prior of Urlar and afterwards of Athenry, and while ruling the latter convent with great piety and prudence, died a pious death in 1653.

 

FATHER THOMAS TULLY, bachelor of sacred theology, while returning home with two others after finishing his studies with distinction at Vittoria in Spain, viz.. Father Edmund Burke, already mentioned, and Father Conor MacMahon, to whom we shall refer immediately, was captured by the Moors, and spent three years in cruel slavery with perfect resignation. On the restoration of our king, he came home and arriving safely at his own convent, opened a school with Father MacMahon, by command of the provincial. Father O'Hart, in a very solitary locality, which they carried on for ten years with great renown and success. In 1665, when I received the habit, there were about three hundred scholars of all ages in that school. Worn out by his constant labours in teaching, preaching, hearing confessions and catechizing, this most charming and truly religious man, after piously receiving the last sacraments, died to the great grief of all the Catholics in 1672.

 

FATHER CONOR MACMAHON, his companion, was sent to Kilkenny convent to teach, and died there in the beginning of 1654. This father was for three years master of novices in the observant convent of Segovia, and Father John Martinez de Prado had such an admiration for his ability and memory, that he was heard to say he believe that this father had by heart the second section of the second part of St. Thomas’s Summa, so that the great man frequently consulted him on moral questions. He was a true Israelite, in whom there was no guile, and was given above everything to mental prayer, at which he accustomed us twelve novices placed under his care to remain so long, that often several fell to the ground from weakness and the knees of all were ulcerated.

 

FATHER GERALD DAVOCK, master of sacred theology, 6n his return home after his studies in Spain, was made lector of philosophy, and then master of studies. He filled these posts satisfactorily and also preached with eloquence. On the dispersion of the religious, being captured by the Protestants, he was relegated with many other regular and secular priests to an island in the sea called Boffin, where with great patience he bore seven years of want. However, on the restoration of the king they were all liberated, except Father Bryan Cooney, who died a happy death there for the glory of God. Around the waist of this heroic man, there was found after death, a leathern cincture, studded with sharp and piercing iron nails. He was still at that time the worthy provincial of the Order of the great patriarch, St. Francis. Our Father Davock lived a very pious and religious life for a long time after his liberation from this island and laboriously cultivated the vineyard of the Lord by word and example. He came from Ireland to Louvain, to make a visitation of this college of ours of Holy Cross, in 1664, and made many wise ordinations. Broken down by old age and wearied by the severity of the persecution then newly risen again, he slept piously in the Lord, in 1675, fortified by the last sacraments.

 

FATHER JOHN DAVOCK, a distinguished man, most acceptable not only to the Catholics, but also to the English Protestants, owing to his charming manners, died at Athenry, under the weight of years in 1686, after receiving the last sacraments, amid the prayers of his brethren standing around. He was once prior of his convent, and lived for a long time in England with the marquis of Clanricard, as his confessor and intimate companion.

 

FATHER THOMAS BURKE, the elder, pursued his studies in the convent of St. Paul, at Palencia in Spain, and much later on lived at Rivadavia in Galicia, until in fact the return of the restored king to England. A year aft his return home in 1665, he was elected prior of his convent. He received many excellent young men to the habit; a second and a third time he was prior of his convent and once of Roscommon, and although he did not preach owing to a stutter, he understood many matters very well; was a distinguished moral theologian and a man of a good and very exemplary life. He was so old and feeble that the Protestants could not banish him from his country. However they turned him out of his convent and soon after, comforted by the last sacraments, he departed from this miserable life, at the age of ninety, in 1692.

 

FATHER JOHN BURKE, professed at Zamora, in 1666, finished his studies there, and on his return was made questor and was indeed serviceable to his convent as he was also in teaching catechism and preaching to the people. He was made preacher-general and prior of Youghal convent. Exiled with the others, he came to Nantes in Britanny, where he died after two years, fortified by the last sacraments.

 

Another FATHER JOHN BURKE likewise died an exile in the convent of Petrahita. He was a hard-working curate to his uncle, the parish priest of Athenry, for many years, and yet did not cease to beg for his convent.

 

FATHER MARK BROWN also died in exile at the convent of Quimper in Brittany, in 1704. He was an upright and religious man.

 

FATHER TIEGE UA DÁLAIDH, in English Daly, preacher general, should not be forgotten, who in his fourteenth year received the habit at Athenry and having made his profession, went to Spain and devoted himself commendably to his studies there. He was an adept in the Gregorian chant; his voice was strong and very sweet; he preached the Word of God with energy and eloquence, and he was dear to all, being very exemplary and of mild disposition. For several years he lived in the house of Sir William Burke, earl of Clanricard, as his confessor. He was once prior in the convent of St. Peter Martyr, at Portumna, and twice in his own native convent for which he was preacher general, and he received several most respectable young men into the Order in both houses. Being at length made provincial, just before the intermediate chapter was held at Athenry, he was brought to death's door by a three days' sickness, and after receiving the sacraments of the Church with devotion and contrition, passed from this to a better life, in 1682.

 

FATHER IGNATIUS LYNCH studied in Salamanca and thence returned home, and on being made prior of his convent after a little time, showed himself to be a zealous and good syndic, by the way he procured and administered the goods of the community. He was twice prior there and once at Galway; he ruled prudently and peacefully in all humility, following the counsel of the wise, which is a great virtue and part of the science of the saints. Fortified by the last sacraments and showing marks of great piety, he placed his soul in the hands of his Creator, in 1695.

 

FATHER HUBERT DELPHIN the younger, a cousin of the important man of the same name already mentioned, after finishing his classical and philosophical studies at Rome and on being ordained as a secular priest, administered a parish with prudence and vigilance for twelve ears. That he might escape, however, the constant dangers of a life in the world, he chose the better part, viz., the habit and profession of the Dominican Order at Athenry; sent thence to Spain, he went through the three years' course of theology at Salamanca. On being afterwards made procurator general at Madrid for the Irish province, he looked after this business with true fatherly care for one year, but owing to sickness he was not able to attend to it any further. On getting leave from his superiors, he came back to Ireland, where he began to devote himself to preaching, and was soon made preacher-general. Then being exiled with the rest of the religious of all the orders, he came to Nantes accompanied by four simple novices. Whilst searching for a place of novitiate for these young men, who were till three months off the full year of probation, he suffered many hardships, tramping up and down Paris on foot until he had placed them in the general novitiate in the suburb of Saint Germain. He stayed with them instructing them in the way of virtue until their profession, and then came to Louvain to the college of the Holy Cross, welcomed by all. He was treated with singular favour by Count Berló, bishop of Namur, so that on obtaining fatuities for the purpose from that prelate, he was fortunate in receiving many heretics into the bosom of our holy Mother the Church. At length on the twentieth of November, after making his confession and devoutly offering up the holy sacrifice of the mass, worn out with a violent cough and comforted by extreme unction on the same day, he delivered his soul into the hands of our Redeemer, in the year 1700 and the sixty-sixth of his age.’ He was an extremely good man and was zealous for the glory of God, the honour of the Church and the dignity of his Order.

 

Members of the same community slain in testimony of the Catholic Faith from the year 1651: —

First of all, FATHER VINCENT GERALD DILLON, thrown into prison at York in England wasted away by the hardships, and the filth and stench of the prison, received, the crown of victory, after showing a great example of patience and constancy.

 

FATHER STEPHEN PETIT, of the same community, whilst bearing the confession, of a Catholic soldier, was killed by a distant shot from a Protestant soldier, and is piously believed to be a martyr.

 

BROTHER JAMES O'MORAN, a laybrother; BROTHER DOMINIC or DONAGH BLACK; BROTHER RICHARD HOVEDON; happy victims for Christ, were slain at the sacrilegious hands of the Protestants.

 

FATHER JOHN O’QUILLAN, a living model of religious observance most devoted to prayer and fasting although in infirm health, always contented with poor garments, was so talented that he learnt almost all the sciences without a master. In several conferences he refuted the Protestants with great learning; he animated the Catholics; for the authority of the Holy Apostolic See suffered every risk. Captured at length by the Protestants and pierced with many wounds, he cheerfully gave his life for Christ, claiming the crown of virginity fortitude. His head, cut off from the body and set on a spike, was exposed as a trophy.

 

The end crowns the work: so like a beautiful ear the same religious stalk, we place before our readers illustrious DR. DOMINIC BURKE, bishop of Elphin was born in Ireland about 1639, of parents distinguished for their constant profession of the orthodox faith and belonging to good old families. About 1648, the whole kingdom was shaken with furious and raging war, drawn by a desire of spiritual perfection, he met a soldier of the gospel and was professed in the Order of Friars Preachers. After this he set out Spain, but being captured by the English at sea, brought to Kinsale and thrown into prison. He escaped, with the special aid of Jesus Christ, by jumping the top of the prison wall into the mud left by the outgoing tide. For two days he lay hid in a neighbouring wood, covered with mud up to his neck because he not dare to seek the river to wash himself, luring these two days he neither ate nor drank. At length he timidly approached the house of a certain Catholic gentleman of the Roche family, who received him most kindly and gave him hospitality until he had recovered his strength. Then his host sent him on his way well-clothed from head to foot and with money enough for his journey (for he had been robbed by his Protestant captors of his own clothes and money) and this assistance be arrived safe at his mother’s house.

 

Astounded at his adventures, she begged him earnestly not to expose himself again to the dangers of the sea; he prevailed on her, however, to let him go, and getting money from her for his journey, took ship at Galway and arrived safely in Spain; where being received into our religious convent of Holy Cross at Segovia, he spent six years at his studies. On the completion of his course, as the persecution was still raging in Ireland, he went to Italy and remained there for about sixteen years. Owing to his upright and spotless life and his fervent zeal in promoting religion, he was greatly esteemed by all, and especially by the excellent and wise Father Gentili, twice provincial of the great and observant province of Lombardy and afterwards archbishop of Genoa. So being appointed master of novices at Venice, again at Milan, in the magnificent ducal convent of Our Lady of Graces, and lastly in the general novitiate of Bosco, he filled these positions laudably and piously for ten continuous years. In the general chapter of our Order, held at Rome in 1670, he was definitor, and was an honour to his province and of great service to the college of Holy Cross, Louvain. Without solicitation on his part but called like Aaron, he was suddenly promoted by Pope Clement X., in 1671, to the see of Elphin, and was consecrated at Ghent. Returning home immediately, he exercised the ministry of a good and vigilant pastor by word, example, and the administration of the sacraments.

 

It can hardly be related how severely he suffered in the horrid persecution, raised in 1680 against all Catholics in England and Ireland without distinction. Two hundred pounds sterling were offered by the lord-lieutenant and the Privy Council of the kingdom as a premium for whoever would capture him; so that he ordinarily journed by night during this persecution. For four months he lay so closely hidden a solitary house that he did not even once take a step outside the door; bat on the approach of Maundy Thursday, on which he had to consecrate the holy oils, he forthwith started on a journey of forty miles, travelling always by night. I was his sole companion all that year, until the arrest of Dr. Oliver Plunkett, the archbishop of Armagh, who from the prison in Dublin used often to send warnings to the bishop of Elphin regarding the means proposed from time to time in the Cabinet and the Privy Council for his capture. The bishop was thus greatly aided in eluding their ambuscades and bloody hands, into which if he had fallen, he would have met the same fate as befell the primate the following year; as I mention when speaking of the death of Father Thomas O'Hart of the Sligo convent. Our bishop, though poor and without any revenue (for the Protestant pseudo-bishops possess all the ecclesiastical revenues in those unfortunate kingdoms), had an immense dislike to receive gifts from anyone, and especially ecclesiastics; and that he might live respectably and yet not be a burthen to his clergy who had nothing whatever to live on except the free alms of the faithful, he rented a good large farm from his near relative, William Burke, earl of Clanricard. He greatly improved this farm with buildings, fences and the judicious plantation of trees; and by means of it was aide to live observing the laws of kind and liberal hospitality, according to the primitive custom of the Church, as long as there was any cessation from the storm of persecution.

 

During the war of the Protestant rebels against our truly Catholic King James, this venerable bishop was obliged to transfer his domicile outside his on diocese to Galway, where the citizens treated him with all marks of affection and honour, freely shared their means with him, so that he kept open table there, no other prelate of the kingdom doing the same. He was always an energetic defender of the Mendicant Orders whom he called the right eye of the Church; and this very clearly appeared in King James's Parliament at Dublin, where he closed the mouths of the adversaries of the regulars. He was most devout to the Holy Virgin Mother of God; so that in addition to the Canonical Office, he daily recited with fervour the entire rosary, and very often twice a day. King James as well as the Queen loved him exceedingly. On being exiled, he declined to remain in the abbey offered to him by the most Christian King, Louis the Great, but preferring the poverty of mendicants, he came over to Louvain and elected to pass his life amongst his brethren in the college of Holy Cross. Our house, however, threatened at the time to fall into ruins through old age, and the danger was so imminent to those living in it, that it was necessary to put it into repair; and so when our house was broken up he betook himself to the Irish Franciscan Fathers living in this same town, and being treated most kindly by them, lived in great content. At length after going through many labours for God and the Church, and weighed down with the burthen of about seventy-six years, he was comforted by the Blessed Eucharist and extreme unction after confessing his sins, and with full use of his faculties to the very last, he calmly gave up his soul to our Saviour, on New Year's Day, 1704, between nine and ten o'clock at night. He lies buried in their chapel near the high altar.

 

Belonging to this community there are still living:

FATHER REDMOND O'KENNY, at least ninety years of age, left by the Protestants in Ireland, owing to his Weakness and senility, though evicted from his convent. He studied in Spain and has ministered with zeal and access in his convent and also among the people now for about sixty years. This father is at present the senior of all the members of his community and of the whole province, and is truly a good man.

 

FATHER JOHN O'HEYNE [the present writer] , a bachelor of sacred theology, is the next in seniority of profession. He studied at Salamanca and taught philosophy in France; as master of students, second and first regent, he taught at intervals in the college of Holy Cross at Louvain, where he was vicar for a year. On his first return to Ireland, by command of Father William Burke, the provincial, he taught a large school, until he was obliged by the violence of the persecution to hide and be the companion for a year of the bishop of Elphin. Thereupon he was specially sought after by the Protestants, he was compelled to fly from the kingdom. On finishing his term of regency at Louvain, he returned home a second time, and remained there for eight years evangelizing the people, and was prior of Urlar. Finally exiled with the rest of all the religious orders, after the various mishaps of distressful exile, he is living in Louvain at Holy Cross, in the sixtieth year of his age and the fortieth of his profession.

 

FATHER DOMINIC DELPHIN, of the same community, studied at Pamplona, and after returning home was very useful to his convent. He is a thoroughly religious and devoted man. Since the beginning of the exile he has been residing in the convent of Ypres.

 

FATHER BARTHOLOMEW O’HEYNE studied at Palencia in Spain, and after his return became a good preacher. He vas prior at Naas, Athy, Portumna and Athenry and is an upright and religious man, He lived at Nantes for several years after the exile and is now staying, as I hear, in the convent of Saint John of the Angels, in the province of France.

 

FATHER ANTHONY MACHUGH, of the same community, studied brilliantly at Salamanca, and was esteemed by all there as an eminent religious. When he had returned home he was made lector of philosophy at Athenry, and taught with success, together with Father John O'Heyne, until the persecution. This Father Anthony devoted himself most ardently to preaching in the district in which he quested for eighteen continuous years, and indeed his preaching produced great fruit in the large barony of Dunmore. He was also assiduous in hearing confessions, serviceable in catechizing, and active and successful in promoting the holy rosary. He remained at home after the exile of the religious, suffering for the name of Christ, and at present is prior of his convent. He is a man gifted with great piety and always most modest.

 

FATHER THOMAS BURKE, bachelor of sacred theology, began his studies at Louvain, continued them in the convent of Saint Jacques, Paris, and finished them in Rome, at Saint Sixtus's, where he taught philosophy, and for some months, theology. He was also prior there, and on his return home after some years, was prior of his convent. On being exiled, he set out for Rome where for a second term he was made prior of Saint Sixtus's. He is now living in the convent of Saint Mary's of the Minerva: he is an upright and good religious.

 

FATHER JOHN MAC GILLA-CELLAIGH, in English Killkelly, studied at Avila in Spain and after his return was a constant and agreeable preacher. For six years he was the socius of the provincial and also prior of his convent. He repaired the dormitory and mill of the convent; he made a fine enlargement of the church porch. As far back as eighteen years ago he was proposed as preacher-general for his convent by the provincial chapter, and indeed with reason, He is good and pious, active and expert in affairs, and a ready and a clever writer. He is staying at present m the refuge of the Dominicans in the town of Bilbao in Spain.

 

FATHER PIERCE KENNA studied with success in the magnificent convent of Valladolid. After returning home he perseveringly pursued the distinguished calling of a preacher for twenty-four years, so that his preaching became celebrated. He was prior of Tralee and twice prior of Kilmallock. He clothed at least eighteen novices in the habit, who made their profession at his hands. The gentry and the common people held him in great esteem. On being exiled he lived for a long time in the convent of Blois, but he is now residing in the hospital of Chateau-Thierry in France.

 

FATHER REDMOND BURKE, of the same community, studied in Andalusia and on his return preached satisfactory, as I have heard from many; was prior of Ballindune and of Sligo and governed with prudence. He is an upright man and a great observer of silence. Since the time of the exile he has been living somewhere in Brittany.

 

FATHER AUGUSTINE BURKE studied with success at Pamplona and after his return preached well and with unction. This mature and modest religious was prior of Roscommon and is living in exile in Bayonne in France.

 

FATHER THOMAS BODKIN studied in France and after his return lived piously in his convent. He is living in exile in the convent of Saint John of the Angels.

 

FATHER MATTHEW TULLY studied in Spain. Being exiled he is living in the convent of Quimper in Britanny: he is a model religious.

 

FATHER THOMAS TULLY, after finishing his studies in Spain, was assigned to San Sebastian in Vizcaya, where he is spending his time piously, as I am informed.

 

FATHER TEIGE O'DALY, having now finished his studies, is residing in the convent of the Incarnation, Bilbao: he is an upright and prudent man, as I am informed

 

FATHER FRANCIS DAVOCK, also an exile, is living in the convent of Corunna in Galicia.

 

FATHER JAMES DAVOCK studied in Spain, and was a very provident procurator for our refuge at Bilbao. He left that place to return home and is still remaining in France.

 

FATHER EDMOND BURKE, bachelor of sacred theology, studied at Pamplona, Salamanca, and in the convent of Atocha near Madrid, with success. He was made lector for the college at Louvain and taught philosophy there. He was master of students, second regent, and now is first regent as well as prior of the college of Holy Cross.

 

FATHER MARTIN DELPHIN studied in Rome and is lector of philosophy here at present.

 

FATHER THOMAS MACNEVIN studied in Spain and at Louvain, and is now chaplain of a regiment of the Spanish army in Belgium.

 

FATHER ANTHONY MACHUGH, the younger, is a student at Grenoble.

 

FATHER COLMAN O'SHAUGHNESSY is studying at Louvain.

  

FATHER ANTHONY BURKE studied in Italy; and after the late exile, went there a second time and is ministering in the hospital at Modena.

 

FATHER AUGUSTINE BERMINGHAM, as I hear, is a lector at Ferrara in Italy

 

FATHER CLEMENT BODKIN is living in the convent of Saint John of the Angels in France.

 

FATHER JOHN BURKE of Clocheroke is in Spain.

 

FATHER HUBERT BURKE gave two courses of philosophy; at Saint Sixtus's, after spending four years at his studies I at Avila, Pamplona and Granada. He is now second rent at Saint Sixtus's.

 

FATHER OLIVER O'DAVORAN made good studies in Spain, and is confessor to the nuns of our Order at Dijon in France.

 

FATHER JAMES MACEGAN is in Spain.

 

FATHER RICKARD BURKE is in Italy.

 

FATHER PIERCE FURLONG has been in prison for the last three years in England.

 

FATHER JOHN O'MORAN is staying at Estella in Navarre.

 

There are therefore thirty-two alive belonging to this community of Athenry.

   

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.

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

Bro. Nathan Hachey was initiated, and advanced to the honourary Degree of a Mark Master Mason by Phoenix Chapter No. 34, Cookstown, ON.

 

en.m.wikipedia.org/wiki/Order_of_Mark_Master_Masons

 

Probably the most beautiful symbol of Freemasonry is that of the Keystone!

 

It does not appear in the symbolism of the Lodge, but is reserved for those degrees dealing with the Chapter and, its symbolism, where it is found in all but one of the degrees of that system. The reason for its absence in lodge symbolism is that the lodge deals with preparation for eternal life, whereas the Chapter deals with the completion.

 

Keystone Symbol - The Keystone is the symbol of completion.

 

For all practical purposes the Keystone is the last stone placed in the arch, and as such represents completion. The placing of the Keystone in the symbolic arch of the Chapter, represents the completion of the individual Temple which each craftsman is erecting.

 

True, the Temple material was destroyed, but it was only the symbol of the Spiritual Temple which can never be destroyed. Royal Arch Masonry efforts are towards building spiritual Temples and its ceremonies, its legends, and its teachings, while beautiful in themselves, are there for the sole purpose of teaching great spiritual truths.

 

Our spiritual Temple can be completed only by death, the great leveller, but if that Temple be built by plumb line, by level, and by square, we are taught that its foundations shall never crumble nor decay, and that when we have reached “that bourne from which no traveller returns” we may enjoy the fruits of our labours here on earth throughout the endless eons of time.

 

And we may add again, the Keystone, the emblem of completion, is the outstanding symbol of Masonic teaching!

 

Cookstown Masonic Temple.

 

THE WAGES OF AN ENTERED APPRENTICE - June 09, 1958

 

PRESENTED TO: PORT ARTHUR LODGE A.F. & A.M. No. 499 BY HORNEPAYNE LODGE A.F. & A.M. No. 636

THUNDER BAY, ONTARIO.

 

THE WAGES OF AN ENTERED APPRENTICE

 

The catechisms of the Craft and the conventional lecture on the Tracing Board of the Second Degree, all of which speak with that authority that belongs to age, tell us that the wages of an Entered Apprentice are Corn, Wine and Oil. Sometimes it is added that he received Corn for food, Wine for nourishment, and Oil for comfort. The broad difference that was thought to be set up between the Apprentice and the Fellowcraft apparently was that the Fellowcraft was paid in coin while the apprentice was paid in kind. I fear it would be difficult to produce any authority for this, and probably the distinction between the liaisons of the two degrees is the invention of some imaginative brother who may have got the hint from a practise that was not uncommon among early operatives. Two or three centuries ago the conditions of labour were laid down as firmly as they are today by our powerful trade unions. A master could not employ more than a certain very limited number of apprentices - often the number was restricted to one - and these apprentices were taken bound to serve their masters for a period of seven years. Not infrequently, alike in mason and other trades, the apprentice went into residence with his master and during the early years of his apprenticeship received no remuneration except board and lodging. Only when he became a journeyman, or Fellowcraft, and was free from the master who had taught him his business, was he entitled to wages in the form of cash. If, as it is possible, some elaborator of Freemasonry, got the hint here as to the remuneration of an apprentice one can easily understand that commonplace language such as “board and lodging” would not appeal to him, and that he would seek to ornament the matter with just such combination of words as “Corn, Wine and Oil.”

 

One of the traditions of the craft, dearly beloved by uncritical Freemasons, says that the whole number of workmen engaged on the Temple at Jerusalem amounted to 217,281 persons, and that of these 80,000 were Fellowcraft and 30,000 were Entered Apprentices - the latter of whom were arranged into one hundred lodges with three hundred members in each. This immense multitude was paid weekly on the sixth day of the week; and one tradition solemnly asserts that the 80,000 Fellowcraft toiled up the Winding Stair to the Inner Chamber to receive their wages. Mackey tells us in this “Lexicon” that the Fellowcraft “were paid in corn, wine and oil”, and the authors of “The Reflected Rays of Light upon Freemasonry” adopting the same view say “What could be more absurd than to believe that eighty thousand craftsmen had to ascend such a stair, to the narrow precincts of the Middle Chamber to receive their wages in Corn, Wine and Oil? “It is very evident that Mackey and the authors of “Reflected Rays” have misread the Lecture on the Second Tracing Board. It was the Entered Apprentice who received the corn, wine and oil and wherever he got it, he did not receive it in the Inner Chamber. To gain access to that apartment a workmen required the pass-grip and pass-word of a Fellowcraft, and it is obvious that no Entered Apprentice could have possessed these.

 

One may pause here for a moment to remark that according to another tradition, all the workers of every degree were paid in current coin. The total wage bill is alleged to have amounted to about £140,000,000 sterling, and it was distributed among the craftsmen on a progressive scale which was quite obviously adjusted on the principle of the more honour the more pay. At the one end of the industrial line stood the humble Entered Apprentices who received one shekel, or about 2s 3d of English money (.50) per day, while at the other end, was the Super-Excellent Mason who received 81 shekels per day, equal to about £9 2s 3d sterling (One Masonic author very generously described this as “only a fanciful speculation of some of our ancient brethren, “and we may return, therefore, to our Corn, Wine and Oil.

 

If I am right in my theory that the wages of an Entered Apprentice in Speculative Freemasonry were suggested by the board and lodging which were the reward of the operative youth while learning t his trade, I think it is clear that the person who fixed to Wages of the Speculative A found his material in the Volume of the Sacred Law. We read in the Second Chapter of the Second Book of Chronicles that when Solomon appealed to the King of Tyre for assistance in building the Temple, he said, “Behold, I will give to thy servants, the hewers that cut timber twenty thousand measures of beaten wheat, and twenty thousand measures of barley, and twenty thousand baths of wine, and twenty thousand baths of oil.” The offer of Solomon was accepted by the King of Tyre who replied “now, therefore, the wheat, and the barley, the oil and the wine, which my lord hath spoken of, let him send unto his servants; and we will cut wood out of Lebanon as much as thou shalt need.” The account preserved. In the 5th Chapter of the first book of Kings, indicates that the gifts were made annually to Hiram’s work people, but there is a discrepancy as to the amount. In 1st Kings the Wines is omitted, and the oil is set down as “twenty measures” equal to about 1340 gallons, whereas the 20,000 baths of 2nd Chronicles were more than ten times as much, being the equivalent of about 165,000 gallons.

 

Old Sheckels:

www.flickr.com/photos/21728045@N08/31064028256/in/datepos...

 

www.flickr.com/photos/dynamosquito/5723176457/in/photolis...

 

THE WAGES OF A FELLOW CRAFT MASON

 

From The Grand Lodge Of Texas

 

During the second section of the Fellow Craft Degree, the new initiate is presented with the wages of a Fellow Craft Mason. He is told the reward for the Freemason who has observed the moral and divine law and not wasted his time in idleness or vice is to be corn, wine and oil. Such wages were indeed true in ancient days when corn, wine and oil represented wealth and were used for money. The Fellow Craft Mason received these wages, not in a literal sense, but symbolically.

 

In ancient days, "corn" was not what we think of as corn today. Instead it was a grain, such as wheat or barley, which was called corn. Thus, an ear of grain (corn) represents plenty. It is also a symbol of nourishment.

 

Wine is mentioned in Psalms 104 as something "that gladdens the heart of man" and, as such, can symbolize health and refreshment of body and spirit. On another level, wine can represent the completed and perfected human life. Wine starts as an inferior juice when newly pressed from the grape, representing youth or immaturity. But with time and through fermentation, it can become a completed product, wine. Wine represents the maturity of mind and spirit we should strive to obtain in our relationship with God, while the fermentation process symbolizes the struggles of life we encounter in developing that relationship.

 

The oil is olive oil, which was a necessity in ancient times as it served multiple purposes. It was used in the preparation of food, served as a medicine both internally and externally, and provided a source of light in the ancient oil lamps. In this view, oil can represent nourishment, health, and peace. As a food item, oil symbolizes nourishment for our physical bodies but also the moral development we as Freemasons should be striving to obtain. As a medicine or remedy, it represents physical health and the spiritual health (or joy) we obtain in our relationship to God. As a source of light, oil represents the physical and spiritual peace we obtain by overcoming the vices of life.

 

Taken as a whole, the corn, wine and oil represent both the physical and spiritual nourishment, refreshment and joy the Freemason receives for living an industrious life devoted to the service of God and his fellowman. The faithful Fellow Craft Mason is assured that his wages, his reward, shall not be just sufficient but plentiful to supply all of his physical, moral, and spiritual needs. He will have health of body, mind, and soul. He will enjoy peace in this life, in the hour of death, and in the life to come.

 

The Grand Lodge of Scotland

 

MASTER'S WAGES

 

It is rewarding to know that we as Freemasons can answer the

question as to what induced us to become Master Masons, and one answer, of course, is to receive Master's Wages.

 

Our Operative Brethren received their Master's Wages in coin of the realm. Speculatives content themselves with intangible wages, and occasionally some are hard pressed to explain to the wondering initiate just what, in this practical age, a "Master's Wages" really are.

 

The wages of a Master may be classified under two heads: first,

those inalienable rights which every Freemason enjoys as a result of payment of fees, initiation and the payment of annual dues to his Lodge; second, those more precious privileges which are his if he will but stretch out his hand to take.

 

The first right of which any initiate is conscious is that of

passing the Tyler and attending his Lodge, instead of being

conducted through the West Gate as a preliminary step to initiation. For a time this right of mingling with his new brethren is so engrossing that he looks no further for his Master's Wages.

 

Later he learns that he has also the right of visitation in other

Lodges, even though it is a "right" hedged about with restrictions. He must be in good standing to exercise it.

 

Generally this right of visiting other Lodges is a very real part of

what may be termed his concrete Master's Wages, and many are the Freemasons who find in it a cure for loneliness in strange places; who think of the opportunity to find a welcome and friends, where otherwise they would be alone, as wages of substantial character.

 

The opportunities to see and hear the beautiful ceremonies of

Freemasonry, to take from them again and again a new thought, are wages not to be lightly received. For him with the open ears and the inquiring mind, the degrees lead to a new world, since familiarity with ritual provides the key by which he may read an endless stream of books about Freemasonry.

 

"Master's Wages" are paid in acquaintance. Unless a newly made Master Mason is so shy and retiring that he seeks the farthest corner of his Lodge-room, there to sit shrinking into himself, inevitably he will become acquainted with many men of many minds, always an interesting addition to the joy of life. What he does with his acquaintances is another story, but at least wages are there, waiting for him. No honest man becomes a Freemason thinking to ask the Craft for relief. Yet the consciousness that poor is the Lodge and sodden the hearts of the brethren thereof from which relief will not be forthcoming if the need is bitter, is wages from which much comfort may be taken.

 

Freemasonry is not, per se, a relief organisation It does not exist merely for the purpose of dispensing charity. Nor has it great funds with which to work its gentle ministrations to the poor.

 

Fees are modest; dues often are too small, rather than too large. Yet, for the Brother down and out, who has no fuel for the fire, no food for his hungry children, whom sudden disaster threatens, the strong arm of the fraternity stretches forth to push back the danger. The cold are warmed, the hungry fed, the naked clothed, the jobless given work, the discouraged heartened. "Master's Wages" surely far greater than the effort put forth to earn them.

 

Freemasonry is strong in defence of the helpless. The widow and the orphan need ask but once to receive her bounty. All Brethren hope to support their own, provide for their loved ones, but misfortune comes to the just and the unjust alike. To be one of a world-wide Brotherhood on which widow and child may call is of untold comfort, "Master's Wages" more precious than coin of gold.

 

Finally, it is the right of Mason's burial. At home or abroad a

Freemason, known to desire it, is followed to his last home by

sorrowing Brethren who lay him away under the apron of the Craft and the sprig of Acacia of immortal hope. This, too, is "Wages of a Master".

 

"Pay the Craft their Wages, if any be due."

 

To some the practical wages mentioned are the important payments for a Freemason's work. To others, the more tangible but none the less beloved opportunities to give, rather than to get, are the "Master's Wages" which count the most.

 

Great among these is the Craft's opportunity for service. The world is full of chances to do for others, and no man need apply to a Masonic Lodge only because he wants a chance to "do unto others as he would that others do unto him". But Freemasonry offers peculiar opportunities to unusual talents which are not always found in the profane world.

 

There is always something to do in a Lodge. There are always

committees to be served and committee work is usually thankless work. He who cannot find his payment in his satisfaction of a task well done will receive no "Master's Wages" for his labours on Lodge committees.

 

There are Brethren to be taught. Learning all the "work" is a man's task, not to be accomplished in a hurry. Yet it is worth the doing, and in instructing officers and candidates many a Mason has found a quiet joy which is "Master's Wages" pressed down and running over.

 

Service leads to the possibility of appointment or election to the

line of officers. There is little use to speak of the "Master's

Wages" this opportunity pays, because only those who have occupied the Oriental Chair know what they are. The outer evidence of the experience may be told, but the inner spiritual experience is untellable because the words have not been invented. But Past

Masters know! To them is issued a special coinage of "Master's

Wages" which only a Worshipful Master may earn. Ask any of them if they were not well paid for the labour.

 

If practical "Master's Wages" are acquaintance in Lodge, the

enjoyment of fellowship, merged into friendship, is the same payment in a larger form, Difficult to describe, the sense of being one of a group, the solidarity of the circle which is the Lodge, provides a satisfaction and pleasure impossible to describe as it is clearly to be felt. It is interesting to meet many men of many walks of life;

 

it is heart-warming continually to meet the same group, always with the same feeling of equality. High and low, rich and poor, merchant and farmer, banker and fisherman, doctor and ditch-digger, meet on the level, and find it happy - "Master's Wages", value untranslatable into money.

 

Finally - and best - is the making of many friends. Thousands of

Brethren count their nearest and dearest friends on the rolls of the Lodge they love and serve. The Mystic Tie makes for friendship. It attracts man to man and often draws together "those who might otherwise have remained at a perpetual distance". The teachings of brotherly love, relief and truth; of temperance, fortitude, prudence and justice; the inculcation of patriotism and love of country, we everyday experience in a Masonic Lodge. When men speak freely those thoughts which, in the world without, they keep silent, friendships are formed. Count gain for work well done in what coin seems most valuable; the dearest of the intangibles which come to any Master Mason are those Masonic friendships of which there are no greater "Master's Wages".

 

Map: www.flickr.com/photos/internetarchivebookimages/147770369...

 

Portable Masonic Wages - Phoenix Masonry

 

A portable leather case of corn, wine and oil is symbolic of the wages paid to a Fellow Craft Mason as he makes his way or "passes" through the middle chamber. The "corn, wine, and oil are emblematical of nourishment, refreshment and joy and teach us this important lesson... that we should be ever-ready to nourish the needy, refresh the destitute, and pour the oil of joy in the hearts of the afflicted."

 

The corn in the Masonic rituals is a synonym of grain or wheat. In ancient rituals was used as an emblem of the Greek goddess

Demeter, or of the Roman Cybelis. Both female figures were conceived as appearances of the Mother Earth. In Greek pottery someone can see that in festivities in honour of Demeter the priests and the faithful were crowned with ears of wheat. This symbolized the fertility of the earth, which with the grain gives the bread to the mankind. Thus was corn or grain according to this symbolism the personification of the idea of plenty, abundance, and due to the divine intervention promised fertility.

 

Following the same religious beliefs was wine the symbol of Greek God Dionysos. By drinking the wine the Dionysiac priests and initiated participants to the Bacchical mysteries were able to come to the psychic condition of "methexis" - a condition of holy madness -, so they could play the drama of ritual death and rebirth of Dionysos. The wine helped them to loose their identity and come as divine actors to a psychological situation, under which they understood hidden truths and the divine allegory by using their feelings and insights rather than their intellect. The wine was seen

as a symbol of joy, exaltation ,and as a mean towards the initiation through the emotion and the instinct, by acting in Bacchical rituals, after having eliminated the logic.

 

The oil was, as an extract of the olive fruit, a reward of the

Greek goddess of knowledge Athena - Pallas, who had as emblem, among others, the olive-tree. One of the principal uses of oil was to bring the light in homes, so it was seen in its more esoterical significance as a symbol of spiritual Enlightenment, in other words as a symbol of the eternal lantern of divine knowledge. In the same meaning was the oil a symbol of peace through Enlightenment. Plants of the olive tree were given as a reward to the winners of the Olympic games, during which every war must be breached. Thus Athena brought to

the faithful with the present of oil the reward of hidden knowledge, enlightenment and peace.

 

In the Biblical symbolism the three products possessed a similar meaning and significance to this of the Greco-roman world. King Solomon gave corn, wine and oil to the builders of the Temple as a reward for their labors. The ear of corn together with the flood of water personifies in the Hebrew word Shibboleth the abundance and wealth. The wine was seen as an element of consecration and a divine refreshment. The Hebrews anointed their Kings, Prophets and High Priests with oil mixed with other spices, because the oil was the major element of the ceremony, which was leading towards the path of the divine initiation.

 

In the Christian symbolism the corn refers to the bread and this

last one makes someone remember of the body of Jesus Christ in the Eucharist, as well as the wine refers to the blood of him. The oil symbolizes the Baptism. The three substances are the most significant of the Christian initiation. In Christian Masonic

degrees these three rewards of the Mason bring with them the

remembrance of the Holy Passion and the promise of the Resurrection.

 

According to all above mentioned symbolical languages the Mason receives as a reward for his labors in the Lodge the present of grain, because he fertilized himself and all other Masons by working in the building of himself and the building of the Temple. He receives the wine to remember that through his emotion and instinct conquered the hidden knowledge by playing in the rituals the passions of God his symbolical murder and his eternal rebirth. Thirdly, he receives the oil to remember that he achieved at the end of the road the spiritual enlightenment, the baptism, and his inner peace as a reflection of the eternal peace of God.

 

Mark Master Degree - Its Ritual and Antiquity

 

R. E. Trebilcock

 

RITUAL OF THE MARK MASTER DEGREE

 

The degree of Mark Master has continued with as few changes as any Masonic degree of which we have knowledge. It is impossible for anyone to specify accurately what the ritual consisted of previous to 1797, but in that year, Thomas Smith Webb issued the first complete Masonic Monitor which included the Capitular degrees.

 

We have before us, as we write, this first edition of Webb; in it he says of the degree:

 

The first section explains the manner of convocating and opening a Master Mark Lodge. It teaches the duties of the respective officers, and recapitulates the mystic ceremony of introducing a candidate. In this section is exemplified the regularity and good order that was observed by the craftsmen on Mount Libanus, and in the plains and quarries of Zeredathah, and ends with a beautiful display of the manner by which one of the principal events took place.

 

In the second section, the Master Mark Mason is particularly instructed in the history of this degree, and the increased obligation he is under to stretch forth his assisting hand to the relief of an indigent and worthy brother.

 

The distinguishing marks and characteristics are also explained and illustrated in this section. In the course of the lecture the following texts of Scripture are recited, viz.:

 

Then follow five quotations taken from Psalms, Matthew, Mark, Luke, and Acts all having to do with the "stone which the builders rejected." In many jurisdictions this has been changed by using quotations which are not so monotonous, since references are made throughout the degree to the same passages.

 

The Charge which follows is identical with that in use to this day; the Parable of the Vineyard occupied an important place; and the Mark Master Song, as now used, was printed in full.

 

The degree of Mark Master in 1797 is that of 1964!

 

THE SCRIPTURE USED IN MARK DEGREE

 

Quotations from the Scriptures appear very prominently throughout the ritual of the Mark Master degree, beginning with the opening and appearing also in the closing ceremonies.

 

These include extracts from I Peter, Ezekiel, Isaiah, Revelations, Matthew and Proverbs. In a few instances not all of the verse has been used, to enable it to fit into the ritual ceremony. A few changes are necessary so as to be inoffensive to any religious belief.

 

An instance of this appears in the opening ceremonies as taken from I Peter:

 

Wherefore, laying aside all malice, and all guile, and hypocrisies, and envies, and all evil speakings; if so be ye have tasted that the Lord is gracious; to whom coming, as unto a living stone, disallowed indeed of men, but chosen of God, and precious; ye also as lively (changed to "living") stones, be ye built up a spiritual house (change to "are built up, etc.), an holy priesthood, to offer up spiritual sacrifices acceptable to God by Jesus Christ. ("by Jesus Christ" stricken out to make acceptable to Hebrew and Moslem.)

 

Verse 3 is omitted entirely, having no connection with the ritual. Instead of continuing to quote from Peter, the next section jumps over to Isaiah 28:16:

 

Therefore thus saith the Lord God (changed to "Wherefore, also it is contained in the Scripture")

 

Behold, I lay in Zion for a foundation a stone, a tried stone, a precious cornerstone, a sure foundation; he that believeth shall not make haste to pass it over. ("to pass it over" is stricken out in the ritual.)

 

And there are changes made in verse 7 of I Peter, 2:

 

Unto you therefore which believe he is precious (ritual reads "it is an honor") but unto them which be disobedient (ritual says "and even to them which be disobedient,"), the stone which the builders disallowed, the same is made the head of the comer.

 

And jumping to verses 15-17 of the same chapter, we read:

 

For so is the will of God (the ritual says "Brethren, this is the will of God"), that with well doing, ye may put to silence ("may" is left out of the ritual), the ignorance of foolish men: as free, and not using your liberty for a cloke (spelled cloak in ritual), of maliciousness, but as the servants of God. Honour all men. Love the brotherhood. Fear God. Honour the King. (The ritual says: "Honor all men; love the brotherhood; fear God.")

 

The Scripture of the perambulations is taken from Ezekiel 44, verses 1, 2, 3, and 5, and there is no change in the ritual from that of the Scripture. These passages refer to the vision of Ezekiel, to understand which we must refer to Ezekiel 40 v. 2-3:

 

In the visions of God brought he me into the land of Israel, and set me upon a very high mountain ... and he brought me thither, and behold, there was a man whose appearance was like the appearance of brass ... and he stood in the gate (of the City of Jerusalem).

 

The "man" thereupon conducted him about the Temple giving information and instruction to Ezekiel, when, finally,

 

He brought me back the way of the gate of the outward sanctuary which looketh toward the east; and it was shut.

 

Then follows verses 2, 3, and 5, omitting 4, which has no connection.

 

We encounter in the ritual, the following:

 

what you give, give freely, for the Lord loves a cheerful giver.

 

The passage is taken from II Corinthians 9:7:

 

Every man according as he purposeth in his heart, so let him give; not grudgingly, or of necessity: for God loveth a cheerful giver.

 

A passage from Ezekiel is twice used in the ritual (Ezekiel 44:5), where Ezekiel is told to listen carefully to all that has been said; this applies equally to the instruction being given the candidate:

 

Mark well, and behold with thine eyes, and hear with thine ears, all that I say unto thee concerning all the ordinances of the house of the Lord, and all the laws thereof, and mark well the entering in of the house with every going forth of the sanctuary.

 

In the Revelation of St. John the Divine appears a passage of importance to the Mark Master. It is in Revelation 2:17, and refers to the message to the churches:

 

To him that overcometh will I give to eat of the hidden manna, and will give him a white stone, and in the stone a new name written, which no man knoweth saving he hath received it.

 

The white stone with the name written thereon is one of the principal pieces of furniture of a Mark Master lodge and its traditions and symbolism are carefully explained to each candidate. Not only did the "white stone" convey the name, but it was also the stone found necessary in completing the temple. Just so is the name essential for completing the spiritual temple.

 

And finally, we come to the beautiful parable of the vineyard, quoted exactly from Matthew 20:1-16. The quotation follows a conversation between Jesus and Peter, his disciple. The discussion is on the matter of everlasting life and the parable is used to impress upon Peter that whosoever seeks eternal life shall find it whether that search begins in youth, in manhood, or in age when one comes in "at the eleventh hour," "receiving as much as they who have borne the burden of the day."

 

How appropriately it is introduced into the Mark Master degree, only those who receive it, and study it, may know.

 

The closing passage of scripture is taken from Proverbs 3:1, and carries on the story of eternal life by calling attention to those things necessary to attain it.

 

Read it:

 

Forget not God's law; but let thine heart keep his commandments; for length of days, and long life, and peace, shall they add to thee.

 

Let not mercy and truth forsake thee; bind them about thy neck; write them upon the table of thine heart: so shalt thou find favor and good understanding in the sight of God and man.

 

And what a fine theme on which to close a Masonic degree!

 

A MARK MASTER'S WORKING TOOLS

 

Why were the chisel and mallet chosen as the working tools of a Mark Master? What particular relationship do these tools have with the degree of Mark Master?

 

First, let us see what we are told about these implements:

 

The Mallet morally teaches us to correct irregularities, and to reduce man to a proper level; so that, by quiet deportment, he may, in the school of discipline, learn to be content.

 

What the Mallet is to the workmen, enlightened reason is to the passions; it curbs ambition, depresses envy, moderates anger, and encourages good dispositions; whence arises among good Freemasons, that comely order, Which nothing earthly gives, or can destroy; The soul's calm sunshine, and the heartfelt joy.

 

The Chisel morally demonstrates the advantages of discipline and education. The mind, like the diamond in its original state, is rude and unpolished; but as the effect of the Chisel on the external coat soon presents to view the latent beauties of the diamond, so education discovers the latent virtues of the mind, and draws them forth to range the large field of matter and space, to display the summit of human knowledge, our duty to God and to man.

 

A progressive study of Masonic working tools will show both a practical and a symbolic use of these instruments; this is the teaching of Freemasonry, and how well we absorb this teaching will decide how good a Freemason we are.

 

In the first place, their practical purpose is explained in the Mark Master lecture; but the candidate is not told that with these tools he can communicate with another brother, for it is with these instruments that he makes the Masonic cipher alphabet. It is with these instruments that he can place his individual mark upon each piece of work which he may complete for the building of the temple. And here for the first time he is taught individual responsibility. Heretofore he has been working for the combined interest of the human family; now he is taught that he has an individual responsibility, and that each piece of work which he presents has a distinct personal value; that his work must be square and true and that those who inspect will: through his mark, be able to detect imperfect work, or work presented by imposters.

 

But most important is the thought that each of us must perfect our own lives; that it is in our power to build a substantial structure or an imperfect one. Our lives are like blocks of stone which the sculptor, by striking off bits here and there, may form into a beautiful work of art, the value of which depends solely on the vision of the artist himself. The Chisel and Mallet are his instruments for producing his masterpiece. So, does the Mark Master, using his Chisel and Mallet as spiritual instruments, perfect his character by striking off all those vices and irregularities which mar a life, and reveal a perfect character, the finest gift one can offer to the Great Overseer.

 

In the lodge we are taught the value of each stone that goes into the temple, materially and spiritually. In the chapter we are taught that we are the architects of our own lives and that it is within our power to say whether that life be good or bad.

 

How important to us, as Freemasons, are the teachings of the Chisel and the Mallet which give us an insight into our duties and our possibilities!

 

THE ANTIQUITY OF THE MARK

 

William J. Hughan, the most famous of the English Masonic historians says of the Mark degree:

 

The antiquity of Mark Masonry cannot be doubted. Operatively considered and even speculatively, it has enjoyed special prominence for centuries; records of the custom being followed by speculative brethren, according to existing records, dating back to 1600, in which year, on the 8th day of June, "Ye principal warden and chief master of maisons, Wm. Schaw, master of work to ye Kingis Maistie", met members of the Lodge of Edinburgh (Now No. 1) at Holyrood House, at which meeting the Laird of Auchinleck was present, and attested the minutes of the assembly by his Mark, as did the operatives, in accordance with the Schaw Statutes of December 28, 1598, which provided "That the day of reassauying (receiving) of said fellow of craft or master be ord'lie buikit and his name and Mark insert in the said buik."

 

Another minute book of the same lodge contains a list of members in 1767, setting out after each name the date on which the member received the degree of R.A. The earliest date given is 1745.

 

Turning to America, we find a reference in a minute book of a lodge in Virginia of the degree being conferred in 1753.

 

Castells in his book "Organization of the Royal Arch Chapter Two Centuries Ago" says, in his opening chapter, that

 

"The question of the fons et origo of our Supreme Degree is a problem; but we claim that we have solved it, for we have shown in previous works that the Royal Arch is only a dilution of Kabbalism."

 

Let us see on what this claim is founded. He admits in his preface that he had only at his disposal "a few scraps of information, which are like the tiny bits of a jigsaw puzzle, most difficult to combine into a pictorial design," but he believes he has put them together in the right order. But do the scraps of information justify the conclusion at which he has arrived?

 

The Kabbala was a secret science of the Jewish Rabbis for the interpretation of the hidden meaning of the scriptures, claimed to be handed down by oral tradition.

 

In his chapter on the Kabbalistic Degrees, the author refers to an ancient work known as the Sepher-ha-Zohar, a book that appeared in Spain in the thirteenth century. The copies of this book (there are two or three still in existence) were in the manuscript of a professional copyist, who apparently had an earlier copy in his possession.

 

The subject matter is undoubtedly considerably older than the 13th century, but probably had been handed down by tradition and reduced to writing only in then comparatively recent times. It professes to be the work of one Simeon bin Jochai who lived in the first century A.D.

 

Speaking of the first word with which we of the R.A. are familiar, Simeon says,

 

"Now come and see the mystery of the Word. There are Three Degrees (in the word) and each Degree, exists by itself, and although the Three constitute One, they are closely united into One, and are inseparable from each other."

 

Simeon was discussing the word, and had explained that there were three ways of writing it:

 

The simple four-lettered word, without points;

The same four letters with certain vowels, taken from another sacred word;

The same with the vowel points of still another sacred word.

From this Castells infers "that the unwritten word of Kabbalism. consisted of three particles, or syllables, each one being capable of standing by itself; and as it had a meaning of its own, it could be considered either singly or separately. The three syllables, however, formed one word, and were actually united and inseparable. This answers exactly to the Word which the R.A. Companions know of."

 

So far we may, perhaps, agree with Castells, but he goes further, and claims that "The statement of the Zohar implies that each part of the Sacred Word was communicated and shared piecemeal by the three who bore sway among the old time companions, and this was done by them as they passed successively from chair to chair, until the climax was reached when the whole Word became known."

 

He submits, therefore, that the passage refers to the Second Word with which we are familiar "which was the Masonic Word" of the seventeenth century.

 

I would like to be able to agree with Castells in this last deduction, but I am afraid he has built too much on very slender premises.

 

Be that as it may, he proves nothing. The first Word (except as to its correct pronunciation) is known to all the world, and has so been known for many centuries, so the possession of it by the R.A. does not indicate that it came from the Kabbalists. As to the second word, Castells' claim that it was possessed by the Kabbalists is entirely without foundation.

 

Further, there is more in our traditions than the knowledge of a word — the tradition as to the finding of what was lost. Even Castells does not suggest that the Kabbalists had a tradition of a loss of something important and its subsequent discovery. If it could be shown that they had, then the conclusion that our Order was a descendant of Kabbalism would be almost irrefutable.

 

Castells says

 

"the analysis of Kabbalism … leaves no room for doubt … Kabbalism in this country (England) degenerated and gave rise to Freemasonry…. Our views have now been before Masonic students for some years, and if there be any fallacy in them, let those who can disprove them."

 

The fallacy is obvious. He has based his views on insufficient data; the "tiny bits" of his "jigsaw puzzle" are too few and too small to warrant the picture he has built out of them.

 

No, we can trace the Royal Arch back with certainty to a few years before 1744 (say 1740), and the place, England. It is probably very much older, but there we must leave it. Some day, perhaps, some old manuscript may turn up which will give it still greater antiquity, but it is not likely.

"The moral law finds its fullness and its unity in Christ. Jesus Christ is in person the way of perfection. He is the end of the law, for only he teaches and bestows the justice of God: "For Christ is the end of the law, that every one who has faith may be justified.""

 

– Catechism of the Catholic Church, §1953.

  

Luis de Gonzaga (1568 – 1591)

Society of Jesus Novice

 

Gonzaga was born the eldest of seven children, at his family's castle in Castiglione delle Stiviere, between Brescia and Mantova in northern Italy in what was then part of the Duchy of Mantua, a member of the illustrious House of Gonzaga. Aloysius is the Latin form of Gonzaga's given name, Luigi. He was the oldest son of Ferrante Gonzaga (1544–1586), Marquis of Castiglione, and Marta Tana di Santena, daughter of a baron of the Piedmontese Della Rovere family. His father had been offered the position of commander-in-chief of the cavalry of Henry VIII of England, but preferred the Spanish court. His mother was a lady-in-waiting to Isabel, the wife of Philip II of Spain.

As the first-born son, he was in line to inherit his father's title of Marquis. His father assumed that Aloysius would become a soldier, as the family was constantly involved in the frequent minor wars in the region. His military training started at an early age, but he also received an education in languages and the arts. As early as age four, Luigi was given a set of miniature guns and accompanied his father on training expeditions so that the boy might learn “the art of arms.” At the age of five, Aloysius was sent to a military camp to get started on his career. His father was pleased to see his son marching around camp at the head of a platoon of soldiers. His mother and his tutor were less pleased with the vocabulary he picked up there.

He grew up amid the violence and brutality of the Renaissance Italy and witnessed the murder of two of his brothers. In 1576, at age of 8, he was sent to Florence, along with his younger brother Rodolfo, to serve at the court of the Grand Duke Francesco I de' Medici and to receive further education.[6] While there, he fell ill with a disease of the kidneys, which was to trouble him throughout his life. While he was ill, he took the opportunity to read about the saints and to spend much of his time in prayer. He is said to have taken a private vow of chastity at the age of 9. In November 1579, the brothers were sent to the Duke of Mantua. Aloysius was shocked by the violent and frivolous life-style he encountered there.

  

Aloysius Gonzaga as a boy

Aloysius returned to Castiglione where he met Cardinal Charles Borromeo, and from him received First Communion on July 22, 1580. After reading a book about Jesuit missionaries in India, Aloysius felt strongly that he wanted to become a missionary himself. He started practicing by giving catechism classes to young boys in Castiglione in the summers. He also repeatedly visited the houses of the Capuchin friars and the Barnabites located in Casale Monferrato, the capital of the Gonzaga-ruled Duchy of Montferrat where the family spent the winter. He also adopted an ascetic lifestyle.

The family was called to Spain in 1581, to assist the Holy Roman Empress Maria of Austria. They arrived in Madrid in March 1582, where Aloysius and Rodolfo became pages for the young Infante Diego (1575–82). At that point, Aloysius started thinking in earnest about joining a religious order. He had considered joining the Capuchins, but he had a Jesuit confessor in Madrid and decided to join that order. His mother agreed to his request, but his father was furious and prevented him from doing so.

In July 1584, a year and a half after the Infante's death, the family returned to Italy. Aloysius still wanted to become a priest, and several members of his family worked hard to persuade him to change his mind. When they realized that there was no way to make him give up his plan, they tried to persuade him to become a secular priest, and offered to arrange for a bishopric for him. If he were to became a Jesuit he would renounce any right to his inheritance or status in society. His family was afraid of this, but their attempts to persuade him not to join the Jesuits failed; Aloysius was not interested in higher office and still wanted to become a missionary.

 

In November 1585, Aloysius gave up all rights of inheritance, which was confirmed by the emperor. He went to Rome and, because of his noble birth, gained an audience with Pope Sixtus V. Following a brief stay at the Palazzo Aragona Gonzaga, the Roman home of his cousin, Cardinal Scipione Gonzaga, on 25 November 1585 he was accepted into the novitiate of the Society of Jesus in Rome. During this period, he was asked to moderate his asceticism somewhat, and to be more social with the other novices.

Aloysius' health continued to cause problems. In addition to the kidney disease, he also suffered from a skin disease, chronic headaches and insomnia. He was sent to Milan for studies, but after some time he was sent back to Rome because of his health. On November 25, 1587, he took the three religious vows of chastity, poverty and obedience. In February and March 1588, he received minor orders, and started studying theology to prepare for ordination. In 1589, he was called to Mantua to mediate between his brother Rodolfo and the Duke of Mantua. He returned to Rome in May 1590. It is said that later that year, he had a vision in which the Archangel Gabriel told him that he would die within a year.

In 1591, a plague broke out in Rome. The Jesuits opened a hospital for the stricken, and Aloysius volunteered to work there. He was allowed to work in a ward where there were no plague victims, as they were afraid to lose him. As it turned out, a man on his ward was already infected, and on March 3, 1591 (six days before his 23rd birthday) Aloysius showed the first symptoms of being infected. It seemed certain that he would die in a short time, and he was given Extreme Unction. To everyone's surprise, however, he recovered, but his health was left worse than ever.

While he was ill, he spoke several times with his confessor, the cardinal and later saint, Robert Bellarmine. Aloysius had another vision, and told Bellarmine that he would die on the Octave of the feast of Corpus Christi. On that very day, which fell on June 21 that year, he seemed very well in the morning, but insisted that he would die before the day was over. As he began to grow weak, Bellarmine gave him the last rites, and recited the prayers for the dying. He died just before midnight.

Purity was his notable virtue. The night of his death, the Carmelite mystic St Maria Magdalena de Pazzi had a vision of him in great glory because he had lived a particularly strong interior life.

 

Aloysius was buried in the Church of the Most Holy Annunciation, which later became the Church of Saint Ignatius of Loyola in Rome. His name was changed to Robert before his death, in honor of his confessor. Many people considered him to be a saint soon after his death, and his mortal remains were moved to the Sant'Ignazio church in Rome, where they now rest in an urn of lapis lazuli in the Lancelotti Chapel. His head was later translated to the basilica bearing his name in Castiglione delle Stiviere. He was beatified only fourteen years after his death by Pope Paul V, on October 19, 1605. On December 31, 1726, he was canonized together with another Jesuit novice, Stanislaus Kostka, by Pope Benedict XIII.

Saint Aloysius' feast day is celebrated on June 21, the date of his death.

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.

I shot this on my mobile phone a shot from atop the bridge this is a beautiful church though I have never been in it my American friend Dr #GlennLosack stayed in a hotel in front of this church on his first trip to Mumbai to meet me .

I used to pass this way via Mustafa bazar to reach my parents graves at Rehmatabad Shia cemetery Mazgaon .

I have not been to their graves since the pandemic both lie in repose side by side .

My mother had permitted me to take Catechism in school instead of Moral Science and as Holy Name High school was attached to Holy Name Cathedral the Church had a great influence on my young mind I spend hours at the Sacristy with Fr Ratus and Fr Stephan Nazareth.

It's been over 60 years I am still connected to a few churches in Bandra .

I love stained glass windows and Church architecture.

I shot the Anglican Protestant Church connected to the Church of North India Afgan Church in army settings .

A fabulous church ...next to my school Private European School was John the Baptist Church a Methodist one .

I have never studied in a madrsa parents were poor but educated us well.

Good Morning

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.

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.

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.

Blessed Laura Vicuna

 

Laura Carmen Vicuña was born in Santiago, Chile, South America on 5 April 1891. Her father, Joseph Dominic Vicuña, was an officer in the army, an aristocrat of the Spanish Vicuña dynasty. He married Mercedes Pino, a high-spirited and beautiful woman who came from a farming family. Mr. Vicuña’s relatives were disappointed that he did not marry within his social status and could not forgive him for this. As far as his family was concerned Mercedes did not exist.

 

Laura was baptised in St. Anne’s Church, Santiago, Chile on the 24 May of that year in the presence of her parents but no other relations were present except the godparents because the Vicuñas had disowned him after his marriage to Mercedes.

 

Chile was going through days of dramatic change. The president of the Republic, Joseph Emanuel Balmaceda, who was supported by the Vicuñas of the conservative party, had to abdicate because he was unable to break with the rigid position of the old regime. In a desperate effort to avoid civil war, he proposed as candidate for the presidency a Vicuña, Claudio, but it was already too late. The revolution broke out. On 28 August the rebels entered Santiago.

 

Joseph Vicuña was now persecuted on two fronts; his family disowned him because of his marriage to Mercedes and now he was on the run, cast out of his country, which he passionately and loyally served. Joseph and Mercedes with Laura in her arms fled from one countryside to another with few belongings. They reached Temuco, a city 500 kilometres south of Santiago, and settled there; a haven for those persecuted for their political beliefs. Life was hard but bearable. At eighteen months Laura fell gravely ill but recovered. Around five months later in 1983 a second child was born to Joseph and Mercedes. She was named Julia Amanda. The joy soon turned to grief. Soon after the birth of Julia, Joseph died of pneumonia.

 

The Vicuñas had managed to run a shop in Temuco, a haberdashery store. Alas, one night in 1899 burglars ransacked it, threatening to kill the two little girls if reported. Unable to restart building up a new store, Mercedes felt discouraged and decided to leave Temuco. That same year, with Laura eight and Julia six, she joined a caravan of emigrants in search of a livelihood in the neighbouring country of Argentine, hoping against hope.

 

Ill fate threw Mercedes into despair. She had no more endurance. She gave up searching for an honourable occupation. She took shelter in the Quilquihue (home of the falcon) ranch run by a certain Mr. Manuel Mora, a cruel master. He had served prison sentences for crimes unknown and frequently had recourse to the dagger and revolver. Mercedes herself was witness of his savagery as he flogged a stableboy mercilessly.

 

When Mercedes came to know him he was about forty, a good-looking and handsome man. Manuel was a self-made lord and Mercedes clung to him in her vulnerability thinking that he would protector herself and her children. Manuel had no intention of marrying her. She would become his mistress.

 

Mercedes did size up the situation and realised that her two daughters were in the wrong environment. She enquired here and there and was finally able to have Laura and Julia placed in a boarding school run by the Salesian Sisters at Junín de los Andes. Junín was a border town, 780 metres above sea level in the folds of the Cordillera. The Salesian Sisters, Fathers and Brothers, under the direction of Cardinal John Cagliero sdb, had not long entered this region and opened boarding schools for boys and girls. Twenty kilometres separated the Quilquihue ranch from Junín.

 

Ironically, Manuel was willing to pay the tuition of the two girls. He even paid for the children’s clothes. Sr. Angela Piai, a Salesian Sister and leader of the community, accepted the two sisters, Laura being nine years of age and Julia. They started there on 21 January 1900 among fourteen boarders and seventy day-students and both settled into their new environment with ease. But Laura realised that her mother was not in the right place. She confided to Julia, "We must beg our mum to leave that wretched farmhouse".

 

The boarding school would be the environment where Laura would learn so much about herself, others, her world and her God. While at the College she made a marvellous discovery of her journey with a personal God. Sr. Angela attests, "From her first days in the College they noticed in Laura a sense of judgement well beyond her age". And Fr. Crestanello sdb affirms: "Right from the first catechism lessons she was very keen to learn all that was being taught, while deep down in her heart there was a growing desire to put all she heard into practice".

 

Laura, therefore, progressed well in her studies. At the end of the first scholastic year she came first in the whole school. At the prize-giving on 1 January 1901 she received a bible from the hands of Cardinal Cagliero. He had told her: "Take this copy of the bible and read it, especially during your holidays". While Laura really did not want to return to the ranch, that is exactly what she did during the summer months once back at the Quilquihue. However, Laura could sense that things were not right with her mother. While Manuel treated Laura with respect that summer, she could already distinguish between what was opportune and what should not be done. She had transformed study into wisdom and catechism into life. At this stage no one at the College was aware of Mercedes’ true situation.

 

The two girls returned to the boarding school the following year. Laura continued to be very diligent in school. The more she learnt about her faith and about the Catholic moral code of practice the more she realised the gravity of the situation in which her mother was living. This pained her deeply.

 

On 2 June 1901, at the age of ten, Laura received her first Communion. On that day she resolved to love God wholeheartedly, to make God known and loved by others and she was determined, as far as it was possible, not to commit a deliberate sin.

 

While Laura’s educators thought that she was an exemplary student, it did not stop Laura from being a very active ten-year old. She was cheerful and very approachable. The girls took to her because she was so kind and keen to help them learn. She would show the less gifted how to read, or the newest arrivals how to take a pen in their inexpert hands or repeat a lesson for another. She used her free time to comfort those boarders who were sick. She would tell her companions: "A cheerful attitude will sustain you in all your difficulties, trials and sufferings in life".

 

In other words, Laura was into everything; acting on the stage, playing games, helping with the chores, assisting other with their lessons, deepening her prayer life. Sr. Azócar, Laura’s first and most loved teacher, states, "She was gentle and strong at the same time".

 

At the end of the scholastic year 1901 and on the feast of Mary Immaculate, Laura joined other companions and become a Child of Mary. Her sister Julia remembers, "The day on which Laura received the medal of a Child of Mary was one of her happiest days".

 

This happiness was soon short lived. Mercedes came to take her two daughters home for the summer after Christmas. During these holidays Manuel’s attitude had drastically changed. Rumour had it that Manuel was paying for Laura’s education so that one day he would marry her. The man was to realise that he was making a huge mistake. During that summer he would often send Mercedes outside the house to be alone with Laura. But Laura resisted and managed to save herself from his assault. Mercedes realising what was happening was heartbroken but still did not leave the ranch.

 

At an evening festival after branding the animals Laura was invited to dance with Manuel. She flatly refused. She knew how these dances ended. The fierce master flew into a rage and furiously flogged Laura’s mother because of Laura’s resistance.

 

Days after things became worse. Manuel refused to pay Laura’s tuition. What is more he expected the two girls to work as servants on the ranch. The mother objected; "They are mine", she cried, "and I am not here as a slave". Manuel shouted: "Either a slave or dead! As for those two we will see"! Sr. Angela finally came to know of the unfortunate situation Mercedes and the children were in. She offered Laura free tuition for five years.

 

As the 1902 scholastic year dawned Laura and Julia were certainly very glad to be back at the College. Around Easter of that year Laura and Julia received the sacrament of Confirmation. Their mother was present at this celebration and it gave another chance for Laura to talk to her mother about leaving Manuel. But nothing changed.

 

She eagerly confided in her confessor, Fr. Crestanello, of her deep desire to become a Salesian Sister even though she realised she was still too young to take that step. More agonising for Laura was the knowledge, following canon law of that era, that even in the future, because of her mother’s situation, she could never begin that journey. The confessor realised the depth of soul of this young girl, which reached far beyond her young life. After some instruction from him, he allowed her to make the three vows of chastity, poverty and obedience privately. She committed herself to imitate Jesus poor, chaste and obedient. She was eleven years old.

 

During a sermon that year given on the parable of the Good Shepherd, Fr. Crestanello brought out the necessity of giving one’s life for others. Laura was more determined than ever. "I offer mine to you, Jesus. It is for my dear mother. She will come back to your love". Laura confided her resolve to Sr. Azócar and she suggested that Laura speak to Fr. Crestanello. That she did, but he hesitated to approve of such an undertaking - an eleven year old offering her life for the good of her mother. Fr. Crestanello again marvelled at the extraordinary depth in one so young.

 

As 1902 concluded Laura again received an excellent school report. But by the end of this year the Sisters noticed that Laura neither looked well nor had the same energy as before. On an understanding with Mercedes, Laura remained at Junín. Laura was grateful for this for she knew that time at Quilquihue would have been very stressful. Over the holidays she did regain some of her colour and strength once more. So as 1903 dawned she was able to face the new scholastic year with vigour and enthusiasm.

 

During the month of July of that year the river near the boarding school, the Chimehuin River, burst its banks because of excessive rain and flooded the whole of the town. The rushing waters brought ruin and destruction. The Sisters’ school was also flooded. On the evening of 16 July more than a metre of water engulfed the school. Laura was instrumental in saving the lives of other children in the school. All managed to escape safely and could not return for at least a week.

 

After this Laura fell ill. Possibly it was pneumonia but with scant medicine and very little medical attention Laura was prescribed only rest and nourishing food. Sr. Angela and the Sisters thought it best for Laura not to go back to the ranch to recover. But Mercedes thought otherwise and had her return to Quilquihue. Laura, as if pre-empting the future, told Sr. Angela to give away her clothes to a needy family nearby.

 

Sadly, Laura, her companions and the Sisters bid farewell to each other. The thought of returning to Quilquihue was no joy for Laura but Mercedes was convinced that the fresh air and nourishing food would cure Laura. Laura remained at Quilquihue from 15 September to 1 November. In all this time there was no improvement in Laura’s health, actually it deteriorated. Laura’s encounter with Manuel remained the same. He neither greeted her nor showed any understanding that she was not well. He actually had no pity on her. He declared: "Laura is an impostor and fever or no fever, if she continues to stay in bed, I’ll flog her. I have had enough of this hypocrite".

 

Finally, after much insistence from Laura, Mercedes and this courageous girl of twelve left the ranch for good. The excuse was that Mercedes was taking Laura to the doctor in Junín. When they reached Junín Mercedes rented two rooms not far from the boarding school of the Salesian Sisters. The girls, the Sisters and Fr. Crestanello often visited Laura. Again the diagnosis was uncertain. Was it peritonitis or tuberculosis? Whichever it was, Laura was seriously ill. During the whole month of December Laura was nearly always in bed. Mercedes, at times, was agitated, like one caught between two conflicting desires; remain with Manuel or protect her vulnerable children. By now many in the area had heard of Mercedes’ plight. Some pitied her, others realised that her daughter was paying for Mercedes’ relationship with Manuel.

 

Christmas came and went with little improvement in Laura’s health. Julia stayed at the College over the summer of 1903-1904 so that Mercedes could concentrate on caring for Laura.

 

One evening around mid-January 1904 Manuel arrived at Mercedes’ humble abode. He walked in as if he owned the place. Whose money was paying the rent? His, of course, so he wanted to stay the night. Laura insisted that if he stayed she would go to live with the Sisters. But things became worse. She made as if to leave and he tore after Laura like a wild animal, caught her by the arm and beat her savagely as he tried to get her back inside. Since a crowd was gathering, Manuel jumped on his horse and rode off. The poor girl was left in a miserable state. Fr Crestanello came rushing over. "A few more strokes would have killed her," was the priest’s sad comment.

 

Everyone in Junín complained about the perverse ranch-owner as they talked about the unpleasant incident. Laura was put to bed to never get up again. Yet she still had the strength and courage to tell Mercedes: "Please, I beg you to leave that man". And still Mercedes’ ears were closed. Perhaps she did understand, but lacked the strength to break once and for all with Manuel Mora.

 

On 18 January Laura received the Anointing of the Sick since her condition had worsened gravely. Unfortunately the Sisters and Salesians were leaving the next day for Santiago, Laura’s birthplace, for their annual retreat. Only one Sister and two priests remained behind. Would she die alone, void of the people she loved so dearly? Yet the whole of Junín was in agony with her, all now realising what she had suffered at the hands of Manuel. Laura was able to speak to her sister Julia. "Try to be kind to mamma. Don’t displease her and always treat her with great respect. Do not leave her in need." Her last words were for her mother. It was 22 January 1904. On the day of her death Laura finally confided to her mother that she had offered her life so that Mercedes would change her ways. "It is two years since I have offered my life for you. Before I die promise me that you will change your ways and leave that man". Beside herself with anguish and remorse, Mercedes could not but solemnly promise to abide by this wish. One person’s convictions become another person’s change of heart.

 

Manuel came back like a bird of prey for his victim. "You must come back to me", he insisted, "if not I will kill you too, as I have done with your daughter". This time Mercedes was just as firm in the negative. "No, never," was Mercedes’ firm stand, "I have given you up for good". Shortly after Manuel was killed in a brawl. He was left dead on the road. One person’s convictions become another person’s change of heart.

  

A return to Malling and the four churches visited last winter when all four were found locked.

 

A very different experience at all of them, as I found them all open, and was greeted warmly at all, and one I had three wonderful wardens following me around as I took shots, with me pointing out features to them rather than the other way round.

 

Each church had just opened their books of condolence for HM Queen Elizabeth, and I signed here at East Malling and one other.

 

St James is a large and impressive church set in a vast churchyard beside one of the branches of he Malling Stream, a winterbourne, which not surprisingly wasn't running due to the long dry summer.

 

I went round photographing details, and found a good selection of old glass, mostly fragments, but set well. And the grave stone of one of Oliver Cromwell's generals, I think I have that right.

 

It was at East Malling that I learned about the etiquette of the death of a Monarch and the ascension of the next.

 

From the time of the announcement of the death of Elizabeth II to 11:00 on Saturday morning, the flag on the tower was to be at half mast.

 

Then it would be hoisted to the top until Sunday afternoon whilst the new King was proclaimed around the country, at which point the flag would be lowered to half mast until the funeral.

 

I know not all churches I visited that day observed this.

 

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An impressive church, though this is not the impression one gains when approaching it from the west, where the tower is almost all that is visible. Norman in origin, but much enlarged in the thirteenth and fourteenth centuries and remodelled in the fifteenth, St James has had a bush or two with Anglo Catholic practice which has resulted in the introduction of some fine furnishings. Pride of place must go to the Lady Chapel altar by Sir Ninian Comper, one of three to be found in this part of the Medway Valley. Also commemorated here are members of the Twisden family, whose house Bradbourne, stands north of the church. Until the 1930s the chancel was privately maintained by the family and retained its box pews until the death of the last Baronet when this part of the church was restored to its pre-Reformation form. In its floor is a slab to Col Tomlinson, who guarded King Charles I until his execution in 1649. He was related by marriage to the Twisdens. The organ at the west end of the church was formerly in Bradbourne House and was donated to the church in 1934.

 

www.kentchurches.info/church.asp?p=East+Malling

 

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EAST MALLING.

EASTWARD from Leyborne lies East Malling, called in the Textus Roffensis, MEALLINGES, and in Domesday, METLINGES.

 

THIS PARISH is delightfully situated; it is both pleasant and healthy; the soil is for the most part sand, covering the quarry rock; to the southward it inclines more to a loam and red brick earth; but most of it is very fertile, as well for corn as for plantations of fruit and hops, which latter thrive here remarkably well. The high road from London through Wrotham to Maidstone, crosses this parish at the thirtieth mile stone: the hamlet of Larkfield-street, which gives name to this hundred, is situated on it, where there is a fair held on St. James's day. Hence this parish extends northward for more than a mile, to the river Medway, the bank of which is here beautifully shaded with young oaks. Here is a hamlet called New Hythe, situated close to the river, so called from the shipping and relading of goods at it. The civil liberty of the corporation of Maidstone claims over this place.— There once belonged a chapel to this district, called New Hythe chapel, which was suppressed in king Edward VI.th's time, when it was valued at eleven shillings clear yearly value; the first founder of it was not known. Daily mass was said in it. Hugh Cartwright, gent. of East Malling, had soon afterwards a grant of it.

 

Adjoining to the southern side of the high road and hamlet of Larkfield, is the small, but beautifully situated, park of Bradborne, the plantations of which, as well as the stream which flows through it, are so judiciously and ornamentally disposed round the mansion, as to render it, for its size (its smallness being by art wholly concealed from the sight) the most elegant residence of any in these parts. Close to the southern pale of the park, is the village of East Malling, at the north end of which is a handsome house, the property of Sir John Twisden, the church, and parsonage. Hence there is a street called Mill-street, from a corn mill there, which is turned by the before mentioned stream. Through the village, which has in it some tolerable good houses, one of which was lately the property of James Tomlyn, esq. the ground rises up to East Malling heath, on the entrance of which, near the direction post, there appears to be a Roman tumulus. On this heath are several kilns for making bricks and tile; it lies on high ground, and is a pleasant spot, though surrounded on the east and west sides by large tracts of coppice woods. The park of Teston bounds up to the south east corner of it, and the road from thence to Town Malling and Ofham leads along the southern part of it, through the woods.

 

AT THE TIME of taking the general survey of Domesday in the year 1080, being the fifteenth of the Conqueror's reign, this place was part of the possessions of the archbishop of Canterbury, under the title of whose lands it is thus entered in that record.

 

In the lath of Elesfort, in Laurochesfel hundred, the archbishop (of Canterbury) himself holds Metlinges in demesne. It was taxed at two sulings. The arable land is seven carucates. In demesne there are three carucates and thirty-eight villiens, with twelve borderers having five carucates. There is a church and five servants, and two mills of ten shillings, and twenty-one acres of meadow. Wood for the pannage of sixty hogs. In the whole value, in the time of king Edward the Confessor it was worth nine pounds, the like when he received it, and now as much, and yet it pays fifteen pounds.

 

The manor of East Malling was given not many years afterwards by Anselm, archbishop of Canterbury, by the name of Parvas Meallingas, to the nunnery of the adjoining parish of West Malling, founded by Gundulph, bishop of Rochester, his cotemporary. In the 7th year of king Edward I. the abbess of Malling claimed several liberties within this manor; and in the twenty-first year of that reign, she claimed to have in it view of frank pledge, assize of bread and ale, and gallows, which she found her church possessed of at the time of her coming to it; and it was allowed her by the jury.

 

In the time of king Richard II. the temporalities of the abbess of Malling in this parish and Town Malling were valued at forty-five pounds.

 

This monastery being dissolved in the 30th year of Henry VIII. anno 1538, this manor was, with the rest of its possessions, surrendered into the kings hands. After which the king, in his 31st year, granted in exchange, among other premises, to Thomas Cranmer, archbishop of Canterbury, this manor and parsonage, late belonging to the before-mentioned abbey, excepting all advowsons, presentations, &c. to hold by knight's service; and as the king was entitled to the tenths of them, he discharged the archbishop of them, and all other outgoings whatsoever, except the rent therein mentioned. Which grant was in consequence of an indenture made before, between the king and the archbishop, inrolled in the Augmentation-office.

 

The manor of East Malling, and the premises before-mentioned, were again exchanged with the crown in the beginning of the reign of queen Elizabeth, in the 12th year of which the queen granted this manor in lease to Sir Henry Brook alias Cobham, knt. fifth son of George, lord Cobham; after which it was in like manner possessed by Pierpoint, who lies buried in Town Malling church, and afterwards by Hugh Cartwright, esq. who bore for his arms, Argent, on a fess engrailed, sable, three cinquefoils of the first. On whose decease his widow, Mrs. Jane Cartwright, one of the seventeen daughters of Sir John Newton, became entitled to it, and carried her interest in it to her second husband, Sir James Fitzjames, and he passed it away to Humphrey Delind, who soon afterwards alienated it to Sir Robert Brett, descended of the ancient family of the Bretts, in Somersetshire, who bore for his arms, Or, a lion rampant, guies, within an orle of cross-croslets fitchee of the second. He died in 1620, and was buried in Town Malling church, having had by Frances his wife, the only daughter of Sir Thomas Fane, by Mary, baroness Le Despencer his wife, who died in 1617, an only son Henry, who died in 1609, and both lie interred with him in that church. The next year after the death of Sir Robert Brett, king James granted this manor in fee to John Rayney, esq. which grant was farther confirmed to Sir John Rayney, his eldest son, in the second year of king Charles I. Sir John Rayney was of Wrotham place, and was created a baronet of Nova Scotia in 1641; and his son of the same name, about the year 1657, passed it away by sale to Thomas Twisden, serjeant at law, afterwards knighted, and made one of the judges of the King's Bench, and created a baronet.

 

He afterwards seated himself at Bradbourn, in this parish, and in his descendants, baronets, seated there likewise, it has continued down to Sir John Papillon Twisden, bart. of Bradbourn, who is the present owner of it.

 

There is a court leet and court baron held for this manor.

 

BRADBOURN is a seat in this parish, which has long been the residence of a gentleman's family. It was formerly accounted a manor, and in the reign of king Henry VIII. was in the possession of the family of Isley, of Sundridge, in this county, in which it continued till Sir Henry Isley, in the 31st year of that reign, exchanged it with the king for other premises; which exchange was confirmed by letters patent under the great seal the next year.

 

In the reign of queen Elizabeth, it was in the possession of the family of Manningham, descended out of Bedfordshire, who bore for their arms, Sable, a fess ermine, in chief three griffins heads erased or, langued gules. The last of this name here was Richard Manningham, esq. who about the year 1656 alienated Bradbourn to Thomas Twisden, esq. serjeant at law, who was the second son of Sir William Twisden, bart. of Roydon-hall in East Peckham, and of the Lady Anne Finch, his wife, daughter of the first countess of Winchelsea, and continued to bear the antient coat of arms of his family, being Gironny of four argent and gules, a saltier and four cross croslets, all counterchanged, with due difference; and for his crest, On a wreath, a cockatrice azure, with wings displayed or. On the year of king Charles's restoration, he was knighted by him, and made one of the judges of the king's bench, and on June 13, anno 19 Charles II. 1666, was created a baronet. He discharged his office of judge during the space of eighteen years, when he obtained his quietus, on account of his great age and infirmities. He altered the spelling of his name from Twysden, as it was spelt by his ancestors, and is still by the Twysdens of East Peckham, baronets, to Twisden, to distinguish the two branches of the family, and this alteration has been followed by his descendants, to the present time. He resided at this seat, the grounds of which he imparked in the year 1666, and dying in 1683, aged 81, was buried in East Malling church. He married Jane, daughter of John Tomlinson, esq. of Whitby, in Yorkshire, who surviving him, died in 1702, by whom he had several sons and daughters. Of the former, Sir Roger Twisden, knight and baronet, the eldest son, succeeded him in title and estate, and resided at Bradbourn. He married Margaret, daughter of Sir John Marsham, knight and baronet, of Whornes-place, and died in 1703, leaving three sons and two daughters. He was succeeded in title and this estate by his eldest son, Sir Thomas Twisden, bart. who was likewise of Bradbourn, and served in parliament for this county in the second parliament of king George I. He married Anne, the daughter and heir of John Musters, esq. of Nottinghamshire, by whom he had four sons; Sir Thomas, his successor; Sir Roger, successor to his brother; and William, and John deceased. He died in 1728, and was succeeded by his eldest son, Sir Thomas Twisden, before-mentioned, who going abroad died at Grenada, in Spain, in 1737, unmarried, and was succeeded in dignity and this estate by his brother, Sir Roger Twisden, bart. who resided at Bradbourn, which he so highly improved, that there are few seats of private gentlemen, that exceed it, either in convenience, beauty, or pleasantness.

 

He served in parliament for this county in the 5th and 6th parliament of king George II. and having resided here with the worthiest of characters, he died in 1772, and was buried with his ancestors in East Malling church. By Elizabeth, his wife, daughter and heir of Edmund Watton, esq. of Addington, and widow of Leonard Bartholomew, esq. who survived him, and died in 1775, he left three sons, Roger; William, who resided at Hythe, and married Miss Kirkman, and died s. p. and John Papillon. He was succeeded by his eldest son, Sir Roger Twisden, bart. of Bradbourn, who died in 1779, leaving his wife Rebecca, daughter of Isaac Wildash, esq. of Chatham, big with child, which proved to be a daughter, on which his only surviving brother Sir John Papillon Twisden, bart. succeeded him both in title and his estates in this parish, of which he is the present possessor. He resides at Bradbourn, and in 1782 married a daughter of admiral Sir Francis Geary, of Polsden, in Surry, bart. by whom he has a son, born in 1784.

 

CHARITIES.

Mr. RICHARD BURNET gave by will in 1578, four bushels of wheat, in money 20s. to be distributed yearly to the poor of this parish for ever, on Good Friday, vested in the churchwardens.

 

Mrs. MARY TURNER, in 1679, gave by will 20s. to be distributed to twenty poor widows of this parish on Lady-day for ever, vested in the same.

 

THE LADY JANE TWISDEN, relict of judge Twisden, gave by will in 1702, toward putting out poor children, born in this parish, apprentices, the sum of 100l. now vested in the same, and of the annual produce of 4l. 4s.

 

JAMES TOMLYN gave by will in 1752, to teach poor children to write, and the church catechism, and to read, 5l. yearly for ever, issuing out of land in this parish, called Crouch, vested in the churchwardens, and now of that annual produce.

 

EAST MALLING is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.

 

The church of East Malling is dedicated to St. James. It is a handsome building, with a square tower at the west end of it.

 

Archbishop Anselm, who lived in the time of king William Rufus, gave the church of East Malling to the nunnery of the adjoining parish of West Malling, and granted, that the abbess and nuns there should hold it appropriated to them. (fn. 1)

 

¶Simon, archbishop of Canterbury, in 1363, on the complaint of Sir John Lorkyn, perpetual vicar of this church, that the portion of his vicarage, the church of which was held appropriated by the abbess and convent of Malling, was insufficient for his decent support and for the payment of episcopal dues, and the support of other burthens incumbent on him; and the abbess and convent being desirous of providing a proper support for the vicar and his successors, as far as was necessary, and agreeing, under their common seal, to assign to him and them the portions under-mentioned, which the archbishop approved of as sufficient, and the vicar likewise agreed to—decreed, and ordained, that the vicar and his successors, should have the mansion belonging to the vicarage, with the garden of it, and six acres and three roods of arable land, and two acres of meadow, which they used to have in past times, free and discharged from the payment of tithes, together with the herbage of the cemetery of the church, and the trees growing on it, and the tithes of silva cedua, lambs, wool, pigs, geese, ducks, eggs, chicken, calves, cheese, and the produce of the dairy, pidgeons, hemp, and flax, apples, pears, pasture, honey, wax beans planted in gardens, and of all other seeds whatsoever sown in them, and also the tithes of sheaves arising from orchards or gardens, dug with the foot, together with the tithes as well of the cattle of the religious in their manors and lands wheresoever situated within the parish, either bred up, feeding, or lying there, and of all other matters above-mentioned, being within the said manors and lands, as of the cattle and matters of this sort of all others whatsoever, arising within the parish; and further, that the vicar and his successors, ministering in the church, should take at all future times all manner of oblations, as well in the parish church, as in the chapel of St. John, at Newhethe, in this parish, and all other places within it, then or in future, and the tithes of business of profit, of butchers, carpenters, brewers, and other artificers and tradesmen whatsoever, to this church in any wise belonging, and likewise the residue of the paschal wax, after the breaking of the same, and legacies then, or which might afterwards be left to the high altar, and the rest of the altars, or images; and he decreed, that only the tithes of the two mills in this parish belonging to the religious, and also the great tithes of sheaves, and of hay wheresoever arising within the parish, should in future belong to the abbess and convent. And he taxed this portion of the vicar at ten marcs sterling yearly value; according to which he decreed, that the vicar should pay the tenth, whenever the same ought to be paid in future; and that the vicar for the time being should undergo the burthen of officiating in this church, either by himself, or some other fit priest, in divine services, and in finding of bread and wine, for the cele bration of the sacraments, and of the two processional tapers, as heretofore; and that he should receive and undergo all other profits and burthens, otherwise than as before-mentioned.

 

The vicarage is valued in the king's books at 10l. 8s. 4d. and the yearly tenths at 1l. 0s. 10d.

 

Sir John Twisden is the present patron of this vicarage.

 

The vicar of East Malling is always intitled to be one of the ministers, who preach at the lecture founded in Town Malling church, that is, one sermon every fortnight, on a Saturday, being the market-day; and he receives ten shillings for each sermon he preaches.

 

www.british-history.ac.uk/survey-kent/vol4/pp508-517

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.

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.

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.

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.

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.