View allAll Photos Tagged Christ's
The finest of the surviving 15th century glass at Ludlow can be found in the north chapel, where all four of the windows retain their medieval form (albeit somewhat restored in many places). The Golden Window is the westernmost of the three on the north side and depicts Christ and the Annunciation on it's upper tier with Saints Catherine, John the Baptist and Christopher below, all executed with a particularly lavish use of yellow stain. There has been some significant restoration by Hardman's including several replaced heads but this does little to diminish the window's overall impact.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. It is a very large cruciform building dating mostly to the 14th & 15th centuries crowned by a soaring central tower that is a major landmark of the town. The red sandstone exterior however is otherwise somewhat elusive, being hemmed in by buildings in close proximity and thus difficult to get an overall shot of as a complete building.
The church is entered via an unusual hexagonal porch on the south side which admits access to the spacious nave and aisles. The crossing beyond is tall and narrow and adds a cathedral-like dimension to the interior, with views into the lower lantern-stage of the tower above. The chancel beyond is similarly impressive in scale and adornment with a fine 15th century wooden roof and much more.
St Lawrence's is especially famous for its interior fittings, most of all the superb medieval choir stalls with one of the best collections of misericord carvings anywhere. Less well known but equally important is the extensive collection of medieval stained glass in the eastern half of the church. Most of the glass in the chancel has either been very heavily restored or replaced entirely in replica by early 19th century restorers, but the glass in the north chapel is much more complete and despite some restoration largely retains its original appearance.
There are several notable tombs and monuments here also, including the heart burial of Henry VIII's older brother Prince Arthur (whose untimely death in Ludlow dramatically changed our history forever).
St Lawrence's is normally open to visitors on a daily basis and shouldn't be missed. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
"Jesus said to him in reply, “It also says, ‘You shall not put the Lord, your God, to the test.’ When the devil had finished every temptation,he departed from him for a time"
– Luke 4:12f, which is part of today's Gospel for the First Sunday of Lent.
Medieval stained glass from Chartres Cathedral of the Temptations of Christ in the Desert.
Architect: Karolis Reisonas.
Construction started in 1934, stopped during WWII, then resumed under Soviet occupation to transform the building into a radio factory. Finally consecrated as a church in 2004.
Taken from a print in my collection, no further details known.
SR Schools class, built Eastleigh numbered 913 December 1932. Renumbered 30913 September 1948 and withdrawn January 1962.
A really up-close look at Christ's right foot in tapestry.
The Resurrection of Our Lord tapestry is based on a drawing by the school of Raphael. It is one of the eleven surviving (of a twelve piece set) of the Scuola Nuova series. The twelve tapestries depictied scenes from the Life of Christ. It is Flemish and was made in the workshop of Pieter van Aelst in Brussels, around 1524-31.
Gallery of Tapestries/Galleria degli Arazzi, Musei Vaticani; July 2019
Andrea del Castagno, The Last Supper (below) and Stories of Christ's Passion (above), 1447, fresco, each 453 x 975 cm (refectory of the convent of Sant'Apollonia, now the Museo di Cenacolo di Sant'Apollonia, Florence)
Byzantine ivory icon
Crucifixion with Hades defeated by the cross, detail [~ 950]
Metmuseum AN 17,190,44
At the bottom of the composition, Christ's cross pierces the belly of a reclining, bearded male figure representing Hades, ruler of the Underworld, abode of the dead in classical mythology. This is a unique detail that visually proclaims Christ's triumph over death and sin. The complementary inscription affirms "the cross implanted in the stomach of Hades." The figures of the Virgin Mary and the Apostle John stand on either side of the cross; the Virgin makes a rhetorical gesture toward Christ, while the Apostle raises his hand to his face in sorrow. This feeling of gentle introspection parallels the mosaic image of the same scene found at the eleventh-century Monastery of Daphni near Athens.
Scan of a slide taken February 1996; Surely a contender for the ugliest station building in England, although Wool probably wins. This is the result of the original buildings being demolished, the following from Wikipedia explains:
"In spite of a plea from the architectural critic Ian Nairn that Christ's Hospital station should be preserved in its original form, rationalisation began in autumn 1972 and continued until December, involving much simplification of the buildings and track layout to reduce them to a size more suited to the station's existing traffic. The station was rebuilt out of all recognition with demolition of all the main station buildings and reduction of the number of platforms from seven to two. The platforms that remain in use were originally numbered "3" and "4"; these are now respectively the Down and Up platforms served by the double track line between Horsham and Billingshurst.
Rubble from the works was used to infill the road for platform 1 and a section of the subway beneath it. In the place of the station building was a car park. The Guildford platforms were fenced off from the rest of the station and they remain in evidence in an overgrown state.
The destruction of the station building has been described as a "mammoth act of vandalism" and a "slaughter". Only the subway and the waiting room on the Down main line platform survived and this was adapted to house toilets and a booking office. A bus-stop type shelter was provided on platform and has been described as being "of a type that should have been outdated 100 years ago." Prior to demolition a "funeral party" was held by pupils and staff of Christ's Hospital school; 120 people attended with special tickets printed with a black border"
"Passion" does not refer to love, but to the Passion of Christ on the cross. In the 15th and 16th centuries, Spanish Christian missionaries discovered this flower and adopted its unique physical structures as symbols of Crucifixion. For example: the radial filaments which can number more than a hundred and vary from flower to flower represent the Crown of Thorns. The ten petals and sepals represent the ten faithful apostles. The top 3 stigmata represent the 3 nails and the lower 5 anthers represent the 5 wounds. The flower has been given names related to this symbolism throughout Europe since that time. In Spain, it is known as Espina de Cristo (Christ's Thorn). In Germany it was once known as Muttergottes-Schuzchen (Mother-of-God's Star).
In Israel they are referred to as clock-flower (שעונית). In Japan, they are known as clock-faced flowers.
In North America they are also called the Maypop, the water lemon, and the wild apricot (after its fruit). Native Americans in the Tennessee area called it ocoee, and the Ocoee River and valley are named after it.
Ian's on the road again, wearing different shoes again.
Or something.
Yes, have audit will travel is taking me back to the north west and head office (UK) in Warrington.
I wasn't keen to go, as I would be one of those being audited, rather than being the auditor.
So it goes.
Up even earlier than usual, Jools went swimming first thing, while I woke up and packed.
It was to be a bright if cold day, and the promise of actual snow once I reached Manchester, so that was something to look forward to. No?
Jools dropped me off on the prom so I could have a walk, take some snaps before picking up the car.
It was cold.
Not Canada cold, clearly.
Minus three. And too cold to linger to watch the actual sunrise, so made do with snapping the reflected light of the hotels and a ferry coming into the harbour. I walked over Townwall Street, now cold to the bone, hoping the car hire place would be open on time.
It wasn't, but a couple of minutes later, a guy came to open up and let me inside where it was slightly warmer.
My old ruse of getting an automatic thus getting a larger car was ruined this time was I was given a Toyota Yaris. It struggled to get up Jubilee Way without the engine screaming. You'd better behave yourself for the next three days I told it.
Back home for breakfast, load the car and say goodbye to the cats. One last look, and I was off. The car had no sat nav, so had to use the phone.
Before going to the hotel, I was going to visit a former colleague who lives in Warrington, or nearly St Helens as I found out later, so programmed her address in, and off I went, along our street and towards the A2 and the long slog up to Dartford.
I connected my phone to charge, and straight away tunes from my Apple music store started playing. So, apart from the free U2 album it forced on all users, the rest was good if a little Skids and Velvet Underground heavy.
The miles were eaten up, even if I had to turn the music way up to drown the sound of the screaming engine.
Like all trips, I had something extra to sweeten the time away, and in this case it was a church. But not just any church, as you will see.
I watched a short documentary on Monday about Mary Queen of Scots, and remembered that she had been imprisoned and executed at Fotheringhay Castle in what is now Northamptonshire, and if I went over the Dartford Crossing, up the M11 to Cambridge, then were the A14 crossed the Great North Road, ten miles north was Fotheringhay.
So, I pressed on, under the river and into Essex, then along to the bottom of the M11, and north past Stanstead to Cambridge. Traffic wasn't bad, so I made good time, my phone telling me I would reach Fotheringhay at midday.
Turning off the A1, down narrow lanes, then the view to the church opens up, in what is possibly one of the finest vistas in all of England. St Mary and All Saints, 15th century and in its Perpendicular finest, it looks too good to be that old, but is.
Not only is the church mostly as it was, if plain inside, this was the parish church of the House of York, of several Kings including the final, Richard III.
This is real history.
I crossed over the narrow hump-back bridge that spanned the fast flowing, and nearly flooding, River Neane, into the village and parked outside the church. A set of grand gates lead off the main road to the northern porch, lined with fine trees, naked it being winter.
The tower seems over-large for the Nave and Chancel, it stands 116 feet tall, and is a chonker, the rest of the church seems small beside it, but the interior of the church is a large space, high to its vaulted roof.
I take shots, not as many as perhaps I should, but the church doesn't have centuries of memorials, but does have two House of York tombs, or mausoleums.
I had some time, so I thought I would visit any interesting church I might see before getting back on the A14.
That was the plan.
The road took me round Oundle, which had at least two interesting looking churches, but them being what you might call "urban", I passed both and carried on over the rolling hills of Northamptonshire, much hillier than you might have thought.
Just before the A14, I see a large tower, and a lane lead to the village of Titchmarsh.
Titchmarsh is the name of a very famous TV gardener over here in Britain, not sure if this is where he hails from.
The village itself is set along a long high street, lined with half-timbered houses, most thatched, which was very picturesque.
I parked up, screams from the primary school, out for lunch, filled the air. But I had eyes on the church.
Oddly, on the north side, the churchyard is marked by a haha, or half of one.
A ha?
Certainly not a ditch, but there was a grille in the wall to allow water to get out.
Access to the church was over a small bridge, the grand porch in front.
The door opened easily, and I saw first, lots of wall paintings. Not old, perhaps Victorian.
I set to work taking shots, using the compact to snap close ups of the windows.
In truth, not much of great interest, and I was aware from the radio there being talk of snow.
Better get going and head north.
Back outside, my phone tells me I should be in Warrington by four, my friend, Teresa, wouldn't be home until half past, so I could have another break on the way.
The sat nav took me back to the A14, and from there it is just a 60 mile drive to the bottom of the M6 and then the hike two hours north.
At least it was a sunny day, though clouds were building, and was it my imagination, or did it look like snow falling already?
No, it was snow. big, fat, wet flakes at first, not much to worry about, but I pressed on past Coventry to the toll road, I sopped for half an hour there, enough time to have a drink and some crisps, then back outside where darkness was falling, as well as more snow.
The M6 might have had its upgrade complete, but a trip on it is rarely without delays. And for me, an hour delayed just before Warrington due to a crash, so we inched along in near darkness.
Teresa lived the other side of Warrington, so I had to press on further north, then along other main roads, round a bonkers roundabout before entering the town. Roads were lined with two up/two downs, doors leading straight onto the pavement. Cozy and northern.
They have two dog-mountains, I'm not sure of the breed, but think of something like a St Bernard and go bigger. They had just been for a walk, were damp and happy to be inside, laying on the kitchen floor. Taking up all the kitchen floor.
We talked for an hour, then I received a call from a guy I was supposed to be meeting up with: heavy snow was falling, I should get there sooner than later. So, I said my goodbyes and programmed the route to the hotel. Sorry, resort. Golf resort.
16 miles.
Snow was falling heavy, not too bad on main roads back to the motorway, though traffic on that was only going 40, it was fast enough. But the final six miles was long a main road, but it was covered in snow, with more falling.
The the fuel warning light went on.
Ignore that, I just wanted to get to the hotel safe and have dinner. Not end up in a hedge.
The final mile was very scary, snow only an inch deep, but slippery. There was a gatehouse marking the entrance to the golf club, I turned in and parked in the first space I came to.
Phew.
I checked in, and the place is huge, swish, but full of golfers.
But it does a sideline in conferences, training centre and a hotel. It was full.
I checked in, walked to the room, which is huge, and very comfortable, dropped my bags and went to the bar for dinner of beer and burgers. The place was almost empty, I watched cricket live from South Africa while I ate and drank.
Would I be tempted by the cheeseboard?
I would, dear reader, I would.
To my room to watch the football and relax while snow fell outside.
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Another bike ride into the wilds and wolds of Northamptonshire. I set off from Huntingdon railway station, and after a sixteen mile slog into the wind I crossed the county boundary at Clopton, a church I visited three weeks ago. Now, the real bike ride could now begin. Resisting a revisit to the church, I turned off on a very lonely, narrow lane through the woodlands. The Cambs/Northants borderlands are often like this, remote and lonely, wooded and rolling, devoid of houses outside the villages and with only the rare car, horse or other cyclist. It reminds me of parts of France.
After a couple of miles I came to Titchmarsh, and its splendid church, a big church in a pretty stone village. The tower is enormous ('The finest church tower in England outside of Somerset' - FJ Allen) and there is no spire. The churchyard is surrounded by a haha, with a little bridge across the moat. The church was being prepared for a rock concert, with a stage built up under the tower and tables and chairs in the nave. Not a huge amount to see in any case, although I liked the memorial to a servant who saved his master's life by getting in the way of an assassin's knife, only to later drown in the Nene. As you'd expect in this part of the world, good stone capitals in the arcades, with stiffleaves you could cut yourself on as well as dripping fruit.
And then it was on past the IKEA warehouse ('the largest building in the British Isles') into the town of Thrapston.
Simon Knott, July 2017.
www.flickr.com/photos/norfolkodyssey/35483761652/in/photo...
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The Parish Church of St Mary the Virgin, standing in a prominent position on the higher ground to the North of the village, has been the centre of the Christian community in Titchmarsh for some 800 years.
The name of Tichmarsh (or the modern version Titchmarsh) seems to date from Anglo-Saxon times when a piece of land was granted to one Ticcea and became known as Ticcea’s marsh (Ticceanmersce, Tychemerche, etc).
The earliest records of the church date from 1240. It was from Tichmarsh that Viscount Lovell left his manor to fight with Richard III at Bosworth. Before that he had employed his Somerset mason to build what Pevsner described as “the noblest village tower outside Somerset”, on top of which in 1588 an Armada beacon was lit.
The church is remarkable for its magnificent tower, its long and lofty clerestory, its spacious chancel, and for its light and uncluttered interior. It also houses a collection of unique and interesting wall monuments, fine stained glass windows and a recently restored 1870 TC Lewis organ. (see separate links)
The building that you see today is not the first church to have existed on this site. The remains of a 12th century doorway in the chancel is the only relic of the Norman building, and the subsequent centuries have each made their distinctive architectural contribution. The building assumed its present appearance when, late in the 15th century, the tower, clerestory and porch were added, and the present perpendicular style windows were inserted. In the late 17th and early 18th century the Pickering family contributed a number of important memorials, including one to John Dryden the poet- laureate, who spent his childhood in Titchmarsh. In the 19th century a number of the windows had stained glass inserted, a vestry was added in the northwest corner, and much of the internal woodwork was replaced (including the pews, recently adapted to provide more mobile seating).
The focus of the church, both architecturally and spiritually, is the Altar. This is God’s table, at which the faithful share in the power of Christ’s Risen Life, by feeding on the Sacrament of his Body and Blood under the forms of bread and wine. The reredos of Caen stone and Derby alabaster (1866) depicts the Old Testament scenes of Melchizedek’s offering of bread and wine, and Abraham’s offering of his only son Isaac, illustrating different aspects of the eucharistic theme.
The semi-circular Norman arch to the south side is a visible reminder that Christian worship has been offered on this site for at least some eight centuries.
The two-level sedilia and the piscine are of the 13th century, as is also the arcading which opens into the north chapel (now occupied by the organ). The opening known as a hagioscope or squint, gave additional visual access from the north chapel to the High Altar. The low, pointed 13th century doorway to the north of the Altar probably led to a tomb or chantry adjoining the Chancel on the north side. Much of this work can be attributed to the patronage of the Lovel family, who were Lords of the Manor from about 1268 until 1485.
Piercing the north-west corner of the Chancel wall are the remains of the stairway which originally led to the Rood-loft.
Dimly discernible in the apex of the Chancel arch is a crowned head. Experts suggest that it most closely resembles Edward IV who died in 1483 when Francis 1st (and only) Viscount Lovel was Lord of the Manor. The last years of the reign of Edward IV covered a peaceful period, favourable to the rebuilding of a church. In 1486 Henry VII granted the Manor of Tichmarsh to Sir Charles Somerset when Francis Lord Lovel who had supported Richard III was deprived of his estates at the end of the War of the Roses. This is the Lovell, who as Richard III’s Chamberlain and friend, was lampooned in the contemporary rhyme:
‘The Cat, the Rat, and Lovell our dog
Rule all England under the Hog’.
The walls and windows of the chancel were much embellished in Victorian times. The stained glass in the chancel windows is all by Messrs. Hardman of Birmingham. The east window depicts Christ’s Nativity, Baptism, Crucifixion and Ascension, and several episodes from the life of the Blessed Virgin Mary, to whom the church is dedicated. The windows on the south side of the chancel depict various incidents from the New Testament, giving particular prominence to St Mary Magdalene and St Peter.
The reredos of Caen stone and Derby alabaster were completed.
The organ, a good example of the work of TC Lewis was installed and first used in 1870. (fully restored in 2016). We learn from the Parish Magazine that prior to the installation of the instrument, music for Devine service had been supplied by a barrel organ, the introduction of which in 1837 replaced the services of the eight singers who had occupied a musicians gallery under the tower, and sang very loud. Singing was also led by string and woodwind instruments until 1861.
According to the parish magazines, the paintings on the chancel walls were by Miss Agnes Saunders, who was sister-in-law to the Rev. F M Stopford, (rector 1861-1912). The fine limed oak chancel screen was the gift of Canon A M Luckock, (rector 1912-1962).
The North Chapel and Transept
This was largely rebuilt in the 14th century, and now houses many mural memorials to the Pickering family
Gilbert Pickering bought the manor of Tichmarsh from Charles Somerset’s grandson in 1553, and for more than two hundred years it remained in the possession of his descendants. When the direct line came to an end, the estates were acquired in 1778 by Thomas Powys, later the first Lord Lilford.
John Pickering married Susannah Dryden of Canons Ashby in 1609, and twenty-one years later, Susannah’s brother Erasmus married John’s cousin Mary Pickering. Of these unions were born two men well known in the highest circles of their day, the notorious Sir Gilbert Pickering (1613-1668) and the famous John Dryden the poet (1631-1700).
Sir Gilbert was a convinced Parliamentarian, and became Lord Chamberlain to Oliver Cromwell. John Dryden’s upbringing in Tichmarsh is mentioned in one of the memorials. This and another were painted by Sir Gilbert’s daughter, Elizabeth, who became the wife of John Creed.
A woman of talent with needle, pen and brush, Elizabeth Creed was responsible also for the wording of the altar tomb and wall angle memorials of the south aisle as well as the Dryden monument which has been moved to the north transept.
The South Aisle
Here we find Mrs Creed lamenting the death of her husband, a boon companion of Samuel Pepys, of their son Christ’s family. By ancient custom the Font stands near the main (west) door of the physical building, as a reminder that it is through Baptism that we enter Christ’s Church.
The West Window
The tracery of the tower window is 15th century, (extensively restored in 2016). In 1904 the west window was filled with stained glass, the gift of Rev’d F M Stopford to mark his 50th year in Holy Orders. It is a powerful representation of Christ’s Second Coming and the Day of Judgement, and approximately balances the episodes of Christ’s first Advent depicted in the east window. The same firm of artists, Messrs Hardman of Birmingham, was employed for the work, and it is interesting to notice how the passage of some forty years makes a considerable difference in style and taste between the tower window and their earlier work.
The Bells
The tower houses a fine ring of eight bells. All were recast and re-hung in 1913 as a memorial to Rev’d F M Stopford who died in office in 1912 having been rector for 51 years, and a chaplain to Queen Victoria, Edward VII and George V. Before recasting, the oldest bells dated from 1688, with additions in 1708 and 1781. The ring was completed in1885 by the gift of two bells in memory of Florence Augusta Stopford, the rector’s first wife. At the same time the present church clock, which strikes the hours and quarters, replaced the previous one made by George Eayre in 1745.
At the base of the tower are some interesting photographs of the re-hanging of the bells.
The South Porch
The original porch was a single storey structure, with window openings to east and west. The upper storey was added in1583 and housed the Pickering family pew, complete with fire place! After the death of the last Tichmarsh Pickerings the wall opening was blocked up. It was reopened in 1931, when Canon Luckock (rector 1912-1962) and his wife put in the present glass panel and hung the massive oak south door as a thanksgiving for their silver wedding. The seating around the walls of the porch is a reminder of its earlier function as a place of meeting.
The Exterior
The large and splendid tower is built in four stages, richly decorated with triple bands of quatrefoils in circles on the ground storey and similar bands on the second and third stages. The niches on the west face contain modern stone figures representing Moses and Aaron, the Blessed Virgin Mary and St. Peter, and the archangels Michael and Gabriel. The parish magazine for 1901 records that the rector’s wife paid for the replacements by breeding and selling black fantail pigeons.
The ‘crown’, ie. parapet and pinnacles above the fourth stage is considered by experts to date from about 1500. The will of one Thomas Gryndall, dated 1474, bequeaths money towards the building of the tower, probably completed except for the ‘crown’ in about 1480.
The prominence and size of the tower made it a significant landmark. In 1585 when the country prepared to resist the threatened invasion from Spain, the Lord Lieutenant, Sir Christopher Hatton of Kirby Hall, gave order for Beacons to be made in places accustomed and that ‘Tychemershe Beacon’ be sett upon Tychemershe church steeple
On the south wall of the tower is a painted sundial, dated 1798, and below it a disused clock face made in 1745. There are three scratch dials on the south side of the church – on the porch and on two of the buttresses.
The churchyard, which contains many good examples of local stonemasons’ work of the 18th and 19th centuries, is remarkable and perhaps unique in being bounded almost entirely by a ha-ha.
Acknowlegements: The Victoria County History of Northamptonshire; Northamptonshire by Niklaus Pevsner; and to various numbers of the Titchmarsh Parish Magazine; Titchmarsh Past and Present by Helen Belgion, published 1979
titchmarsh.info/church-of-st-mary-the-virgin/church-history/
The church at Cwm-iou is something of a curiosity. Above it on the skyline, a great gouge has been taken out of the mountain. This has given the church and village its name, ‘the valley of the yoke’. According to local tradition, the landslide was the result of the earthquake during Christ’s crucifixion, when there was darkness over the whole land and the veil of the Temple was torn in two. The scientific explanation is more prosaic. The whole of the Honddu valley is glacial. When the wall of ice melted, it left a typically U-shaped valley. Parts of the sheer walls of this valley then collapsed, creating the jagged skyline, and the church at Cwm-iou was built on the spoil from the landslide.
Unfortunately, the ground had not finished settling when the church was built, and the building has been twisted in all directions by subsidence. It is a tribute to the skill of the original masons that it is still standing. The tower is buttressed in two directions, but it was still being used for bell-ringing until recently. The tower leans uphill, the chancel arch leans downhill and the floors and walls between them buckle alarmingly.
Apart from its status as a curiosity, Cwm-iou is a pretty little church with some interesting features. The building is mostly thirteenth century, with sixteenth-century windows. However, the font is probably even older. In the nave is a strange little stone statue depicting Christ crowned and on the cross. Its style suggests it is from the thirteenth century. This may have been one of a series of waymarking crosses on the route up the valley to Brecon and eventually to St David’s. The base of one such cross has been found in the garden of the old vicarage. The cross was stored for a time in the church tower, and in 1967 it was found to have disappeared. A local woman who had taken some photographs of it took them to the British Museum for identification and found that the original had already been shown to the Keeper of Sculpture there. It was traced to a London antique shop and recovered, but the thieves were never identified. It is now firmly fixed to the church floor.
The steps to the rood loft are still visible in the chancel arch. The seventeenth-century communion rails are the work of local craftsmen. The church has a particularly fine collection of tombstones and memorials, some carved by the famous Brute family of monumental masons. There is a distinctive local tradition of vernacular memorial sculpture, sometimes painted as well as carved. Chubby angels and cherubs with tightly-curled hair are surrounded by rococo wreaths of leaves, branches and sprays of flowers. Death has seldom been treated with such good humour. The verse on the memorial to Thomas Price, who died in 1682, is typical:
Thomas Price he takes his nap In our common mother lap Waiting to heare the Bridegroome say Awake my dear and come away.
The description above is from "The Cistercian Way" website.
Notable alumni include John Milton & Charles Darwin.
They could probably put together a good pub quiz team...
Grade I listed historic building.
"Christ's College is a constituent college of the University of Cambridge. The college includes the Master, the Fellows of the College, and about 450 undergraduate and 170 graduate students. The college was founded by William Byngham in 1437 as God's House. In 1505, the college was granted a new royal charter, was given a substantial endowment by Lady Margaret Beaufort, and changed its name to Christ's College, becoming the twelfth of the Cambridge colleges to be founded in its current form. The college is renowned for educating some of Cambridge's most famous alumni, including Charles Darwin and John Milton.
Within Cambridge, Christ's has a reputation for highest academic standards and strong tutorial support. It has averaged 1st place on the Tompkins Table from 1980–2006 and third place from 2006 to 2013, returning to first place in 2018 and 2019.
Cambridge is a university city and the county town of Cambridgeshire, England, on the River Cam approximately 50 miles (80 km) north of London. At the United Kingdom Census 2011, its population was 123,867 including 24,506 students. Cambridge became an important trading centre during the Roman and Viking ages, and there is archaeological evidence of settlement in the area as early as the Bronze Age. The first town charters were granted in the 12th century, although modern city status was not officially conferred until 1951.
The University of Cambridge was founded in 1209. The buildings of the university include King's College Chapel, Cavendish Laboratory, and the Cambridge University Library, one of the largest legal deposit libraries in the world. The city's skyline is dominated by several college buildings, along with the spire of the Our Lady and the English Martyrs Church, and the chimney of Addenbrooke's Hospital. Anglia Ruskin University, which evolved from the Cambridge School of Art and the Cambridgeshire College of Arts and Technology, also has its main campus in the city.
Cambridge is at the heart of the high-technology Silicon Fen with industries such as software and bioscience and many start-up companies born out of the university. Over 40 per cent of the workforce have a higher education qualification, more than twice the national average. The Cambridge Biomedical Campus, one of the largest biomedical research clusters in the world, is soon to house premises of AstraZeneca, a hotel, and the relocated Papworth Hospital.
The first game of association football took place at Parker's Piece. The Strawberry Fair music and arts festival and Midsummer Fair are held on Midsummer Common, and the annual Cambridge Beer Festival takes place on Jesus Green. The city is adjacent to the M11 and A14 roads. Cambridge station is less than an hour from London King's Cross railway station." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Ian's on the road again, wearing different shoes again.
Or something.
Yes, have audit will travel is taking me back to the north west and head office (UK) in Warrington.
I wasn't keen to go, as I would be one of those being audited, rather than being the auditor.
So it goes.
Up even earlier than usual, Jools went swimming first thing, while I woke up and packed.
It was to be a bright if cold day, and the promise of actual snow once I reached Manchester, so that was something to look forward to. No?
Jools dropped me off on the prom so I could have a walk, take some snaps before picking up the car.
It was cold.
Not Canada cold, clearly.
Minus three. And too cold to linger to watch the actual sunrise, so made do with snapping the reflected light of the hotels and a ferry coming into the harbour. I walked over Townwall Street, now cold to the bone, hoping the car hire place would be open on time.
It wasn't, but a couple of minutes later, a guy came to open up and let me inside where it was slightly warmer.
My old ruse of getting an automatic thus getting a larger car was ruined this time was I was given a Toyota Yaris. It struggled to get up Jubilee Way without the engine screaming. You'd better behave yourself for the next three days I told it.
Back home for breakfast, load the car and say goodbye to the cats. One last look, and I was off. The car had no sat nav, so had to use the phone.
Before going to the hotel, I was going to visit a former colleague who lives in Warrington, or nearly St Helens as I found out later, so programmed her address in, and off I went, along our street and towards the A2 and the long slog up to Dartford.
I connected my phone to charge, and straight away tunes from my Apple music store started playing. So, apart from the free U2 album it forced on all users, the rest was good if a little Skids and Velvet Underground heavy.
The miles were eaten up, even if I had to turn the music way up to drown the sound of the screaming engine.
Like all trips, I had something extra to sweeten the time away, and in this case it was a church. But not just any church, as you will see.
I watched a short documentary on Monday about Mary Queen of Scots, and remembered that she had been imprisoned and executed at Fotheringhay Castle in what is now Northamptonshire, and if I went over the Dartford Crossing, up the M11 to Cambridge, then were the A14 crossed the Great North Road, ten miles north was Fotheringhay.
So, I pressed on, under the river and into Essex, then along to the bottom of the M11, and north past Stanstead to Cambridge. Traffic wasn't bad, so I made good time, my phone telling me I would reach Fotheringhay at midday.
Turning off the A1, down narrow lanes, then the view to the church opens up, in what is possibly one of the finest vistas in all of England. St Mary and All Saints, 15th century and in its Perpendicular finest, it looks too good to be that old, but is.
Not only is the church mostly as it was, if plain inside, this was the parish church of the House of York, of several Kings including the final, Richard III.
This is real history.
I crossed over the narrow hump-back bridge that spanned the fast flowing, and nearly flooding, River Neane, into the village and parked outside the church. A set of grand gates lead off the main road to the northern porch, lined with fine trees, naked it being winter.
The tower seems over-large for the Nave and Chancel, it stands 116 feet tall, and is a chonker, the rest of the church seems small beside it, but the interior of the church is a large space, high to its vaulted roof.
I take shots, not as many as perhaps I should, but the church doesn't have centuries of memorials, but does have two House of York tombs, or mausoleums.
I had some time, so I thought I would visit any interesting church I might see before getting back on the A14.
That was the plan.
The road took me round Oundle, which had at least two interesting looking churches, but them being what you might call "urban", I passed both and carried on over the rolling hills of Northamptonshire, much hillier than you might have thought.
Just before the A14, I see a large tower, and a lane lead to the village of Titchmarsh.
Titchmarsh is the name of a very famous TV gardener over here in Britain, not sure if this is where he hails from.
The village itself is set along a long high street, lined with half-timbered houses, most thatched, which was very picturesque.
I parked up, screams from the primary school, out for lunch, filled the air. But I had eyes on the church.
Oddly, on the north side, the churchyard is marked by a haha, or half of one.
A ha?
Certainly not a ditch, but there was a grille in the wall to allow water to get out.
Access to the church was over a small bridge, the grand porch in front.
The door opened easily, and I saw first, lots of wall paintings. Not old, perhaps Victorian.
I set to work taking shots, using the compact to snap close ups of the windows.
In truth, not much of great interest, and I was aware from the radio there being talk of snow.
Better get going and head north.
Back outside, my phone tells me I should be in Warrington by four, my friend, Teresa, wouldn't be home until half past, so I could have another break on the way.
The sat nav took me back to the A14, and from there it is just a 60 mile drive to the bottom of the M6 and then the hike two hours north.
At least it was a sunny day, though clouds were building, and was it my imagination, or did it look like snow falling already?
No, it was snow. big, fat, wet flakes at first, not much to worry about, but I pressed on past Coventry to the toll road, I sopped for half an hour there, enough time to have a drink and some crisps, then back outside where darkness was falling, as well as more snow.
The M6 might have had its upgrade complete, but a trip on it is rarely without delays. And for me, an hour delayed just before Warrington due to a crash, so we inched along in near darkness.
Teresa lived the other side of Warrington, so I had to press on further north, then along other main roads, round a bonkers roundabout before entering the town. Roads were lined with two up/two downs, doors leading straight onto the pavement. Cozy and northern.
They have two dog-mountains, I'm not sure of the breed, but think of something like a St Bernard and go bigger. They had just been for a walk, were damp and happy to be inside, laying on the kitchen floor. Taking up all the kitchen floor.
We talked for an hour, then I received a call from a guy I was supposed to be meeting up with: heavy snow was falling, I should get there sooner than later. So, I said my goodbyes and programmed the route to the hotel. Sorry, resort. Golf resort.
16 miles.
Snow was falling heavy, not too bad on main roads back to the motorway, though traffic on that was only going 40, it was fast enough. But the final six miles was long a main road, but it was covered in snow, with more falling.
The the fuel warning light went on.
Ignore that, I just wanted to get to the hotel safe and have dinner. Not end up in a hedge.
The final mile was very scary, snow only an inch deep, but slippery. There was a gatehouse marking the entrance to the golf club, I turned in and parked in the first space I came to.
Phew.
I checked in, and the place is huge, swish, but full of golfers.
But it does a sideline in conferences, training centre and a hotel. It was full.
I checked in, walked to the room, which is huge, and very comfortable, dropped my bags and went to the bar for dinner of beer and burgers. The place was almost empty, I watched cricket live from South Africa while I ate and drank.
Would I be tempted by the cheeseboard?
I would, dear reader, I would.
To my room to watch the football and relax while snow fell outside.
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Another bike ride into the wilds and wolds of Northamptonshire. I set off from Huntingdon railway station, and after a sixteen mile slog into the wind I crossed the county boundary at Clopton, a church I visited three weeks ago. Now, the real bike ride could now begin. Resisting a revisit to the church, I turned off on a very lonely, narrow lane through the woodlands. The Cambs/Northants borderlands are often like this, remote and lonely, wooded and rolling, devoid of houses outside the villages and with only the rare car, horse or other cyclist. It reminds me of parts of France.
After a couple of miles I came to Titchmarsh, and its splendid church, a big church in a pretty stone village. The tower is enormous ('The finest church tower in England outside of Somerset' - FJ Allen) and there is no spire. The churchyard is surrounded by a haha, with a little bridge across the moat. The church was being prepared for a rock concert, with a stage built up under the tower and tables and chairs in the nave. Not a huge amount to see in any case, although I liked the memorial to a servant who saved his master's life by getting in the way of an assassin's knife, only to later drown in the Nene. As you'd expect in this part of the world, good stone capitals in the arcades, with stiffleaves you could cut yourself on as well as dripping fruit.
And then it was on past the IKEA warehouse ('the largest building in the British Isles') into the town of Thrapston.
Simon Knott, July 2017.
www.flickr.com/photos/norfolkodyssey/35483761652/in/photo...
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The Parish Church of St Mary the Virgin, standing in a prominent position on the higher ground to the North of the village, has been the centre of the Christian community in Titchmarsh for some 800 years.
The name of Tichmarsh (or the modern version Titchmarsh) seems to date from Anglo-Saxon times when a piece of land was granted to one Ticcea and became known as Ticcea’s marsh (Ticceanmersce, Tychemerche, etc).
The earliest records of the church date from 1240. It was from Tichmarsh that Viscount Lovell left his manor to fight with Richard III at Bosworth. Before that he had employed his Somerset mason to build what Pevsner described as “the noblest village tower outside Somerset”, on top of which in 1588 an Armada beacon was lit.
The church is remarkable for its magnificent tower, its long and lofty clerestory, its spacious chancel, and for its light and uncluttered interior. It also houses a collection of unique and interesting wall monuments, fine stained glass windows and a recently restored 1870 TC Lewis organ. (see separate links)
The building that you see today is not the first church to have existed on this site. The remains of a 12th century doorway in the chancel is the only relic of the Norman building, and the subsequent centuries have each made their distinctive architectural contribution. The building assumed its present appearance when, late in the 15th century, the tower, clerestory and porch were added, and the present perpendicular style windows were inserted. In the late 17th and early 18th century the Pickering family contributed a number of important memorials, including one to John Dryden the poet- laureate, who spent his childhood in Titchmarsh. In the 19th century a number of the windows had stained glass inserted, a vestry was added in the northwest corner, and much of the internal woodwork was replaced (including the pews, recently adapted to provide more mobile seating).
The focus of the church, both architecturally and spiritually, is the Altar. This is God’s table, at which the faithful share in the power of Christ’s Risen Life, by feeding on the Sacrament of his Body and Blood under the forms of bread and wine. The reredos of Caen stone and Derby alabaster (1866) depicts the Old Testament scenes of Melchizedek’s offering of bread and wine, and Abraham’s offering of his only son Isaac, illustrating different aspects of the eucharistic theme.
The semi-circular Norman arch to the south side is a visible reminder that Christian worship has been offered on this site for at least some eight centuries.
The two-level sedilia and the piscine are of the 13th century, as is also the arcading which opens into the north chapel (now occupied by the organ). The opening known as a hagioscope or squint, gave additional visual access from the north chapel to the High Altar. The low, pointed 13th century doorway to the north of the Altar probably led to a tomb or chantry adjoining the Chancel on the north side. Much of this work can be attributed to the patronage of the Lovel family, who were Lords of the Manor from about 1268 until 1485.
Piercing the north-west corner of the Chancel wall are the remains of the stairway which originally led to the Rood-loft.
Dimly discernible in the apex of the Chancel arch is a crowned head. Experts suggest that it most closely resembles Edward IV who died in 1483 when Francis 1st (and only) Viscount Lovel was Lord of the Manor. The last years of the reign of Edward IV covered a peaceful period, favourable to the rebuilding of a church. In 1486 Henry VII granted the Manor of Tichmarsh to Sir Charles Somerset when Francis Lord Lovel who had supported Richard III was deprived of his estates at the end of the War of the Roses. This is the Lovell, who as Richard III’s Chamberlain and friend, was lampooned in the contemporary rhyme:
‘The Cat, the Rat, and Lovell our dog
Rule all England under the Hog’.
The walls and windows of the chancel were much embellished in Victorian times. The stained glass in the chancel windows is all by Messrs. Hardman of Birmingham. The east window depicts Christ’s Nativity, Baptism, Crucifixion and Ascension, and several episodes from the life of the Blessed Virgin Mary, to whom the church is dedicated. The windows on the south side of the chancel depict various incidents from the New Testament, giving particular prominence to St Mary Magdalene and St Peter.
The reredos of Caen stone and Derby alabaster were completed.
The organ, a good example of the work of TC Lewis was installed and first used in 1870. (fully restored in 2016). We learn from the Parish Magazine that prior to the installation of the instrument, music for Devine service had been supplied by a barrel organ, the introduction of which in 1837 replaced the services of the eight singers who had occupied a musicians gallery under the tower, and sang very loud. Singing was also led by string and woodwind instruments until 1861.
According to the parish magazines, the paintings on the chancel walls were by Miss Agnes Saunders, who was sister-in-law to the Rev. F M Stopford, (rector 1861-1912). The fine limed oak chancel screen was the gift of Canon A M Luckock, (rector 1912-1962).
The North Chapel and Transept
This was largely rebuilt in the 14th century, and now houses many mural memorials to the Pickering family
Gilbert Pickering bought the manor of Tichmarsh from Charles Somerset’s grandson in 1553, and for more than two hundred years it remained in the possession of his descendants. When the direct line came to an end, the estates were acquired in 1778 by Thomas Powys, later the first Lord Lilford.
John Pickering married Susannah Dryden of Canons Ashby in 1609, and twenty-one years later, Susannah’s brother Erasmus married John’s cousin Mary Pickering. Of these unions were born two men well known in the highest circles of their day, the notorious Sir Gilbert Pickering (1613-1668) and the famous John Dryden the poet (1631-1700).
Sir Gilbert was a convinced Parliamentarian, and became Lord Chamberlain to Oliver Cromwell. John Dryden’s upbringing in Tichmarsh is mentioned in one of the memorials. This and another were painted by Sir Gilbert’s daughter, Elizabeth, who became the wife of John Creed.
A woman of talent with needle, pen and brush, Elizabeth Creed was responsible also for the wording of the altar tomb and wall angle memorials of the south aisle as well as the Dryden monument which has been moved to the north transept.
The South Aisle
Here we find Mrs Creed lamenting the death of her husband, a boon companion of Samuel Pepys, of their son Christ’s family. By ancient custom the Font stands near the main (west) door of the physical building, as a reminder that it is through Baptism that we enter Christ’s Church.
The West Window
The tracery of the tower window is 15th century, (extensively restored in 2016). In 1904 the west window was filled with stained glass, the gift of Rev’d F M Stopford to mark his 50th year in Holy Orders. It is a powerful representation of Christ’s Second Coming and the Day of Judgement, and approximately balances the episodes of Christ’s first Advent depicted in the east window. The same firm of artists, Messrs Hardman of Birmingham, was employed for the work, and it is interesting to notice how the passage of some forty years makes a considerable difference in style and taste between the tower window and their earlier work.
The Bells
The tower houses a fine ring of eight bells. All were recast and re-hung in 1913 as a memorial to Rev’d F M Stopford who died in office in 1912 having been rector for 51 years, and a chaplain to Queen Victoria, Edward VII and George V. Before recasting, the oldest bells dated from 1688, with additions in 1708 and 1781. The ring was completed in1885 by the gift of two bells in memory of Florence Augusta Stopford, the rector’s first wife. At the same time the present church clock, which strikes the hours and quarters, replaced the previous one made by George Eayre in 1745.
At the base of the tower are some interesting photographs of the re-hanging of the bells.
The South Porch
The original porch was a single storey structure, with window openings to east and west. The upper storey was added in1583 and housed the Pickering family pew, complete with fire place! After the death of the last Tichmarsh Pickerings the wall opening was blocked up. It was reopened in 1931, when Canon Luckock (rector 1912-1962) and his wife put in the present glass panel and hung the massive oak south door as a thanksgiving for their silver wedding. The seating around the walls of the porch is a reminder of its earlier function as a place of meeting.
The Exterior
The large and splendid tower is built in four stages, richly decorated with triple bands of quatrefoils in circles on the ground storey and similar bands on the second and third stages. The niches on the west face contain modern stone figures representing Moses and Aaron, the Blessed Virgin Mary and St. Peter, and the archangels Michael and Gabriel. The parish magazine for 1901 records that the rector’s wife paid for the replacements by breeding and selling black fantail pigeons.
The ‘crown’, ie. parapet and pinnacles above the fourth stage is considered by experts to date from about 1500. The will of one Thomas Gryndall, dated 1474, bequeaths money towards the building of the tower, probably completed except for the ‘crown’ in about 1480.
The prominence and size of the tower made it a significant landmark. In 1585 when the country prepared to resist the threatened invasion from Spain, the Lord Lieutenant, Sir Christopher Hatton of Kirby Hall, gave order for Beacons to be made in places accustomed and that ‘Tychemershe Beacon’ be sett upon Tychemershe church steeple
On the south wall of the tower is a painted sundial, dated 1798, and below it a disused clock face made in 1745. There are three scratch dials on the south side of the church – on the porch and on two of the buttresses.
The churchyard, which contains many good examples of local stonemasons’ work of the 18th and 19th centuries, is remarkable and perhaps unique in being bounded almost entirely by a ha-ha.
Acknowlegements: The Victoria County History of Northamptonshire; Northamptonshire by Niklaus Pevsner; and to various numbers of the Titchmarsh Parish Magazine; Titchmarsh Past and Present by Helen Belgion, published 1979
titchmarsh.info/church-of-st-mary-the-virgin/church-history/
The news was that Jools' cough was little better. She got a mail back from the surgery on Friday saying her (non-urgent) appointment with the doctor was on December 14th. But as we were going to Tesco, she would have a chat with the pharmasist and see about some of the behind the counter stuff.
Winter has arrived, though no snow as yet, but the wind is set in the east, its cloudy and feels raw outside.
I would spend part of the day churchcrawling.
After shopping.
We go to Tesco, Jools really only coming so she could get something for her cough.
With a few bottles of tripel and cider we managed to spend £140. A bag of rice, not white easy cook rice I'll admit, but that's £4.50 now.
Wow.
Back home with the shopping and a bottle of serious cough syrup, we put the shopping away and have breakfast.
No surprise then that Jools wasn't coming out with me, she wanted to get the cough under control, would only take the new syrup when needed as it can make you drowsy.
I had a list of churches, and first up was our local one, St Margaret.
They were having a craft day. I thought it might be a fayre, but was a kid's craft day. Anyway, the church would be open and I could take shots of the memorials and windows.
There were pagan heads at the top of each column, and as corbel stones. The more I looked, the more pagan heads, even at the top of two of the columns, but not all.
No real ancient glass, but good quality Victorian.
The church itself is the triumph, being an early Norman and well preserved.
Although, sadly, the tower is in poor repair and needs reroofing, which is why it is currently encased in scaffolding.
I am sure when we called in at Barham last week, a sign said there was a craft fayre on, so would be open. I would go back, and get some shots, I thought.
Its a half hour drive, if that out of Dover down the A2 and off at the Wingham turning, down the valley and parking outside the church, its spire pointing to heaven.
Inside the church there was no fayre again, just a warden showing a lady round. We all said "hello", and I went about getting shots.
I have been here at least three times, but now take the big lens to get details of the windows and memorials high up, so there are always new details to reveal.
Star item is the window of St George and the dragon, though is hidden in the north-west corner, and best viewed from the stairs to the belltower.
After 20 minutes, the visitor left and the warden turned off the lights, forgetting I was there, but I had my shots.
From Barham its a short drive to Bridge, then along the Nailbourne to Patrixbourne, where I see the door was open, but I had another target: Bekesbourne, the next village along, crossing the dry bed of the bourne, stopping on the lane outside the church. I look left to the Old Palace, but there were no cars parked there, so no point of even knocking, I drove on.
Instead of turning left back to Bridge, I turn right towards Littlebourne, no real idea where I was going.
Littlebourne could wait for another time, I only went back there in 2020, I went to Wingham, driving on towards Sandwich.
I thought, it's a long time since I was at Woodnesborough, I could cut through Ash and go there.
Which is what I did.
I could have stopped at Ash too, that's usually open, but there'll be other times. I have been there twice and got good shots last time for sure.
From Ash, the road climbs, leading to Woodnesborough, Woden's Hill, where there was a hill fort in antiquity. The church is on the highest point, overlooking the marshes of the old Wantsum Channel, and on to Sandwich which when the Channel was still flooded, was on a spit of land.
The church is a marker for miles around due to its cupola, something is shares with Ringwould near to home.
Inside it was so dark, I thought I would need to find the lights, but I could not find them. So, I hoped the camera would cope without.
It did.
But again, I was here really to record the windows, which were rich in detail. I took 215 shots here, 560 in a morning at three churches.
Not bad.
But I was done, what light there was, was fading, even though it was only just after one. I would go home.
Once home I got busy.
I have a taste for beans. Not baked beans, but Boston Beans. I had a recipe, and we got the ingredients that morning, so went about making a huge panful. Three tins of haricot beans, tomatoes, stock, spices, bacon, pork belly, mustard, and black treacle.
Cooked on the hob for an hour, then cooked long and low in the oven for four hours.
What came out looked and tasted like fine Boston Beans. We will be eating these for weeks.
At the same time I make fritters.
The plan was to be all cooked and eaten before the football began at three.
I did it with half an hour to spare, the leftover wine drunk too, meaning I would struggle to stay awake for Holland v USA game. Netherlands win pretty comfortably.
And in the evening, with a soundtrack of funk and soul thanks to Craig, I watch Argentine v Australia, which was a stunning game.
Even better, I sat on the sofa to watch, Cleo eyed me as if to say how dare you take my chosen sleeping place. But she came over, paced around, then lay between the arm of the sofa and my leg. Scully lay on the other side. I had 50% of the household cats.
Happier than I have been for ages.
Best of all was that the syrup worked, stopped the coughing, and Jools fell asleep right off.
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A morning out, revisiting some familiar fairly local churches.
Final visit was to Woodnesborough, aka Woden's Hill, near to Sandwich.
It was open, but no light switch that could be found meant that the church was dark, but the camera coped well.
Woodnesborough sits on the highest point near to the coast, its cupola marking the spot, and visible for miles in all directions.
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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.
www.kentchurches.info/church.asp?p=Woodnesborough
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WOODNESBOROUGH,
¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.
art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.
There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.
THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.
At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.
In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.
¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.
This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.
In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.
The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.
There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.
The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.
Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.
There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)
¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)
www.british-history.ac.uk/survey-kent/vol10/pp121-144
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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.
www.kentchurches.info/church.asp?p=Barham
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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.
The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..
In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.
The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.
The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.
At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".
The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.
The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.
The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.
www.barham-kent.org.uk/landmark_church.htm
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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.
BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)
In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.
BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:
In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.
On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.
THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.
BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.
SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.
MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.
There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.
The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.
¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.
The Cathedral of Monreale is one of the greatest extant examples of Norman architecture in the world. It was begun in 1174 by William II, and in 1182 the church, dedicated to the Assumption of the Virgin Mary, was, by a bull of Pope Lucius III, elevated to the rank of a metropolitan cathedral. The church is a national monument of Italy and one of the most important attractions of Sicily.
The archiepiscopal palace and monastic buildings on the south side were of great size and magnificence, and were surrounded by a massive precinct wall, crowned at intervals by twelve towers. This has been mostly rebuilt, and but little now remains except ruins of some of the towers, a great part of the monks' dormitory and frater, and the splendid cloister, completed about 1200. The latter is well preserved, and is one of the finest Italian cloisters both for size and beauty of detail now extant. It is about 2200 m2, with pointed arches decorated with diaper work, supported on pairs of columns in white marble, 216 in all, which were alternately plain and decorated by bands of patterns in gold and colors, made of glass tesserae, arranged either spirally or vertically from end to end of each shaft. The marble capitals are each carved with foliage, biblical scenes and allegories, no two being alike. At one angle, a square pillared projection contains the marble fountain or monks' lavatorium, evidently the work of Muslim sculptors. The church's plan is a mixture of Eastern Rite and Roman Catholic arrangement. The nave is like an Italian basilica, while the large triple-apsed choir is like one of the early three-apsed churches, of which so many examples still exist in Syria and other Oriental countries. It is, in fact, like two quite different churches put together endwise. The basilican nave is wide, with narrow aisles. Monolithic columns of grey oriental granite (except one, which is of cipolin marble), on each side support eight pointed arches much stilted. The capitals of these (mainly Corinthian) are also of the classical period. There is no triforium, but a high clerestory with wide two-light windows, with simple tracery like those in the nave-aisles and throughout the church, which give sufficient light.
The other half, Eastern in two senses, is both wider and higher than the nave. It also is divided into a central space with two aisles, each of the divisions ending at the east with an apse. The roofs throughout are of open woodwork very low in pitch, constructionally plain, but richly decorated with color, now mostly restored. At the west end of the nave are two projecting towers, with a narthex (entrance) between them. A large open atrium, which once existed at the west, is now completely destroyed, having been replaced by a Renaissance portico by Giovanni Domenico and Fazio Gagini (1547–1569).
It is, however, the large extent (6,500 m2) of the impressive glass mosaics covering the interior which make this church so splendid. With the exception of a high dado, made of marble slabs with bands of mosaic between them, the whole interior surface of the walls, including soffits and jambs of all the arches, is covered with minute mosaic-pictures in bright colors on a gold ground. The mosaic pictures are arranged in tiers, divided by horizontal and vertical bands. In parts of the choir there are five of these tiers of subjects or single figures one above another. The half dome of the central apse has a colossal half-length figure of Christ, with a seated Virgin and Child below; the other apses have full-length figures of St Peter and St Paul. Inscriptions on each picture explain the subject or saint represented; these are in Latin, except some few which are in Greek. The subjects in the nave begin with scenes from the Book of Genesis, illustrating the Old Testament types of Christ and His scheme of redemption, with figures of those who prophesied and prepared for His coming. Around the lower tier and the choir are subjects from the New Testament, chiefly representing Christ's miracles and suffering, with apostles, evangelists and other saints. The design, execution and choice of subjects all appear to be of Byzantine origin, the subjects being selected from the Menologion of Basil II drawn up by the emperor Basil II in the 10th century.
The tomb of William I of Sicily (the founder's father), a magnificent porphyry sarcophagus contemporary with the church, under a marble pillared canopy, and the founder William II's tomb, erected in 1575, were both shattered by a fire, which in 1811 broke out in the choir, injuring some of the mosaics, and destroying all the fine walnut choir-fittings, the organs, and most of the choir roof. The tombs were rebuilt, and the whole of the injured part of the church restored a few years after the fire. The present organ, revised in 1967 by Ruffatti, has six manuals and 102 stops.
On the north of the choir are the tombs of Margaret of Navarre, wife of William I, and her two sons Roger and Henry, together with an urn containing the viscera of Saint Louis of France, who died in 1270. The pavement of the triple choir, though much restored, is a specimen of marble and porphyry mosaic in opus alexandrinum, with signs of Arab influence in its main lines. The mosaic pavement of the nave was completed in the 16th century, and has disks of porphyry and granite with marble bands intermingled with irregular lines.
The Sassetti Chapel is a chapel in the basilica of Santa Trinita in Florence, Italy. It is especially notable for its frescoes of the Stories of St. Francis, considered Domenico Ghirlandaio's masterwork.
Francesco Sassetti (1421–1490) was a rich banker and a member of the Medici entourage, for which he directed the Medici Bank. In 1478 he acquired the chapel of St. Francis in Santa Trinita, after his proposal to add a decoration portraying the saint had been rejected by the Dominicans of Santa Maria Novella, where his family had had a chapel (later also frescoed by Ghirlandaio, and now known as the Tornabuoni Chapel) since the 14th century.
He commissioned the execution of the frescoes from the most famed artist of the city, Domenico Ghirlandaio. The date of the contract is that signed next to the portraits of Sassetti and his wife (December 25, 1480), although the work was not carried out until between 1483 and 1486. The central altarpiece, depicting the Adoration of the Shepherds, is dated 1485.
Ghirlandaio portrayed numerous figures of contemporary Florentine society in the scenes. All the work shows the importance of the influence of the Flemish school on Ghirlandaio, in particular the Portinari Triptych by Hugo van der Goes, taken by him to Florence in 1483 and now in the Uffizi.
The fresco cycle covers three walls framed by trompe-l'œil architectural elements. The altarpiece is also framed by a painted marble decoration. The two side walls house the tombs of Francesco Sassetti and his wife Nera Corsi, under a gilded arch, a creation of Giuliano da Sangallo. At the side of the altar are kneeling portraits of the two patrons, Nera Corsi on the left and Sassetti on the right: they direct their prayers towards the central altarpiece of the Adoration of the Shepherds, also by Ghirlandaio.
Ghirlandaio's frescoes can also be seen in the upper transept wall, outside the chapel. This area was plastered in the 18th century, the paintings being rediscovered only in 1895, which accounts for their poorer state of conservation. The work outside the Sassetti chapel is attributed to the three Ghirlandaio brothers (Domenico, David and Benedetto) and assistants. Its perspective was devised to offer a perfect view from below.
The first scene painted above the chapel is the Tiburtine Sibyl Announces Jesus' Coming to Augustus. The Sibyl is probably a portrait of Sassetti's daughter, Sibilla. On the pilaster dividing the Sassetti Chapel from the subsequent one is a painted grisaille statue of David. In the vault of the chapel are the four Sibyls, surrounded by flaming aureoles and holding out banderoles describing their prophetic role as assigned them by Virgil:
Hec teste Virgil Magnus, in ultima autem etate;
Invisibile verbum palapabitur germinabit.
Only the faces of the Sibyls are attributed to Ghirlandaio; the bodies were probably executed by his workshop.
Renunciation of Worldly Goods
The Confirmation of the Franciscan Rule
The Test of Fire
The Miracle of the Stigmata
Death of St. Francis
The Resurrection of the Boy
Ghirlandaio had possibly never seen the Stories of St. Francis in the Basilica di San Francesco in Assisi, but he must certainly have known those in the Bardi Chapel of Santa Croce in Florence, painted by Giotto in the early 14th century.
This scene is located on the upper left wall, and portrays the young Francis who having renounced all his assets by removing his clothes publicly, is protected by the bishop of Perugia. Francis' raging father is shown with some people restraining him. The scene is set in a northern European city which had been identified as Geneva or Lyon, where Sassetti had served for the Medici. The secondary figures could be work by Domenico's brothers and workshop.
This scene, in the upper central wall, depicts St. Francis being received by Pope Innocent III in 1209 at the Cathedral of Sant Giovanni in Laterano at the time of the Franciscan Order's sanction by the Pope. The figures are portrayed in a cathedral interior, so that the chapel's arch resembles the triumphal arch of the church. The scene is set in Florence instead of Rome, the background showing the Piazza della Signoria, the Palazzo Vecchio and the Loggia dei Lanzi, which did not at that time contain statues). The choice of the city was an allusion to the power and status that Florence had assumed; in Humanist circles it was considered a new Rome or Jerusalem.
A drawing, now in Berlin, shows that initially Ghirlandaio had intended a more traditional iconography following that of the frescoes in Santa Croce and without the portraits. Later he modified it, dividing the pictorial space into three planes: the steps, the church and the background. On the right, in the foreground, are Sassetti's brother-in-law, the Gonfaloniere di Giustizia Antonio di Puccio Pucci; Sassetti's employer, Lorenzo de' Medici; Francesco Sassetti himself and his son Federico. Lorenzo raises his hand to greet Angelo Poliziano, the tutor of his sons who are featured ascending the stairs. They are Giuliano, Piero and Giovanni, the future Pope Leo X, followed by other members of the Humanist Academy, Luigi Pulci and Matteo Franco. Sassetti is pointing out his older sons on the other side of the stairs: Galeazzo, Teodoro and Cosimo.
This painting, which is considered one of Ghirlandaio's masterpieces, provides the most reliable portraits of these various 15th century people, as, unlike the work of Botticelli, who also painted members of the Medici household, they are neither stylised, nor do they appear to be idealised.
This scene is located on the upper right wall. It portrays St. Francis preaching to the Ayyubid sultan Al-Kamil, who asked him to walk over a fire to demonstrate his sanctity. The piece is rather similar to that of Giotto in Santa Croce with the sultan in the middle, St. Francis on the right with his brother friars, but with Ghirlandaio's innovation of a figure in the foreground whose back is to the observer. It is one of the best executed parts of the cycle.
The Miracle of the Stigmata
The lower left wall represents St. Francis kneeling, with open arms, receiving the divine sign from an apparition of the crucified Christ supported by a group of cherubim. The fresco was executed in ten days. Although featuring similar iconography to Giotto's work in Santa Croce, it is more likely that Ghirlandaio was inspired by the marble relief of Benedetto da Maiano's pulpit, also in Santa Croce. The miracle portrayed occurred at La Verna, the castles of which can be seen in the background which is characterized by a naturalistic rendering of outstanding quality, including a well executed deer. On the right can be seen a city on a lake, a fanciful representation of Pisa with its Duomo and Leaning Tower.
The Death of St. Francis[edit]
The last scene of the cycle is on the lower right wall and was executed in 28 days. It shows the dead saint lying on a catafalque in the middle of a large Renaissance church, surrounded by numerous figures. That the composition is derived from Giotto's work in Santa Croce is clearly seen in various elements including the monks' gestures, though Ghirlandaio added different details such as the monumental background and the varying responses of the different figures.
The three people on the right, a father with his son and nephew, are probably connected to the Sassetti family. On the right the tutor Poliziano is again portrayed alongside Bartolomeo Fonzio.
This scene portrays a posthumous miracle by St. Francis, connected to the Sassetti family and for this reason located in a central position of the chapel, although out of chronological order with the death of St Francis. It portrays the resurrection of a boy who had died falling from Palazzo Spini Feroni, a palace on the piazza facing Santa Trinita. According to some authorities, Ghirlandaio was inspired by Masaccio's The Tribute Money in the Brancacci Chapel.
The resurrected boy is in the middle of the composition, sitting with his hands together on a bed covered with Eastern-style drapes. St. Francis, appearing as an apparition, blesses him from the sky, while, on either side, a group of people attend the scene. Among the people portrayed are numerous figures from contemporary Florence. The five women on the left are probably Sassetti's daughters, their husbands or fiancées being visible on the right in the foreground. The last man in the first left row is Ghirlandaio himself. Also notable is the presence of a Moorish female servant. Other figures portrayed on the right include Maso degli Albizzi, Angelo Acciaioli, Palla Strozzi and Neri di Gino Capponi. The last two people on the right are probably Poliziano and Fonzio.
The scene is also important as it shows in detail the appearance of the Santa Trinita's piazza in the 15th century, with the old Romanesque façade of the church, Palazzo Spini Feroni still with the appearance of a fortress and an undecorated Ponte Santa Trinita. The three figures behind the bier are attributed to assistants.
The Adoration of the Shepherds was painted in 1485. It is recognized as one of Ghirlandaio's masterpieces, as well as one of the Florentine painting school. The work shows clear influences of the Flemish school, the artist having studied Hugo van der Goes' Portinari Altarpiece, which had been taken to Florence in 1483 by the Portinari family for the church of Sant'Egidio. Ghirlandaio's inspiration from that work is shown by positioning and realist handling of the three shepherds on the right, one of which is the artist's self-portrait. The frame has the inscription "Ipsum quem genuit adoravit Maria" ("Maria worshiped the one whom she bore").
Also influenced by Flemish painting is the attention to detail: every object has a precise symbolic role; and the well-rendered airy perspective, with the landscape fading towards a detailed representation of a hill and a town. The farthest city, on the right, is a symbolic Jerusalem with the domed edifice; in front of it is a dead tree, a reference to its conquest. The left city represents Rome, with the two sepulchres of the "prophetic" emperors, Augustus and Hadrian (who, at the time, was thought to be buried under the Torre delle Milizie). In the city, however, a church resembling Santa Maria del Fiore can be seen, a hint of the role of Florence as a new Rome.
The scene is set on a flowering lawn, with Mary to the left foreground, kneeling in front of the Child. The manger, before which the Child lies, is an ancient Roman sarcophagus with the inscription "Ense cadens soly mo Pompei Fulvi[us] augur Numen aitquae me conteg[it] urna dabit", an allusion of the coming of Christ through the prophecy of Fulvius, killed by Pompey the Great during the Roman conquest of Jerusalem. The prophecy said that from the sarcophagus housing his remains a God will rise, a reference to the victory of Christianity over Paganism.
Next to Mary is St. Joseph looking upwards as, in the background, an angel is announcing to the shepherds the coming of Christ, while on the left, the long procession of the Magi is passing under a triumphal arch. The arch has the inscription: "Gn[eo] Pompeo Magno Hircanus Pont[ifex] P[osuit]" ("The priest Hircanus erected [this arch] in honor of Gnaius Pompey the Great"). On the left, the two nearest Magi are staring at a light visible from above the hut's roof, coming perhaps from the star. Behind the sarcophagus are an ox and a donkey, symbols of the Jews and the Gentiles.
The three rocks in the very foreground are a hint to the Sassetti, whose name in Italian means "Small rocks". Perched on one of them is a goldfinch, symbol of Christ's Passion and resurrection.
The left-side of the huge Flemish tapestry of 'Episodes from the Passion" that was on display in Room VIII depicts Christ's Entry into Jerusalem. He is accompanied by the twelve apostles, all of whom, including Judas are halo-ed.
The tapestry is said to have been made in Tournai, Belgium and is dated to the late fifteenth century.
Room VIII, Pinacoteca Vaticana, Vatican Museums; July 2019
The original 15th/16th century college buildings now form part of First Court, including the chapel, Master's Lodge and Great Gate tower. The gate itself is disproportionate: the bottom has been cut off to accommodate a rise in street level, which can also be seen in the steps leading down to the foot of L staircase in the gate tower. The college hall, originally built at the very start of the 16th century, was restored in 1875–1879 by George Gilbert Scott the younger. The lawn of First Court is famously round, and a wisteria sprawls up the front of the Master's lodge.
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