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THE ANCIENT LANGUAGE OF SOUNDS AND SIGNS
April 27th, 2010
@ Mobius
725 Harrison Avenue, Suite One
Boston MA 02118
Dancers:
Olivier Besson
Ellen Godena www.mobius.org/user/27
Liz Roncka www.myspace.com/realtimeperformance
Musicians:
Haggai Cohen Milo (bass) www.myspace.com/jatul
Amir Milstein (flute)
Jamey Haddad (percussion) www.jameyhaddadmusic.com
A very special evening of improvised music and dance featuring musicians Haggai Cohen Milo (bass) and Amir Milstein (flute) and movement artists Olivier Besson, Ellen Godena and Liz Roncka.
ARTIST BIOS
Olivier Besson - Movement Artist - is an improvisational movement artist who hails from France and is based in Boston. In the period from 1980 until the mid 90's, Olivier studied Contact Improvisation with Robin Feld, Nancy Stark Smith, Lisa Nelson and Andrew Harwood, and Improvisation / Real Time composition with Daniel Lepkoff and Julyen Hamilton. During that time, he also practiced and performed Bugaku (Court dance from Japan) with Arawana Hayashi. Other training includes Butoh with Maureen Feming and Action Theater with Ruth Zaporah.
Most notably, Olivier’s work has been presented: *in the US - at Dance Theatre Workshop (NYC), Judson Church (NYC), New York Improvisation festival, Walker Art Centre (Minneapolis), Boston Dance Umbrella, Florida Dance Festival, Dance Place (Washington DC), The Boston Conservatory, Boston University, Radford University (Virginia), *and internationally - at the National Institute of the Arts (Taipei, Taiwan), Die Pratze (Tokyo), Art of Movement Festival (Yaroslav, Russia), Micadanses (Paris) and with Compagnie Vertige (Nice, France). He has collaborated with many individuals including Chris Aiken, Lisa Schmidt, Debra Bluth, Ming-Shen Ku, Pamela Newell, Toshiko Oiwa and musicians/composers Mike Vargas, Peter Jones, Jane Wang and Grant Smith. Locally, he has guest danced for Dawn Kramer, Micki Taylor-Pinney and Diane Noya. His ongoing performance projects involve collaborations with Liz Roncka in Boston and Emmanuelle Pepin in Nice (France) .
Olivier is currently on faculty at The Boston Conservatory (dance division). He has been on faculty at Canal Danse (Paris), the French National Circus School (CNAC), Bates Dance Festival, Emerson College and the School of Fine Arts at Boston Universtity. He has taught residencies at the National Institute of the Arts (Taipei, Taiwan), Le Centre Choregraphique de Danse / Daniel Larieu (Tours, France), the University of Minnesota, and Radford University (Virginia). He has also taught masterclasses for teen / pre-teen programs at Walnut Hill, Cambridge School of Weston, Jeanette Neil Dance Studios, Brookline High and Cambridge Rindge and Latin.
Haggai Cohen Milo - At the young age of 25, bass player and composer Haggai Cohen Milo is already a known name in the international music scene. Mr. Cohen Milo, currently operating from Berkeley, CA, brings exotic flavors to his music from his native middle east country, Israel. In both his compositions and in his playing, there is a contemporary mix of sound between East and West. His group the Secret Music Project, that features his personal musical sound and vision, has performed in some of the most important festivals around the world including the Aspen Music Festival, the Atlantic Jazz Festival (Canada), Boston First Night and many more.
Mr. Cohen-Milo first gained international recognition when he won the First Prize in the International Ensemble Competition in Belgium 2006. In the same year, Cohen Milo was also awarded the DownBeat Magazine Music Awards and the grand prize at the Fish Middleton Jazz Soloist Competition held in Washington, DC.
As a Composer, Cohen Milo has composed the score for two full enough feature films, Intimate Enemies (2008), by the internationally known Mexican director Fernando Sariñana and SPAM (2009) by the director Charlie Gore. Cohen Milo released his debut album in January 2007 under the prestigious record label “Fresh Sound - New Talent”. The album received enthusiastic reviews in the US and in Europe. Cohen Milo also recorded with different artists for Warner Music, Sunnyside Records and more.
With a fast growing touring career, Cohen Milo has already performed on some of the most important stages around the world, including Carnegie Hall and Birdland (New York), Getxo International Jazz Festival (Spain), The Jazz Station (Belgium) and Rome Music Festival (Italy), to name a few.
Cohen Milo graduated in 2009 from the prestigious New England Conservatory of Music in Boston where he studied with such masters as Danilo Perez, Bob Moses, Jamey Hadad and Jerry Bergonzi.
"... Haggai Cohen Milo revealed over a set of ridiculously infectious music that he's in the soul restoration business. Yessiree. He is!" (Graham Pilsworth, "The Coast", Canada)
Amir Milstein - Flutist and composer - is a graduate of the "Rubin Academy of Music" in Jerusalem (B.M. in jazz and classical flute), and the New England Conservatory (Masters degree in music performance, 2010) Amir established his career in the world-music scene founding acknowledged ensembles such as Bustan Abraham and Tucan Trio with which he has recorded and performed worldwide.
His musical background represents a variety of styles and cultures including classical, jazz, Mediterranean and Latin. He has collaborated with artists such as Zakir Hussein, Tito Puente, Ross Daly, Omar Farouk Tekbilek and Armando Macedo, among others and has participated in distinguished concert venues and festivals, both as a player and a composer.
He has collaborated with several choreographers, with whom he has composed for modern and flamenco dance groups and has composed and recorded several film scores. (His recent work on the documentary film "The Case for Israel- Democracy's Outpost" is currently presented at film festivals worldwide). Amir played in musical shows in the Israeli television and has collaborated and recorded numerous albums with Israel's leading artists, such as Matti Caspi, Shlomo Gronich, Gidi Gov, Miki Gavrielov, Leah Shabbat, and many others.
With over twenty years of experience teaching flute, recorders and music theory, Amir developed a unique musical education program and has instructed at the "Karev Music Educational Program" in Israel. He currently teaches at the New England Conservatory, Boston, and has lectured and presented workshops at music schools such as the Berklee College of music, Boston and Berkeley University, CA. Before moving to Boston, in 2004 Amir was also a faculty member at the "Hed College of Contemporary Music" in Tel Aviv, Israel. Amir presents an interactive workshop for schools and colleges called: "A World of Flutes"- Introducing the evolution of woodwinds through live music, stories, and a demonstration of over 80 musical instruments.
Ellen Godena - Movement Artist - is an experimental performer, choreographer, and Mobius Artists Group member. Her recent work has focused on the relationships between human, non-human (organic), and machine (non-organic) movement as a method for studying human development. Recent solo and collaborative works have been quests to define these relationships through the use of primitive, robotic entities in performance.
Ellen’s training, artistic influences and inspiration derive from the study of Japanese avant-garde movement and theater forms that have developed since the early 1960’s, primarily the butoh dances created by Japanese artists Kazuo Ohno and Tatsumi Hijikata, physical theater, and contemporary dance. Since 1998, she has performed solo, group, and ensemble work in Boston, Philadelphia, Providence, and New York City. She was a former dancer with the Boston-based Kitsune Dance Theater (2003-06) under the direction of Deborah Butler, and the NYC post-modern butoh troupe, the Vangeline Theater (2006-08) under the direction of Vangeline. She has performed with Master butoh artist Katsura Kan (Curious Fish, 2002, 2008), and has studied with internationally recognized artists such as Zack Fuller, Hiroko Tamano, Su-En, Diego Pinon, and Katsura Kan. Her primary, long-term training has been with American artists Deborah Butler, Vangeline, and Jennifer Hicks. Currently, Ellen is presenting solo robotics – movement projects in addition to performing regularly with Liz Roncka's Real-Time Performance Project in Boston, MA. She holds a Bachelor of Fine Arts degree from the Rhode Island School of Design in Studio Painting (1997), and a Master's degree in Human Development and Psychology from Harvard University (2005).
Liz Roncka - Movement Artist - is an avid practitioner of movement improvisation and contemporary dance. She is the director of lizroncka/Real-Time Performance Project,a Mobius Artists Group member and a collaborating artist with Emma Jupe, a Paris-based improvisation collective. Her work has been presented in Boston, NYC, San Francisco, Budapest and Paris.
Liz's early training was in the tradition of classical ballet at the School of the New Bedford Ballet. In college, Liz’s focus shifted toward contemporary dance and improvisation. She was a member of the Dance Collective of Boston from 1998-2005. Liz has had the pleasure of performing modern dance and improvisational work under the direction of: Ramelle Adams, Emily Beattie, Ruth Benson-Levin, Debra Bluth, Alissa Cardone, Sean Curran,Ellen Godena, Andrew Harwood, Michael Jahoda/White Box Project, Dawn Kramer, Light Motion, Karen Murphy-Fitch and Micki Taylor-Pinney.
Much of Liz's work is developed in deep collaboration with sound artists, most notably Jane Wang, Haggai Cohen Milo, Jessyka Luzzi, Sean Frenette and Akili Jamal Haynes. Current projects include an improvisational duo with Forbes Graham (trumpet) and an collaboration with Philippe Lejeune (visual artist) developing a movement piece within a glass installation exploring the intersection of reality and reflected images. For more information please see:
www.dailydanceproject.blogspot.com
Picridie en languettes - Cerraja de costa
Reichardia ligulata (Vent.) G.Kunkel & Sunding (port)
Haut de plage (alt. 6 m)
Afur (Ténériffe, Canaries, Espagne)
Indigène (Canaries)
If nothing else, I always try to achieve something new and different with my photography. Something to challenge and push the boundaries of what I'm capable of doing personally and technically.
This isn't the first shot I've ever spent time arranging, but it's certainly the one that I've spent longest thinking about in terms of subject, lighting, colour and composition. I would never have dreamed of doing it were it not for starting the 52 project, and it's another one of those shots where what I've captured is almost exactly as I saw it in my head.
I'm very fortunate in that I know people who appreciate my passion for viewing life through a lens, and share my desire to push boundaries.
Obviously this shot wouldn't have been possible without the female component and, within the terms of anonymity we agreed upon before shooting, I would like to thank The Girl for agreeing to pose with me.
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Life is the sum of all your choices. Albert Camus
Vital forces, which control and nourish all the functions of the body.
The flag of the Isle of Man or flag of Mann (Manx: brattagh Vannin) is a triskelion, composed of three armoured legs with golden spurs, upon a red background. It has been the official flag of Mann since 1 December 1932 and is based on the Manx coat of arms, which dates back to the 13th century. The three legs are known in Manx as ny tree cassyn ("the three legs"). The triskelion is an ancient symbol, used by the Mycenaeans and the Lycians. It is not known for certain why the symbol was originally adopted on the Isle of Man. Before its adoption in 1932, the official flag of the Isle of Man was the Union Jack.
Both terms are from Greek "τρισκέλιον" (triskelion) or "τρισκελής" (triskeles), "three-legged",from prefix "τρι-" (tri-), "three times" + "σκέλος" (skelos), "leg"
A triskelion or triskele is a motif consisting of a triple spiral exhibiting rotational symmetry. The spiral design can be based on interlocking Archimedean spirals, or represent three bent human legs. A triskelion is a traditional symbol of Sicily, where it is called trinacria, and of the Isle of Man.The triskelion symbol appears in many early cultures, the first in Malta (4400–3600 BC) and in the astronomical calendar at the famous megalithic tomb of Newgrange in Ireland built around 3200 BC,[6] Mycenaean vessels, on coinage in Lycia, and on staters of Pamphylia (at Aspendos, 370–333 BC) and Pisidia. It appears as a heraldic emblem on warriors' shields depicted on Greek pottery. The triskelion is an ancient symbol of Sicily, with the head of the Gorgon, whose hair are snakes, from which radiate three legs bent at the knee. The symbol dates back to when Sicily was part of Magna Graecia, the colonial extension of Greece beyond the Aegean. Pliny the Elder attributes the origin of the triskelion of Sicily to the triangular form of the island, the ancient Trinacria (from the Greek tri- (three) and akra (end, limb)), which consists of three large capes equidistant from each other, pointing in their respective directions, the names of which were Pelorus, Pachynus, and Lilybæum.
The Celtic symbol of three conjoined spirals may have had triple significance similar to the imagery that lies behind the triskelion. The triple spiral motif is a Neolithic symbol in Western Europe. Though popularly considered a "Celtic" symbol, it is an ancient Aryan symbol.Vajrayana sometimes refers to a fourth body called the svābhāvikakāya (Tibetan: ངོ་བོ་ཉིད་ཀྱི་སྐུ, Wylie: ngo bo nyid kyi sku) "essential body",and to a fifth body, called the mahāsūkhakāya (Wylie: bde ba chen po'i sku, "great bliss body"). The svābhāvikakāya is simply the unity or non-separateness of the three kayas.The term is also known in Gelug teachings, where it is one of the assumed two aspects of the dharmakāya: svābhāvikakāya "essence body" and jñānakāya "body of wisdom". Haribhadra claims that the Abhisamayalankara describes Buddhahood through four kāyas in chapter 8: svābhāvikakāya, [jñāna]dharmakāya, sambhogakāya and nirmāṇakāya.[
It is carved into the rock of a stone lozenge near the main entrance of the prehistoric Newgrange monument in County Meath, Ireland. Newgrange, which was built around 3200 BC,predates the Celtic arrival in Ireland, but has long since been incorporated into Celtic culture.Theosophy, a Western esoteric school founded in the 19th century, regards Buddhism as containing esoteric teachings. In those supposed esoteric teachings of Buddhism, "exoteric Buddhism" believes that Nirmanakaya simple means the physical body of Buddha. According to the esoteric interpretation, when the Buddha dies he assumes the Nirmanakaya, instead of going into Nirvana. He remains in that glorious body he has woven for himself, invisible to uninitiated mankind, to watch over and protect it.
The Trikāya doctrine (Sanskrit, literally "three bodies"; Chinese: 三身; pinyin: sānshēn; Japanese pronunciation: sanjin, sanshin; Korean pronunciation: samsin; Vietnamese: tam thân, Tibetan: སྐུ་གསུམ, Wylie: sku gsum) is a Mahayana Buddhist teaching on both the nature of reality and the nature of Buddhahood.
The doctrine says that a Buddha has three kāyas or bodies:
The Dharmakāya or Truth body which embodies the very principle of enlightenment and knows no limits or boundaries;
The Saṃbhogakāya or body of mutual enjoyment which is a body of bliss or clear light manifestation;
The Nirmāṇakāya or created body which manifests in time and space.Even before the Buddha's parinirvāṇa, the term Dhammakāya was current. Dhammakāya literally means Truth body.
In the Pāli Canon, Gautama Buddha tells Vasettha that the Tathāgata (the Buddha) is the Dhammakāya, the 'Truth-body' or the 'Embodiment of Truth', as well as Dhammabhūta, 'Truth-become', 'One who has become Truth'
The Buddha is equated with the Dhamma: "[T]he Buddha comforts him, 'Enough, Vakkali. Why do you want to see this filthy body? Whoever sees the Dhamma sees me; whoever sees me sees the Dhamma.'"
In the Aggañña Sutta, the Buddha advises Vasettha that whoever has strong, deep rooted, and established belief in the Tathagatha, he can declare that he is the child of Bhagavan, born from the mouth of Dhamma, created from Dhamma, and the heir of Dhamma. Because the titles of the Tathagatha are: The Body of Dhamma, The Body of Brahma, the Manifestation of Dhamma, and the Manifestation of Brahma.The dance of Manipura (the solar plexus chakra) begins with a flame, and as the music intensifies, the fire increases, I danced like wildfire. I became one with the fire, I was fire, flickering and wild. It felt incredibly liberating and powerful, and then all of a sudden my perception shifted dramatically.
The experience transformed from being elemental fire, to being ON fire – being burned, encased in flames – and all the powerful emotions that came with it. Horror, fear, panic.
During the dance I became angry, outraged, I found myself growling and shouting, I was defending myself against people who had abused me, punished me, shamed me, or taken my power away. It was a stream of vitriol that started as a very young child and worked its way through to the more recent relationships in my life. Doctors, teachers, partners, family, friends, one after another I got very angry about all the times I had disempowered myself or been disempowered in these relationships.
Even knowing it was just in the dance, the emotional reaction was profound. Recovering in child’s pose, I found myself saying to myself, “that was then, this is now, it is safe to be powerful now.”
As I incanted this affirmation, there came a vision of a fiery cauldron burning away the hurts of the past, all those experiences where I was persecuted, shamed, or abused for expressing my power. An image came to me of a golden cauldron on a large fire, and I poured all this emotion into the pot, to be transformed by the fire.
That night I dreamt that a golden pot exploded – flipping its lid – with such a force it woke me up. Manipura had been activated!
Meditate there on the region of Fire, triangular in form and shining like the rising sun. Purnananda
The image of the cauldron is meaningful. In both Taoist and Celtic traditions, the three cauldrons are the energy centres which are roughly equivalent to the seven chakras in the yoga tradition. The first cauldron in the Celtic system is the cauldron of heat, or Coire Goiraith, and in the Taoist tradition, is known as “the golden stove” representing the refining and vitality of the life force into the Ching energy, which is basically a highly refined, super potent form of chi, or life force energy.
Since then I continue to connect deeply in this chakra. After my last few months of immersion in the waters of Svadisthana, I knew I needed to wake this fire up again. I needed energy, motivation, will to power. All the aspects of Manipura.
Manipura is the seat of personal power and will. It is the fire that fuels our metabolism, and if it’s activated it increases our energy, drive, and sense of purpose. Who couldn’t use some of that?
According to tantric texts, it is in manipura that the spiritual activation of the kundalini takes place, as it is the junction of two vital forces, prana and apana. As we breathe prana rises from the navel to the throat and apana rises from Muladhara – the root chakra – to the navel. Manipura is considered the activation point for these subtle energies. In the sacred alchemy described in Taoist texts, this corresponding dantien is the furnace.
From Manipura chakra emanate ten nadis appearing like the petals of a lotus. The lotus is yellow and the petals depict the ten pranas, vital forces, which control and nourish all the functions of the body. On each petal is inscribed a letter in blue, giving the sound vibrations produced by the ten nadis. Inside the yellow lotus is an inverted red triangle-shaped yantra, representing the fire element, the spreading of energy. The inverted triangle also suggests the movement of energy downward. On its three sides the triangle has svastika signs shaped like a ‘T’, representing the formative force of fire (tejas tattva). At the lower end of the inverted triangle is a symbolic animal, a ram, representing dynamism and endurance. The ram is the vehicle of Agni (the fire God) and on it is inscribed the bija mantra ‘ram’, which lies latent. This is the symbol of the Divine Intelligence presiding over fire. Arthur Avalon, The Serpent Power
The symbol is also found carved in rock in Castro Culture settlement in Galicia and Northern Portugal (in ancient times it was part of southern Galicia). In Ireland before the 5th century AD, in Celtic Christianity the triskele took on new meaning, as a symbol of the Trinity (Father, Son, and Holy Spirit) and, therefore, also a symbol of eternity. Its popularity continues today as a decorative symbol of faith for Christians of Celtic descent around the world.Firstly, the triskele can be thought to represent motion as all three arms are positioned to make it appear as if it is moving outwards from its center. Movement, or motion, is believed to signify energies, in particular within this Celtic Symbol the motion of action, cycles, progress, revolution and competition.
Secondly, and the more challenging area for symbolists, is the exact symbolic significance of the three arms of the triskele. This can differ dependent on the era, culture, mythology and history, which is why there are so many variations as to what these three extensions in the triple spiral symbol mean.
Some of these connotations include: life-death-rebirth, spirit-mind-body, mother-father-child, past-present-future, power-intellect-love and creation-preservation-destruction to name but a few.
It’s thought that through the combination of these two areas we gain one meaning of the Celtic triskele. It is believed to represent a tale of forward motion to reach understanding. However, this is thought not to be the only meaning, as it is also believed to represent three Celtic worlds; the spiritual world, the present world and the celestial world. Like the ancient Trinity knot, the number 3 holds a special symbolism within the triskele.
Azores - São Miguel -
Geomorphologically, Ponta Delgada covers a volcanic area composed of two structures: the Picos Region and Sete Cidades Massif. The Picos Region extends from the shadow of the ancient volcano of the Água de Pau Massif (known locally for the lake that rests within its volcanic crater: Lagoa do Fogo) until the area around the Sete Cidades caldera. It is a volcanic axial zone oriented generally in a northwest-southeast direction, essentially defined by several spatter cones and lava flows and predominantly covered by dense vegetation and pasture-lands. Its relief is relatively planar, especially along the northern and southern coasts, where many of the urban communities are located.
Pathologist: Doctor killed Beethoven
By GEORGE JAHN, Associated Press Writer
Tue Aug 28, 2007
VIENNA, Austria - Did someone kill Beethoven? A Viennese pathologist claims the composer's physician did — inadvertently overdosing him with lead in a case of a cure that went wrong. Other researchers are not convinced, but there is no controversy about one fact: The master had been a very sick man years before his death in 1827.
Previous research determined that Beethoven had suffered from lead poisoning, first detecting toxic levels of the metal in his hair and then, two years ago, in bone fragments. Those findings strengthened the belief that lead poisoning may have contributed — and ultimately led — to his death at age 57.
But Viennese forensic expert Christian Reiter claims to know more after months of painstaking work applying CSI-like methods to strands of Beethoven's hair.
He says his analysis, published last week in the Beethoven Journal, shows that in the final months of the composer's life, lead concentrations in his body spiked every time he was treated by his doctor, Andreas Wawruch, for fluid inside the abdomen. Those lethal doses permeated Beethoven's ailing liver, ultimately killing him, Reiter told The Associated Press.
"His death was due to the treatments by Dr. Wawruch," said Reiter, head of the Department of Forensic Medicine at Vienna's Medical University. "Although you cannot blame Dr. Wawruch — how was he to know that Beethoven already had a serious liver ailment?"
Nobody did back then.
Only through an autopsy after the composer's death in the Austrian capital on March 26, 1827, were doctors able to establish that Beethoven suffered from cirrhosis of the liver as well as edemas of the abdomen. Reiter says that in attempts to ease the composer's suffering, Wawruch repeatedly punctured the abdominal cavity — and then sealed the wound with a lead-laced poultice.
Although lead's toxicity was known even then, the doses contained in a treatment balm "were not poisonous enough to kill someone if he would have been healthy," Reiter said. "But what Dr. Wawruch clearly did not know that his treatment was attacking an already sick liver, killing that organ."
Even before the edemas developed, Wawruch noted in his diary that he treated an outbreak of pneumonia months before Beethoven's death with salts containing lead, which aggravated what researchers believe was an existing case of lead poisoning.
But, said Reiter, it was the repeated doses of the lead-containing cream, administered by Wawruch in the last weeks of Beethoven's life, that did in the composer.
Analysis of several hair strands showed "several peaks where the concentration of lead rose pretty massively" on the four occasions between Dec. 5, 1826, and Feb. 27, 1827, when Beethoven himself documented that he had been treated by Wawruch for the edema, said Reiter. "Every time when his abdomen was punctured ... we have an increase of the concentration of lead in the hair."
Such claims intrigue others who have researched the issue.
"His data strongly suggests that Beethoven was subjected to significant lead exposures over the last 111 days of his life and that this lead may have been in the very medicines applied by his doctor," said Bill Walsh, who led the team at the U.S. Department of Energy's Argonne National Laboratory outside Chicago that found large amounts of lead in Beethoven's bone fragments. That research two years ago confirmed the cause of years of debilitating disease that likely led to his death — but did not tie his demise to Wawruch.
"I believe that Beethoven's death may have been caused by this application of lead-containing medicines to an already severely lead-poisoned man," Walsh said.
Still, he added, samples from hair analysis are not normally considered as reliable as from bone, which showed high levels of lead concentration over years, instead of months.
With hair, "you have the issue of contamination from outside material, shampoos, residues, weathering problems. The membranes on the outside of the hair tend to deteriorate," he said, suggesting more research is needed on the exact composition of the medications given Beethoven in his last months of his life.
As for what caused the poisoning even before Wawruch's treatments, some say it was the lead-laced wine Beethoven drank. Others speculate that as a young man he drank water with high concentrations of lead at a spa.
"We still don't know the ultimate cause," Reiter said. "But he was a very sick man — for years before his death."
The Beethoven Journal is published by the Ira F. Brilliant Center for Beethoven Studies at San Jose State University in California.
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Salsifis douteux - Western salsify - Salsifí amarillo
Tragopogon dubius Scop. (infrutescence)
Terrain vague (alt. 1140 m)
Aliaga (province de Teruel, Aragon, Espagne)
Indigène (Europe, Maroc, Ouest et Centre de l'Asie)
started with green kitchen scraps and dry grass. 4:1 brown/carbon:green/nitrogen. A few weeks of adding more kitchen scraps, turning, and dialing in the moisture level has produced very rich results. This is a 32 gallon bin and is about half full of compost so far. There are a lot of larger diameter sticks that are not breaking down, but i believe they enhance aeration. 10mm holes on the sides, top, and bottom about every 10cm.
Crocus vernus ssp. vernus (L.) Hill, syn.: Crocus vernus (L.) Hill, Crocus sativus var. vernus L., Crocus napolitanus Mordant & Loisel.
Family: Iridaceae
EN: Spring Crocus, Dutch Crocus, DE: Gewöhnlicher Frülings-Safran, Gewöhnlicher Frülings-Krokus
Slo: spomladanski žefran
Dat.: Feb. 20.2020
Lat.: 46.33637 Long.: 13.54153 (WGS84)
Code: Bot_1273/2020_DSC02080
Habitat: Mixed wood; hardwood, broadleaf tress dominant; moderately inclined mountain slopes; south aspect; cretaceous clastic (flysh) bedrock; humid and relatively warm place; mostly in shade or half-shade; average precipitations ~ 3.000 mm/year, average temperature 8-10 deg C, elevation 450 m (1.500 feet), alpine phytogeographical region.
Substratum: soil.
Place: Bovec basin; northwest of 'Jezerca' place, west of Bovec; East Julian Alps, Posočje, Slovenia EC.
Comment: Crocus vernus ssp. vernus is a common plant in Slovenia and one of the earliest spring flower growing mainly in light woods but also on meadows. On some spots flowers appear in massive numbers, which color forest ground patches completely violet. Where it is intermixed with other blooming flowers it provides particularly magnificent vistas. Such spot is west of Bovec, where it appears in thousands and thousands. There, it is accompanied by white Snowdrops (Galanthus nivalis) and Spring Snowflakes (Leucojum vernum). All three plants have bulbs and love quite humid habitat. This is assured by flysh bedrock at this site. This rock keeps rain water much longer than surrounding limestone or dolomite bedrock, which most of Julian Alps are composed of.
Ref.:
(1) A. Martinči et all., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 754.
(2) D. Aeschimann, K. Lauber, D.M. Moser, J.P. Theurillat, Flora Alpina, Vol. 2., Haupt (2004), p 1092.
(3) M.A. Fischer, W. Adler, K. Oswald, Exkursionsflora für Österreich, Liechtenstein und Südtirol, LO Landesmuseen, Linz, Austria (2005), p 1025.
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
I was in the area, checking up on the Heath Spotted Orchids, and the church was a five minute drive away, in the grounds of a former country house.
I park at the church and find it locked, as expected, but there were directions to a keyholder nearby, walking into the cobbled squares and converted estate buildings now executive housing.
I ring the bell: nothing
I ring again: nothing
I use the knocker: dog barks. Dog attacks the door.
There is angry voices. Or voice. There was the sound of the dog being put into a side room, and the struggle to close the door.
The front door opened: yes?
Can I have the church key, please?
Not sure if I still have it.
Why'd you want it?
To photograph the interior.
Who're with?
I'm with no one, I am photographing all parish churches in the county, and would like to do this one. I showed him my driving licence which should say under job title: obsessive and church crawler.
He seemed satisfied, and let me have the key.
Phew.
Inside two things you notice; one is the box tomb, finely carved and still with traces of the original paint, and secondly, the organ is in pieces, and apparently the most complicated jigsaw you ever did see
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Substantially rebuilt after a fire of 1598. The welcoming interior displays no chancel arch, although the doorways in the arcade show where the medieval rood screen ran the width of the church. The striking east window was designed by Wallace Wood in 1954. There is a good aumbry and piscina nearby. To the north of the chancel stands the excellent tomb chest of Sir John Tufton (d. 1624). The arcade into which it is built was lowered to allow a semi-circular alabaster ceiling to be inserted to set the composition off. Because it is completely free-standing it is one of the easiest tomb chests in Kent to study, with five sons kneeling on the south side and four daughters on the north . In addition there are complicated coats of arms and an inscription which records the rebuilding of the church by Tufton after the fire. On top of the chest lie Sir John and his wife, with their son Nicholas kneeling between their heads. Much of the monument is still covered with its original paint. The organ, which stands in the south aisle, may be the instrument on which Sir Arthur Sullivan composed 'The Lost Chord'. It originally stood in Hothfield Place where Sullivan was a frequent guest.
www.kentchurches.info/church.asp?p=Hothfield
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HOTHFIELD
IS the next parish northward from Great Chart, and is so called from the bothe, or heath within it. The greatest part of this parish lies within the hundred of Chart and Longbridge, and the remainder in that of Calehill. It is in the division of East Kent.
THE PARISH of Hothfield lies a little more than two miles from Ashford north-westward, the high road from which towards Lenham and Maidstone goes through it over Hothfield heath. It contains about 1250 acres, and fifty houses, the rents of it are about 1300l. per annum. It is not a pleasant, nor is it accounted a healthy situation, owing probably to the many low and watry lands in and about it. The river Stour, which rises at Lenham, runs along the southern side of the parish, which is watered likewise by several small streams, which rise about Charing and Westwell, from under the chalk hills, and join the Stour here. The heath, which contains near one half of the parish, consists mostly of a deep sand, and has much peat on it, which is continually dug by the poor for firing. On the east and west sides of the heath, the latter being called West-street, are two hamlets of houses, which form the scattered village of Hothfield. The Place-house stands on a hill, at a small distance from the corner of the heath southward, with some small plantations of trees about it, forming a principal object to the country round it. It is a square mansion, built of Portland stone, by the late earl of Thanet, on the scite of the antient mansion, close to the church; it has a good prospect round it. The adjoining grass grounds are extensive, and well laid out for the view over them; the water, which rises at no great distance from the house, becomes very soon a tolerable sized stream, and running on in sight of it, joins the Stour a little above Worting mill; these grass lands are fertile and good fatting land, like those mentioned before, near Godington, in Great Chart. The parsonage house, which is a neat dwelling of white stucco, stands at the southern corner of the heath, at the foot of the hill, adjoining the Place grounds, near West-street. Between the heath and Potter's corner, towards Ashford, the soil begins to approach much of the quarry stone.
Though the land in the parish is naturally poor, it is rendered productive by the chalk and lime procured from the down hills. The inhabitants have an unlimited right of commoning with those of the adjoining parish of Westwell, to upwards of five hundred acres of common, which affords them the means of keeping a cow and their poultry, which, with the liberty of digging peat, draws a number of certificated poor to reside here. There is not one dissenter in the parish.
Jack Cade, the noted rebel, in Henry the VI.th's reign, though generally supposed to be taken by Alexander Iden, esq. the sheriff, in a field belonging to Ripple manor, in the adjoining parish of Westwell, was discovered, as some say, in a field in this parish, still named from him, Jack Cade's field, now laid open with the rest of the grounds adjoining to Hothfieldplace.
The plant caryophyllata montena, or water avens, which is a very uncommon one, grows in a wood near Barber's hill, in this parish.
THE MANOR OF HOTHFIELD seems, in very early times, to have had the same owners as the barony of Chilham, and to have continued so, for a considerable length of time after the descendants of Fulbert de Dover were become extinct here. Bartholomew de Badlesmere, who in the 5th year of king Edward II. had a grant of this manor as well as of Chilham in see, appears to have held this manor of Hothfield by grand sergeantry of the archbishop, and accordingly, in the 8th year of it, at the enthroning of archbishop Walter Reynolds, he made his claim, and was allowed to perform the office of chamberlain for that day, and to serve up the water, for the archbishop to wash his hands; for which his fees were, the furniture of his bedchamber, and the bason and towel made use of for that purpose; (fn. 1) and in the next year he obtained of the king, a charter of free-warren for his demesne lands within this manor among others. After this the manor of Hothfield continued to be held by the like service, and continued in the same owners as that of Chilham, (fn. 2) down to Thomas lord Roos, who became entitled to the see of it, who for his attachment to the house of Lancaster, was, with others, attainted, in the 1st year of king Edward IV.'s reign, and his lands confiscated to the crown. But Margaret his mother, being possessed of it for her life, afterwards married Roger Wentworth, esq. whom she survived, and died possessed of it in the 18th year of that reign; upon which, by reason of the above attaint, the crown became entitled to it, the inquisition for which was found in the 4th year of that reign; immediately after which, the king granted it to Sir John Fogge, of Repton, who was comptroller of his household and one of his privy council, for his life. On king Richard III.'s accession to the crown, he took shelter in the abbey of Westminster, from whence he was invited by the king, who in the presence of a numerous assembly gave him his hand, and bid him be confident that from thenceforward he was sure to him in affection. This is rather mentioned, as divers chronicles have erroneously mentioned that he was an attorney, whom this prince had pardoned for forgery. He died possessed of it in the 17th year of Henry VII. where it remained till Henry VIII. granted it, at the very latter end of his reign, to John Tufton, esq. of Northiam, in Sussex, whose lands were disgavelled by the acts of 2 and 3 Edward VI. who afterwards resided at Hothfield, where he kept his shrievalty in the 3d year of queen Elizabeth. He was descended from ancestors who were originally written Toketon, and held lands in Rainham, in this county, as early as king John's reign; (fn. 3) one of whom was seated at Northiam, in Sussex, in king Richard the IId.'s reign, at which time they were written as at present, Tufton, and they continued there till John Tufton, esq. of Northiam, before-mentioned, removed hither. He died in 1567, and was buried in this church, leaving one son John Tufton, who resided at Hothfield-place, and in July, in the 16th year of queen Elizabeth, anno 1573, entertained the queen here, in her progress through this county. In the 17th year of that reign he was sheriff, and being a person of eminent repure and abilities, he was knighted by king James, in his 1st year, and created a baronet at the first institution of that order, on June 19, 1611. He married Olimpia, daughter and heir of Christopher Blower, esq. of Sileham, in Rainham, by whom he had three daughters; and secondly Christian, daughter and coheir of Sir Humphry Brown, a justice of the common pleas. He died in 1624, and was buried in this church, having had by her several sons and daughters. Of the former, Nicholas the eldest, succeeded him in title and estates. Sir Humphry was of Bobbing and the Mote, in Maidstone, and Sir William was of Vinters, in Boxley, both baronets, of whom further mention has already been made in the former parts of this history.
Sir Nicholas Tufton, the eldest son, was by letters patent, dated Nov. 1, anno 2 Charles I. created lord Tufton, baron of Tufton, in Sussex; and on August 5, in the 4th year of that reign, earl of the Isle of Thanet, in this county. He had four sons and nine daughters; of the former, John succeeded him in honors, and Cecil, was father of Sir Charles Tufton, of Twickenham, in Middlesex. John, the eldest son, second earl of Thanet, married in 1629 Margaret, eldest daughter and coheir of Richard, earl of Dorset, by his wife the lady Anne Clifford, sole daughter and heir of George, earl of Cumberland, and baroness of Clifford, Westmoreland, and Vescy, by which marriage these tithes descended afterwards to their issue. In the time of the commonwealth, after king Charles the 1st.'s death, he was, in 1654, appointed sheriff, and however inconsistent it might be to his rank, yet he served the office. He left six sons and six daughters, and was succeeded by Nicholas his eldest son, third earl of Thanet, who by the deaths of his mother in 1676, and of his cousin-german Alethea, then wife of Edward Hungerford, esq. who died s. p. in 1678, he became heir to her, and sole heir to his grandmother Anne, lady Clifford, and consequently to the baronies of Clifford, Westmoreland, and Vescy; dying s. p. he was succeeded as earl of Thanet and lord Clifford, &c. by his next brother John, who, on his mother's death, succeeded likewise by her will to her large estates in Yorkshire and Westmoreland, and to the hereditary in sheriffdoms of the latter and of Cumberland likewise, for it frequently happened in these hereditary sheriffdoms that female heirs became possessed of them, and consequently were sheriffs of those districts; but this was not at all an unusual thing, there being many frequent instances of women bearing that office, as may be seen in most of the books in which any mention is made of it, some instances of which the reader may see in the differtation on the office of sheriff, in vol. i. of this history. That part of their office which was incompatible for a woman to exercise, was always executed by a deputy, or shyre-clerk, in their name. But among the Harleian MSS. is a very remarkable note taken from Mr. Attorney-general Noys reading in Lincoln's inn, in 1632, in which, upon a point, whether the office of a justice of a forest might be executed by a woman; it was said, that Margaret, countess of Richmond, mother to king Henry VII. was a justice of peace; that the lady Bartlet, perhaps meant for Berkley, was also made a justice of the peace by queen Mary, in Gloucestershire; and that in Suffolk one ..... Rowse, a woman, did usually fit upon the bench at assizes and sessions among other justices, gladio cincta. John, earl of Thanet, died unmarried, as did his next brother earl Richard, so that the titles devolved to Thomas Tufton, who became the sixth earl of Thanet, and lord Clifford, which latter title was decreed to him by the house of peers in 1691. He left surviving issue five daughters and coheirs, the eldest of whom, Catherine, married Ed. Watson, viscount Sondes, son and heir of Lewis, earl of Rockingham; and the four others married likewise into noble families. He died at Hothfield in 1729, having by his will bequeathed several legacies to charitable purposes, especially towards the augmentation of small vicarages and curacies. He died without male issue, so that the titles of earl of Thanet and baron Tufton, and of baronet, descended to his nephew Sackville Tufton, eldest surviving son of his brother Sackville Tufton, fifth son of John, second earl of Thanet. But the title of baroness Clifford, which included those of Westmoreland and Vescy, upon the death of Thomas, earl of Thanet, without male issue, became in abeyance between his daughters and coheirs above-mentioned, and in 1734, king George II. confirmed that barony to Margaret, his third surviving daughter and coheir, married to Thomas Coke, lord Lovel, afterwards created earl of Leicester, which title is now again in abeyance by his death s. p. Which Sackville Tufton died in 1721, leaving Sackville the seventh earl of Thanet, whose eldest son of the same name succeeded him as eighth earl of Thanet, and rebuilt the present mansion of Hothfield-place, in which he afterwards resided, but being obliged to travel to Italy for his health, he died there at Nice in 1786, and was brought to England, and buried in the family vault at Rainham, in this county, where his several ancestors, earls of Thanet, with their countesses, and other branches of the family, lie deposited, from the time of their first accession to that title. He married Mary, daughter of lord John Philip Sackville, sister of the present duke of Dorset, by whom he had five sons and two daughters, Elizabeth; and Caroline married to Joseph Foster Barham, esq. Of the former, Sackville, born in 1769, succeeded him in honors; Charles died unmarried; John is M. P. for Appleby; Henry is M. P. for Rochester, and William. He was succeeded by his eldest son, the present right hon. Sackville Tufton, earl of Thanet, baron Tufton, lord of the honor of Skipton, in Craven, and baronet, and hereditary sheriff of the counties of Westmoreland and Cumberland, who is the present possessor of this manor and seat, and resides here, and is at present unmarried. (fn. 4)
The antient arms of Tufton were, Argent, on a pale, sable, an eagle displayed of the field; which coat they continued to bear till Nicholas Tufton, the first earl of Thanet, on his obtaining that earldom, altered it to that of Sable, an eagle displayed, ermine, within a bordure, argent; which coat was confirmed by Sir William Segar, garter, in 1628, and has been borne by his descendants to the present time. The present earl of Thanet bears for his coat of arms that last-mentioned; for his crest, On a wreath, a sea lion, seiant, proper; and for his supporters, Two eagles, their wings expanded, ermine.
SWINFORT, or Swinford, which is its more proper name, is a manor in this parish, lying in the southern part of it, near the river Stour, and probably took its name from some ford in former times over it here. However that be, it had formerly proprietors, who took their name from it; but they were never of any eminence, nor can I discover when they became extinct here; only that in king Henry V.'s reign it was in the possession of Bridges, descended from John atte Bregg, one of those eminent persons, whose effigies, kneeling and habited in armour, was painted in the window often mentioned before, in Great Chart church; and in this family the manor of Swinford continued till the latter end of king James I.'s reign, when it passed by sale from one of them to Sir Nicholas Tufton, afterwards created earl of Thanet, whose son John, earl of Thanet, before the 20th year of that reign, exchanged it for other lands, which lay more convenient to him, with his near neighbour Nicholas Toke, esq. of Godinton, in which family and name it has continued down, in like manner as that feat, to Nicholas Roundell Toke, esq. now of Godinton, the present possessor of it. A court baron is held for this manor.
FAUSLEY, or FOUSLEY, as it is now usually called, is the last manor to be described in this parish; its more antient name was Foughleslee, or, as it was usually pronounced, Faulesley; which name it gave to owners who in early times possessed and resided at it. John de Foughleslee, of Hothfield, was owner of it in the second year of king Richard II. and in his descendants this manor seems to have continued till about the beginning of queen Elizabeth's reign, when it passed by sale to Drury; from which name, at the latter end of it, this manor was conveyed to Paris, who immediately afterwards alienated it to Bull, who soon afterwards reconveyed it back again to the same family, whence, in the next reign of king James I. it was sold to Sir Nicholas Tufton, afterwards created earl of Thanet, in whose successors, earls of Thanet, it has continued down to the right hon. Sackville, earl of Thanet, the present owner of it.
Charities.
RICHARD PARIS, by deed in 1577, gave for the use of the poor, a rent charge of 16s. per annum, out of land called Hanvilles, in this parish; the trustees of which have been long ago deceased, and no new ones appointed since.
THOMAS KIPPS, gent. of Canterbury, by will in 1680, gave for the use of the same, an annual rent charge of 1l. out of lards in Great Chart.
RICHARD MADOCKE, clothier, of this parish, by will in 1596, ordered that the 11l. which he had lent to the parishioners of Hothfield, towards the rebuilding of their church, should, when repaid, be as a stock to the poor of this parish for ever.
SIR JOHN TUFTON, knight and baronet, and Nicholas his son, first earl of Thanet, by their wills in 1620 and in 1630, gave certain sums of money, with which were purchased eight acres of land in the parish of Kingsnoth, of the annual produce of 10l.
DR. JOHN GRANDORGE, by deed in 1713, gave a house and land in Newington, near Hythe, of the annual produce of 7l. which premises are vested in the earl of Thanet.
THOMAS, EARL OF THANET, and SACKVILLE TUFTON. Esq. grandfather of the present earl, by their deeds in 1720 and 1726, gave for a school mistress to teach 24 poor children, a rent charge and a house and two gardens, in Hothfield, the produce in money 20l. The premises were vested in Sir Penyston Lambe and Dr. John Grandorge, long since deceased; since which the trust has not been renewed; and the original writings are in the earl of Thanet's possession.
Such of the above benefactions as have been contributed by the Tufton family, have been ordered by their descendants to be distributed annually by the steward of Hothfield-place for the time being, without the interference of the parish officers, to such as received no relief from this parish; the family looking upon these rather as a private munisicence intended to continue under their direction.
The poor annually relieved are about twenty-five, casually as many.
HOTHFIELD is situated within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.
¶The church, which is small, is dedicated to St. Mary, and consists of three isles and a chancel, having a low spire steeple, covered with shingles at the west end, in which are five bells, and though it stands on a hill, is yet very damp. There is not any painted glass in the windows of it. On the north side in it, is a monument of curious workmanship, having the figures of a man and woman, in full proportion, lying at length on it; at three corners of it are those of two sons and one daughter, kneeling, weeping, all in white marble; round the edges is an inscription, for Sir John Tufton, knight and baronet, and Olympia his wife, daughter and heir of Christopher Blower, esq. On the monument are the arms of Tufton, with quarterings and impalements; on the sides are two inscriptions, one, that he re-edified this church after it was burnt, at his own charge, and under it made a vault for himself and his posterity, and after that he had lived eighty years, departed this life; the other enumerating his good qualities, and saying that by his will he gave perpetual legacies to this parish and that of Rainham. This monument is parted off from the north isle by a strong partition of wooden balustrades, seven feet high. The vault underneath is at most times several feet deep with water, and the few coffins which were remaining in it were some years since removed to the vaults at Rainham, where this family have been deposited ever since. On the north side of the chancel is a smaller one, formerly called St. Margaret's chapel, now shut up, and made no use of. In the south isle is a memorial for Rebecca, wife of William Henman, esq. obt. 1739, and Anna-Rebecca, their daughter, obt. 1752; arms, A lion, between three mascles, impaling a bend, cotized, engrailed. This church, which is a rectory, was always esteemed an appendage to the manor, and has passed accordingly, in like manner with it, down to the right hon. Sackville, earl of Thanet, lord of the manor of Hothfield, the present patron of it.
This rectory is valued in the king's books at 17l. 5s. and the yearly tenths at 1l. 14s. 6d.
There was a pension of ten shillings paid from it to the college of Wye. In 1588 here were communicants one hundred and ninety-three, and it was valued at eighty pounds. In 1640, communicants one hundred and ninety, and valued at only sixty pounds per annum. There is a modus of two pence an acre of the pasture lands in the parish. There are twelve acres of glebe. It is now worth about one hundred and twenty pounds per annum.
Richard Hall, of this parish, by will in 1524, ordered that his feoffees should enfeoffe certain honest persons in his house and garden here, set beside the pelery, to the intent that the yearly serme of them should go to the maintenance of the rode-light within the church.
This church was burnt down in the reign of king James I. and was rebuilt at the sole expence of Sir John Tufton, knight and baronet, who died in 1624. His descendant Thomas, earl of Thanet, who died in 1729, gave the present altar-piece, some of the pewing, and the pulpit.
Photo from a walkabout shoot in the morning heat, Philadelphia, July 2010. The model is Arpita Patel. (MM#1193815.)
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Dali (大理 ; Dàlĭ) és una ciutat de la província de Yunnan al su de Xina, situada en una regió fértil entre les muntanyes Cangshan a l’oest i el llac Erhai a l’est. Tradicionalment s’hi van establir les minories Bai i Yi. És la capital de la Prefectura Autònoma Dali Bai (en xinès : Dàlǐ Báizú zìzhìzhōu 大理白族自治州; i el bai : Darl•lit Baif•cuf zirl•zirl•zox) . LES TRES PAGODES - Dali (Chinese: 大理; Pinyin: Dàlĭ; Bai: Darl•lit; Hani: Dafli) is a city in Yunnan province in the south of China, located on a fertile plateau between the Cangshan mountains to the west and Erhai lake to the east. It has traditionally been settled by the Bai and Yi minorities. It is also the capital of the Dali Bai Autonomous Prefecture (Chinese: Dàlǐ Báizú zìzhìzhōu 大理白族自治州; Bai: Darl•lit Baif•cuf zirl•zirl•zox) The Three Pagodas are made of brick and covered with white mud. As its name implies, the Three Pagodas comprise three independent pagodas forming a symmetric triangle. The elegant, balanced and stately style is unique in China’s ancient Buddhist architectures, which makes it a must-see in the tour of Dali. The Three Pagodas, visible from miles away, has been a landmark of Dali City and selected as a national treasure meriting preservation in China.The main pagoda, known as Qianxun Pagoda (pinyin Qian Xun Ta), reportedly built during 824-840 AD during the Tang Dynasty, was 69.13 meters (230 feet) high and are supposed to be one of the highest pagodas in China’s history. The pagoda is square shaped and composed of sixteen stories; each story has multiple tiers of upturned eaves. There is a carved shrine containing a white marble sitting Buddha statue at the center of each façade of every story. The body of the pagoda is hollow from the first to the eighth story, surrounded with 3.3 meters (10 feet) thick walls. In 1978, more than 700 Buddhist antiques, including sculptures made of gold, silver, wood or crystal and documents, were found in the body during a major repairing work. The designers of the pagoda are supposed to have come from Xi’an, the capital of Tang Dynasty at that time and the location of another pagoda, Giant Wild Goose Pagoda, which shares the similar style but is two hundred years older.The other two sibling pagodas, built about one hundred years later, stand to the northwest and southwest of Qianxun Pagoda. They are 42.19 meters (140 feet) high. Different from Qianxun Pagoda, they are solid and octagonal with ten stories. The center of each side of every story is decorated with a shrine containing a Buddha statue.The Three Pagodas are well known for their resilience; they have endured several man-made and natural catastrophes over more than a thousand years. Their mother building was known as Chongsheng Monastery (pinyin Chong Sheng Si, also known as SanTa Si, Tianlong Si) and used to be the royal temple of the Kingdom of Dali and one of the largest Buddhist centers in southeast Asia. It was originally built at the same time as the first pagoda but was destroyed in a fire in the Qing Dynasty reign period. It was recorded that Qianxun Pagoda had been split in an earthquake on May 6th, 1515 AD (Ming Dynasty). However, it miraculously recovered ten days later in an aftershock. The most recent record of severe earthquake in the Dali area occurred in 1925. Only one in a hundred of the buildings in Dali survived, but the Three Pagodas were undamaged. – 8 Agost 2006
The Postcard
A postally unused postcard bearing no publisher's name.
The Siege of Cawnpore
The Siege of Cawnpore was a key episode in the Indian rebellion of 1857. The besieged Company forces and civilians in Cawnpore (now Kanpur) were unprepared for an extended siege, and surrendered to rebel forces under Nana Sahib, in return for a safe passage to Allahabad.
However, their evacuation from Cawnpore turned into a massacre, and most of the men were killed. As an East India Company rescue force from Allahabad approached Cawnpore, 120 British women and children captured by the Sepoy forces were killed in what came to be known as the Bibighar Massacre. Their remains were thrown down a nearby well in an attempt to hide the evidence.
Following the recapture of Cawnpore and the discovery of the massacre, the angry Company forces engaged in widespread retaliation against captured rebel soldiers and local civilians. The murders greatly embittered the British rank-and-file against the Sepoy rebels, and inspired the war cry "Remember Cawnpore!".
Background to The Massacre
Cawnpore was an important garrison town for the East India Company forces. Located on the Grand Trunk Road, it lay on the approaches to Sindh (Sind), Punjab and Awadh (Oudh).
By June 1857, the Indian rebellion had spread to several areas near Cawnpore, namely Meerut, Agra, Mathura, and Lucknow. However, the Indian sepoys at Cawnpore initially remained loyal.
The British General at Cawnpore, Hugh Wheeler, knew the local language, had adopted local customs, and was married to an Indian woman. He was confident that the sepoys at Cawnpore would remain loyal to him, and sent two British companies to besieged Lucknow.
The British contingent in Cawnpore consisted of around nine hundred people, including around three hundred military men, around three hundred women and children, and about one hundred and fifty merchants, business owners, salesmen, engineers and others. The rest were the native servants, who left soon after the commencement of the siege.
In the case of a rebellion by the sepoys in Cawnpore, the most suitable defensive location for the British was the magazine located in the north of the city. It had thick walls, ample ammunition and stores, and also hosted the local treasury.
However, General Wheeler decided to take refuge in the south of the city, in an entrenchment composed of two barracks surrounded by a mud wall. There was a military building site to the south of Cawnpore, where nine barracks were being constructed at the dragoon barracks. The British soldiers found it difficult to dig deep trenches, as it was the hot summer season.
The area also lacked good sanitary facilities, and there was only one well, which would be exposed to enemy fire in the event of an attack. Also, there were several buildings overlooking the entrenchment that would provide cover for the attackers, allowing them to easily shoot down on the defenders.
General Wheeler's choice of this location to make a stand remains controversial, given the availability of safer and more defensible places in Cawnpore. It is believed that he was expecting reinforcements to come from the southern part of the city. He also assumed that, in case of a rebellion, the Indian troops would probably collect their arms, ammunition and money, and would head to Delhi and therefore, he did not expect a long siege.
The Rebellion at Fatehgarh
The first sign of the rebellion at Cawnpore came in the form of a rebellion at Fatehgarh, a military station on the banks of the Ganges. To disperse the Indian troops away from Cawnpore, and lessen the chances of a rebellion, General Wheeler decided to send them on various "missions". On one such mission, he sent the 2nd Oudh Irregulars to Fatehgarh. On the way to Fatehgarh, General Wheeler's forces under the command of Fletcher Hayes and Lieutenant Barbour met two more Englishmen, Fayrer and Carey.
On the night of the 31st. May 1857, Hayes and Carey departed to a nearby town to confer with the local magistrate. After their departure, the Indian troops rebelled and decapitated Fayrer. Barbour was also killed, as he tried to escape.
When Hayes and Carey came back the next morning, an older Indian officer galloped towards them and advised them to run away. However, as the Indian officer explained the situation to them, the rebel Indian cavalry troopers raced towards them. Hayes was killed as he tried to ride away, while Carey escaped to safety.
The Outbreak of Rebellion at Cawnpore
There were four Indian regiments in Cawnpore: the 1st., 53rd. and 56th. Native Infantry, and the 2nd. Bengal Cavalry. Although the sepoys in Cawnpore had not rebelled, the European families began to drift into the entrenchment as the news of rebellion in the nearby areas reached them. The entrenchment was fortified, and the Indian sepoys were asked to collect their pay one by one, so as to avoid an armed mob.
The Indian soldiers considered the fortification, and the artillery being primed, as a threat. On the night of the 2nd. June 1857, a British officer named Lieutenant Cox fired on his Indian guard while drunk. Cox missed his target, and was thrown into jail for a night.
The very next day, a hastily convened court acquitted him, which led to discontent among the Indian soldiers. There were also rumours that the Indian troops were to be summoned to a parade, where they were to be massacred. All these factors influenced them to rebel against the East India Company rule.
The rebellion began at 1:30 am on the 5th. June 1857, with three pistol shots from the rebel soldiers of the 2nd. Bengal Cavalry. Elderly Risaldar-Major Bhowani Singh, who chose not to hand over the regimental colours and join the rebel sepoys, was subsequently cut down by his subordinates.
The 53rd. and 56th. Native Infantry, which were apparently the most loyal units in the area, were awoken by the shootings. Some soldiers of the 56th. attempted to leave. The European artillery assumed that they were also rebelling, and opened fire on them. The soldiers of the 53rd. were also caught in the crossfire.
The 1st Native Infantry rebelled and left in the early morning of the 6th. June 1857. On the same day, the 53rd. Native Infantry also went off, taking with them the regimental treasure and as much ammunition as they could carry. Around 150 sepoys remained loyal to General Wheeler.
After obtaining arms, ammunition and money, the rebel troops started marching towards Delhi to seek further orders from Bahadur Shah II, who had been proclaimed the Badshah-e-Hind ("Emperor of India"). The British officers were relieved, thinking that they would not face a long siege.
Nana Sahib's Involvement
Nana Sahib was the adopted heir to Baji Rao II, the former peshwa of the Maratha Confederacy. The East India Company had decided that the pension and honours of the lineage would not be passed on to Nana Sahib, as he was not a natural born heir.
Nana Sahib had sent his envoy Dewan Azimullah Khan to London, to petition the Queen against the Company's decision, but failed to evoke a favourable response. In May 1857, Nana Sahib arrived in Cawnpore with 300 soldiers, stating that he intended to support the British: Wheeler asked him to take charge of the government treasury in the Nawabganj area.
Amid the chaos in Cawnpore in 1857, Nana Sahib entered the British magazine with his contingent. The soldiers of the 53rd. Native Infantry, who were guarding the magazine, were not fully aware of the situation in the rest of the city.
They assumed that Nana Sahib had come to guard the magazine on behalf of the British, as he had earlier declared his loyalty to the British, and had even sent some volunteers to be at the disposal of General Wheeler. However, Nana Sahib had joined the rebels.
After taking possession of the treasury, Nana Sahib advanced up the Grand Trunk Road. His aim was to restore the Maratha Confederacy under Peshwa tradition, and he decided to capture Cawnpore. On his way, Nana Sahib met with rebel soldiers at Kalyanpur. The soldiers were on their way to Delhi, to meet Bahadur Shah II.
Nana Sahib initially decided to march to Delhi and fight the British as a Mughal subordinate, but Azimullah Khan advised him that leading the rebels in Kanpur would increase his prestige more than serving a weak Muslim king.
Nana Sahib asked the rebel soldiers to go back to Cawnpore, and help him in defeating the British. The rebels were reluctant at first, but decided to join Nana Sahib, when he promised to double their pay and reward them with gold, if they were to destroy the British entrenchment.
The Attack on Wheeler's Entrenchment
On the 5th. June 1857, Nana Sahib sent a polite note to General Wheeler, informing him that he intended to attack on the following morning, at 10 am.
On the 6th. June, Nana Sahib's forces (including the rebel soldiers) attacked the British entrenchment at 10:30 am. The British were not adequately prepared for the attack, but managed to defend themselves for a long time, as the attacking forces were reluctant to enter the entrenchment.
Nana Sahib's forces had been led to falsely believe that the entrenchment had gunpowder-filled trenches that would explode if they got closer.
As the news of Nana Sahib's advances against the British garrison spread, several of the rebel sepoys joined him. By the 10th. June, he was believed to be leading around twelve thousand to fifteen thousand Indian soldiers.
Up to 1,000 British troops, their families and loyal sepoys were holed up in General Wheeler's entrenchment in Kanpur for three weeks in June 1857 where they were constantly bombarded by Nana Sahib's army.
The British held out in their makeshift fort for three weeks with little water and food supplies. Many died as a result of sunstroke and lack of water. As the ground was too hard to dig graves, the British would pile the dead bodies outside the buildings, and dump them inside a dried well during the night.
The lack of sanitation facilities led to spread of diseases such as dysentery and cholera, further weakening the defenders. There was also a small outbreak of smallpox, although this was relatively confined.
During the first week of the siege, Nana Sahib's forces encircled the entrenchment, created loopholes and established firing positions in the surrounding buildings. Captain John Moore of the 32nd. (Cornwall) Light Infantry countered this by launching night-time sorties.
Nana Sahib withdrew his headquarters to Savada House, situated about two miles away. In response to Moore's sorties, Nana Sahib decided to attempt a direct assault on the British entrenchment, but the rebel soldiers displayed a lack of enthusiasm.
On the 11th. June, Nana Sahib's forces changed their tactics. They started concentrated firing on specific buildings, firing endless salvos of round shot into the entrenchment. They successfully damaged some of the smaller barrack buildings, and also tried to set fire to the buildings.
The first major assault by Nana Sahib's side took place on the evening of the 12th. June. However, the attacking soldiers were still convinced that the British had laid out gunpowder-filled trenches, and did not enter the area.
On the 13th. June, the British lost their hospital building to a fire, which destroyed most of their medical supplies and caused the deaths of a number of wounded and sick artillerymen who burned alive in the inferno. The loss of the hospital was a major blow to the defenders.
Nana Sahib's forces gathered for an attack, but were repulsed by the canister shots from artillery under the command of Lieutenant George Ashe. By the 21st. June, the British had lost around a third of their numbers.
Wheeler's repeated messages to Henry Lawrence, the commanding officer in Lucknow, could not be answered as that garrison was itself under siege.
The Attack on the 23rd. June 1857
The sniper fire and the bombardment continued until the 23rd. June 1857, the 100th. anniversary of the Battle of Plassey, which took place on the 23rd. June 1757 and was one of the pivotal battles leading to the expansion of British rule in India.
One of the driving forces of the sepoy rebellion was a prophecy which predicted the downfall of East India Company rule in India exactly one hundred years after the Battle of Plassey. This prompted the rebel soldiers under Nana Sahib to launch a major attack on the British entrenchment on the 23rd. June 1857.
The rebel soldiers of the 2nd. Bengal Cavalry led the charge, but were repulsed with canister shot when they approached within 50 yards of the British entrenchment. After the cavalry assault, the soldiers of the 1st. Native Infantry launched an attack on the British, advancing behind cotton bales and parapets.
They lost their commanding officer, Radhay Singh, to the opening volley from the British. They had hoped to get protection from cotton bales; however, the bales caught fire from the canister shot, and became a hazard to them.
On the other side of the entrenchment, some of the rebel soldiers engaged in hand-to-hand combat against 17 British men led by Lieutenant Mowbray Thomson. By the end of the day, the attackers were unable to gain an entry into the entrenchment. The attack left over 25 rebel soldiers dead, with very few casualties on the British side.
Surrender of the British Forces
The British garrison had taken heavy losses as a result of successive bombardments, sniper fire, and assaults. It was also suffering from disease and low supplies of food, water and medicine.
General Wheeler's personal morale had been low, after his son Lieutenant Gordon Wheeler was decapitated by a roundshot. With the approval of General Wheeler, a Eurasian civil servant called Jonah Shepherd slipped out of the entrenchment in disguise to ascertain the condition of Nana Sahib's forces, but he was quickly imprisoned by the rebel soldiers.
At the same time, Nana Sahib's forces were wary of entering the entrenchment, as they believed that it had gunpowder-filled trenches. Nana Sahib and his advisers came up with a plan to end the deadlock. On the 24th. June, they sent a female European prisoner, Mrs Rose Greenway, to the entrenchment with their message.
In return for surrender, Nana Sahib promised the safe passage of the British to the Satichaura Ghat, a landing on the Ganges from which they could depart for Allahabad. General Wheeler rejected the offer, because it had not been signed, and there was no guarantee that the offer was made by Nana Sahib himself.
The next day, the 25th. June, Nana Sahib sent a second note, signed by himself, through another elderly female prisoner, Mrs Jacobi. The British camp divided into two groups – one in favour of continuing the defence, while the second group was willing to trust Nana Sahib.
During the next 24 hours, there was no bombardment by Nana Sahib's forces. Finally, General Wheeler decided to surrender, in return for a safe passage to Allahabad. After a day of preparation, and burying their dead, the British decided to leave for Allahabad on the morning of the 27th. June 1857.
The Satichaura Ghat Massacre
On the morning of the 27th. June, a large British column led by General Wheeler emerged from the entrenchment. Nana Sahib sent a number of carts and elephants to enable the women, the children and the sick to proceed to the river banks.
The British officers and military men were allowed to take their arms and ammunition with them, and were escorted by nearly the whole of the rebel army. The British reached the Satichaura Ghat by 8 am. Nana Sahib had arranged around forty boats, belonging to a boatman called Hardev Mallah, for their departure to Allahabad.
The Ganges river was unusually dry at the Satichaura Ghat, and the British found it difficult to drift the boats away. General Wheeler and his party were the first aboard, and the first to manage to set their boat off.
There was some confusion, as the Indian boatmen jumped overboard after hearing bugles from the banks, and started swimming towards the shore. As they jumped, some fires on the boats were knocked over, setting a few of the boats ablaze.
Though controversy surrounds what exactly happened next at the Satichaura Ghat, and who fired the first shot, soon afterwards, the departing British were attacked by the rebel sepoys, and were either killed or captured.
The British boats were stuck on mudbanks preventing departure and, amid much confusion, the soldiers were subsequently captured or massacred by Nana Sahib's rebel army.
On the 27th. June 1857 many British men lost their lives, and the surviving women and children were taken prisoner by the rebels. To see a photograph of the Satichaura Ghat, also known as the Massacre Ghat, please search for the tag 88CMG66
Some of the British officers later claimed that the rebels had placed the boats as high in the mud as possible, on purpose to cause delay. They also claimed that Nana Sahib's camp had previously arranged for the rebels to fire upon and kill all the British.
However although the East India Company later accused Nana Sahib of the betrayal and murder of innocent people, no evidence has ever been found to prove that Nana Sahib had pre-planned or ordered the massacre.
Some historians believe that the Satichaura Ghat massacre was the result of confusion, and not of any plan implemented by Nana Sahib and his associates. Lieutenant Mowbray Thomson, one of the four male survivors of the massacre, believed that the rank-and-file sepoys who spoke to him did not know of the killing to come.
After the fighting began, Nana Sahib's general Tatya Tope allegedly ordered the 2nd. Bengal Cavalry unit and some artillery units to open fire on the British. The rebel cavalry moved into the water, to kill the remaining British soldiers with swords and pistols.
The surviving men were killed, while the women and children were taken into captivity, as Nana Sahib did not approve of their killing. Around 120 women and children were taken prisoner and escorted to Savada House, Nana Sahib's headquarters during the siege.
By this time, two of the boats had been able to drift away: General Wheeler's boat, and a second boat which was holed beneath the waterline by a roundshot fired from the bank. The British people in the second boat panicked and attempted to make it to General Wheeler's boat, which was slowly drifting to safer waters.
General Wheeler's boat had around sixty people aboard, and was being pursued down the riverbanks by the rebel soldiers. The boat frequently grounded on the sandbanks. On one such sandbank, Lieutenant Thomson led a charge against the rebel soldiers, and was able to capture some ammunition.
Next morning, the boat again stuck on a sandbank, resulting in another charge by Thomson and eleven British soldiers. After a fierce fight on shore, Thomson and his men decided to return to the boat, but it was not where they expected it to be.
Meanwhile, the rebels had launched an attack on the boat from the opposite bank. After some firing, the British men on the boat decided to fly the white flag. They were escorted off the boat and taken back to Savada house. The surviving British men were made to sit on the ground, and Nana Sahib's soldiers got ready to fire on them. Their wives insisted that they would die with their husbands, but were pulled away.
Nana Sahib granted the British chaplain Moncrieff's request to read prayers before they died. The British were initially wounded by the guns, and then killed with swords. The women and children were confined to Savada House, to be reunited later with their remaining colleagues, who had been captured earlier, at Bibighar.
Being unable to find the boat, Thomson's party decided to run barefoot to evade the rebel soldiers. The party took refuge in a small shrine, where Thomson led a last charge. Six of the British soldiers were killed, while the rest managed to escape to the riverbank, where they tried to escape by jumping into the river and swimming to safety.
However, a group of rebels started clubbing them as they reached the bank. One of the soldiers was killed, while the other four, including Thomson, swam back to the centre of the river. After swimming downstream for a few hours, they reached shore, where they were discovered by some Rajput matchlockmen, who worked for Raja Dirigibijah Singh, a British loyalist.
These carried the British soldiers to the Raja's palace. These four British soldiers were the only male survivors from the British side, apart from Jonah Shepherd (who had been captured by Nana Sahib before the surrender). The four men included two privates named Murphey and Sullivan, Lieutenant Delafosse, and Lieutenant (later Captain) Mowbray Thomson.
The men spent several weeks recuperating, eventually making their way back to Cawnpore which was, by that time, back under British control. Murphey and Sullivan both died shortly after from cholera, Delafosse went on to join the defending garrison during the Siege of Lucknow, and Thomson took part in rebuilding and defending the entrenchment a second time under General Windham, eventually writing a first-hand account of his experiences entitled The Story of Cawnpore (London, 1859).
Another survivor of the Satichaura Ghat massacre was Amy Horne, a 17-year-old Anglo-Indian girl. She had fallen from her boat and had been swept downstream during the riverside massacre. Soon after scrambling ashore she met up with Wheeler's youngest daughter, Margaret.
The two girls hid in the undergrowth for a number of hours until they were discovered by a group of rebels. Margaret was taken away on horseback, never to be seen again (it was later rumoured that she survived and was married to a Muslim soldier) and Amy was led to a nearby village where she was taken under the protection of a Muslim rebel leader in exchange for converting to Islam. Just over six months later, she was rescued by Highlanders from Sir Colin Campbell's column on their way to relieve Lucknow.
The Bibighar Massacre
The surviving British women and children were moved from the Savada House to Bibighar ("The House of the Ladies"), a villa-type house in Cawnpore. Initially, around 120 women and children were confined to Bibighar. They were later joined by some other women and children, the survivors from General Wheeler's boat. Another group of British women and children from Fatehgarh, and some other captive European women were also confined to Bibighar. In total, there were around 200 women and children in Bibighar.
Nana Sahib placed the care of these survivors under a sex worker called Hussaini Khanum. She put the captives to grinding corn for chapatis. Poor sanitary conditions at Bibighar led to deaths from cholera and dysentery.
Nana Sahib decided to use these prisoners for bargaining with the East India Company. The Company forces, consisting of around 1,000 British, 150 Sikh soldiers and 30 irregular cavalry, had set out from Allahabad, under the command of General Henry Havelock, to retake Cawnpore and Lucknow.
The first relief force assembled under Havelock included the 64th. Regiment of Foot and the 78th. Highlanders, the 5th. Fusiliers, part of the 90th. Light Infantry, the 84th. (York and Lancaster), and EIC Madras European Fusiliers, brought up to Calcutta from Madras.
Havelock's initial forces were later joined by the forces under the command of Major Renaud and Colonel James Neill, which had arrived from Calcutta to Allahabad on the 11th. June. Nana Sahib demanded that the East India Company forces under General Havelock and Colonel Neill retreat to Allahabad. However, the Company forces advanced relentlessly towards Cawnpore. Nana Sahib sent an army to check their advance. The two armies met at Fatehpur on the 12th. July, where General Havelock's forces emerged victorious and captured the town.
Nana Sahib then sent another force under the command of his brother, Bala Rao. On the 15th. July, the British forces under General Havelock defeated Bala Rao's army in the Battle of Aong, just outside the Aong village.
On the 16th. July, Havelock's forces started advancing towards Cawnpore. During the Battle of Aong, Havelock was able to capture some of the rebel soldiers, who informed him that there was an army of 5,000 rebel soldiers with 8 artillery pieces further up the road. Havelock decided to launch a flank attack on this army, but the rebel soldiers spotted the flanking manoeuvre and opened fire. The battle resulted in heavy casualties on both sides, but cleared the road to Cawnpore for the British.
By this time, it became clear that Sahib's bargaining attempts had failed and the Company forces were approaching Cawnpore. Nana Sahib was informed that the British troops led by Havelock and Neill were indulging in violence against the Indian villagers. Pramod Nayar believes that the ensuing Bibighar massacre was a reaction to the news of violence being perpetrated by the advancing British troops. Other suggestions are that there was a fear of future identification of key ring leaders if the prisoners were liberated.
Nana Sahib and his associates, including Tatya Tope and Azimullah Khan, debated about what to do with the captives at Bibighar. Some of Nana Sahib's advisors had already decided to kill the captives at Bibighar, as revenge for the executions of Indians by the advancing British forces. The women of Nana Sahib's household opposed the decision and went on a hunger strike, but their efforts were in vain.
On the 15th. July, an order was given to murder the women and children imprisoned at Bibighar. The details of the incident, such as who ordered the massacre, are not clear.
The rebel sepoys executed the four surviving male hostages from Fatehghar, one of them a 14-year-old boy. But they refused to obey the order to kill women and the other children. Some of the sepoys agreed to remove the women and children from the courtyard, when Tatya Tope threatened to execute them for dereliction of duty. Nana Sahib left the building because he didn't want to be a witness to the unfolding massacre.
The British women and children were ordered to come out of the assembly rooms, but they refused to do so and clung to each other. They barricaded themselves in, tying the door handles with clothing. At first, around twenty rebel soldiers opened fire from the outside of the Bibighar, firing through holes in the boarded windows. The soldiers of the squad that was supposed to fire the next round were disturbed by the scene, and discharged their shots into the air. Soon after, upon hearing the screams and groans inside, the rebel soldiers threw down their weapons and declared that they were not going to kill any more women and children.
An angry Begum Hussaini Khanum denounced the sepoys' act as cowardice, and asked her aide to finish the job of killing the captives. Her lover hired butchers, who murdered the captives with cleavers; the butchers left when it seemed that all the captives had been killed.
However, a few women and children had managed to survive by hiding under the other dead bodies. It was agreed that the bodies of the victims would be thrown down a dry well by some sweepers. The next morning the rebels arrived to dispose of the bodies. and they found three women who were still alive, and also three children aged between four and seven years of age.
The surviving women were cast into the well by the sweepers, who had also been told to strip the corpses. The sweepers then threw the three little boys into the well one at a time, the youngest first. Some victims, among them small children, were therefore buried alive in a heap of butchered corpses. None survived.
Recapture and Retribution by the British
The Company forces reached Cawnpore on the 16th. July, and captured the city. A group of British officers and soldiers set out to the Bibighar, to rescue the captives, assuming that they were still alive. However, when they reached the site, they found it empty and blood-splattered, with the bodies of most of the 200 women and children having already been dismembered and thrown down the courtyard well or into the Ganges river.
Piles of children's clothing and women's severed hair blew in the wind and lodged in tree branches around the compound; the tree in the courtyard nearest the well was smeared with the brains of numerous children and infants who had been dashed headfirst against the trunk and thrown down the well.
The British troops were horrified and enraged. Upon learning of the massacre, the infuriated British garrison engaged in a surge of violence against the local population of Cawnpore, including looting and burning of houses, with the justification that none of the local non-combatants had done anything to stop the massacre.
Brigadier General Neill, who took command at Cawnpore, immediately began a program of swift and vicious drumhead military justice (culminating in summary execution) for any sepoy rebel captured from the city who was unable to prove he was not involved in the massacre.
Rebels confessing to or believed to be involved in the massacre were forced to lick the floor of the Bibighar compound, after it had been wetted with water by low caste people, while being whipped.
The sepoys were then religiously disgraced by being forced to eat (or force fed) beef (if Hindu) or pork (if Muslim). The Muslim sepoys were sewn into pig skins before being hanged, and low-caste Hindu street sweepers were employed to execute the high-caste Brahmin rebels to add additional religious disgrace to their punishment.
Some were also forced by the British to lick clean buildings stained with the blood of the recently deceased, before being publicly hanged.
Most of the prisoners had been hanged within direct view of the Bibighar well and buried in shallow ditches by the roadside. Others were shot or bayonetted, while some were also tied across cannons that were then fired, an execution method initially used by the rebels, and the earlier Indian powers, such as the Marathas and the Mughals.
It is unclear whether this method of execution was reserved for special prisoners, or whether it was merely done in the retributive spirit of the moment.
The massacre disgusted and embittered the British troops in India, with "Remember Cawnpore!" becoming a war cry for the British soldiers for the rest of the conflict. Acts of summary violence against towns and cities believed to harbour or support the rebellion also increased.
In one of the villages, the Highlanders caught around 140 men, women and children. Ten men were hanged without any evidence or trial. Another sixty men were forced to build the gallows of wooden logs, while others were flogged and beaten. In another village, when around 2,000 villagers came out in protest brandishing lathis, the British troops surrounded them and set the village on fire. Villagers trying to escape were shot dead.
Drunk British soldiers, enraged at the reports of atrocities committed against British civilians, committed mass rapes against the native women of Cawnpore.
Aftermath of The Massacre
On the 19th. July, General Havelock resumed operations at Bithoor. Major Stevenson led a group of Madras Fusiliers and Sikh soldiers to Bithoor and occupied Nana Sahib's palace without any resistance. The British troops seized guns, elephants and camels, and set Nana Sahib's palace on fire.
In November 1857, Tatya Tope gathered an army, mainly consisting of the rebel soldiers from the Gwalior contingent, to recapture Cawnpore. By the 19th. November, his 6,000-strong force had taken control of all the routes west and north-west of Cawnpore. However, his forces were defeated by the Company forces under Colin Campbell in the Second Battle of Cawnpore, marking the end of the rebellion in the Cawnpore area.
Nana Sahib disappeared and, by 1859, he had reportedly fled to Nepal. His ultimate fate was never determined. Up until 1888, there were rumours and reports that he had been captured and a number of individuals turned themselves in to the British claiming to be the aged Nana. As the majority of these reports turned out to be untrue, further attempts at apprehending him were abandoned.
British civil servant Jonah Shepherd, who had been rescued by Havelock's army, spent the next few years after the rebellion attempting to put together a list of those killed in the entrenchment. He had lost his entire family during the siege. He eventually retired to a small estate north of Cawnpore in the late 1860's.
Memorials
After the revolt was suppressed, the British dismantled Bibighar. They raised a memorial railing and cross at the site of the well in which the bodies of the British women and children had been dumped. Meanwhile, the British forces conducted a punitive action under the lead of General Autrum by blowing down Nana Sahib's palace in Bithoor with cannons, in which Indian women and children including Nana Sahib's young daughter Mainavati were burned alive.
Also, the inhabitants of Cawnpore were forced to pay £30,000 for the creation of the memorial as a 'punishment' for not coming to the aid of the British women and children in Bibighar.
The Angel of the Resurrection was created by Baron Carlo Marochetti and completed in 1865. It became the most visited statue in British India. The chief proponent and private funder was Charlotte, Countess Canning, wife of the first Viceroy of India, Earl Canning.
She approached her childhood friend, Marochetti, for suggestions for the statue. In turn, Marochetti proposed that other sculptors be invited. Following the Countess's death, Earl Canning took over the commission. Canning rejected a number of designs accepting, in the end, a version of Marochetti's Crimean War memorial at Scutari, Turkey. The understated figure is an angel holding two branches of palm fronds across her chest.
Despite assurances, 'The Angel' was damaged during the Independence celebrations of 1947, and she was later moved from her original site over the Bibighar well to a garden at the side of All Soul's Church, Cawnpore (Kanpur Memorial Church).
The remains of the circular ridge of the well can still be seen at the Nana Rao Park, built after Indian independence. The British also erected the All Souls Memorial Church in memory of the victims. An enclosed pavement outside the church marks the graves of over 70 British men captured and executed on the 1st. July 1857, four days after the Satichaura Ghat massacre. The marble Gothic screen with "mournful seraph" was transferred to the churchyard of the All Souls Church after Indian independence in 1947. The memorial to the British victims was replaced with a bust of Tatya Tope.
There is a plaque to Capt. W. Morphy and Lieut. Thomas Mackinnon who were killed on the 28th. November 1857 in Lichfield Cathedral.
An additional memorial detailing the losses suffered by the 32nd. Cornwall Regiment Light Infantry is located inside the west entrance to Exeter Cathedral.
Literary References
Many references to the event were made in later novels and films. Julian Rathbone describes the brutality of both British and Indian forces during the siege of Cawnpore in his novel 'The Mutiny'. In the novel, the Indian nurse Lavanya rescues an English child, Stephen, during the Satichaura Ghat massacre.
In 'Massacre at Cawnpore', V. A. Stuart describes the siege and the British defence through the eyes of the characters Sheridan, and his wife Emmy.
George MacDonald Fraser's 'Flashman in the Great Game' also contains lengthy scenes set in the entrenchment during the siege, and also during the ensuing escape.
Tom Williams' novel, 'Cawnpore', is also set against the background of the siege and massacre, which is seen from both the European and the Indian perspective.
The British press used the massacre to describe the brutality involved in the public feeding of reptiles at the London Zoological Garden. In 1876, the Editor of the Animal World drew Dr. P. L. Sclater's attention to this, and the press accused the Zoological Society of London of encouraging cruelty, and pandering to public brutality. One writer in the Whitehall Review of the 27th. April 1878 protested against "the Cawnpore Massacre enacted diurnally," and headed his article, "Sepoyism at the Zoo."
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELIS IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELIS IN MAWAR AREA (JODHPUR DIVISION)
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone.They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Hanna fully embracing the role of photographer as she works hard to get the perfect composition for her photo (it turned out to be kind of a crappy photo, but that's ok)
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Carmen, a very fine plein air painter, is composing her next painting. With her hands and fingers she is able to create a little "view-finder" which helps her compose what she will put down on canvas...
"Composed of steel, fabric and a continuous surface of glass, the Climate Ribbon™ is an approximately $20 million elevated trellis that will span 150,000 square feet connecting all parcels of Brickell CityCentre and creating a comfortable microclimate for shoppers through the use of passive energy devices. The Climate Ribbon™ serves multiple purposes: acting as a shade for the project’s walkways, shops, restaurants, escalators and terraces to protect visitors from rain and sunlight, creating air flow to optimize temperatures and collecting rainwater for reuse, all while allowing Brickell CityCentre shopping to be open air and naturally lit."
Thorough research and design have gone into engineering the Climate Ribbon™ to accomplish the lofty environmental goals of Brickell CityCentre. With the project spread across four city blocks, the trellis will span all of the parcels providing a sense of connectivity and unifying Brickell CityCentre into one architectural statement. Since the outdoor shopping area will not be air conditioned, the Climate Ribbon™ is designed to harness summer trade winds and Biscayne Bay breezes to keep air flowing between six to nine knots through the public spaces. To address Miami’s strong sun, sections of the Climate Ribbon™ will be designed at strategic angles and set at varying heights to best reflect the rays.
Reference: www.businesswire.com/news/home/20130523005123/en/Swire-Pr...
Miami, Florida.
Camera: Canon EOS 5D Mark II
Lens: Zeiss Makro-Planar T* 2/100 ZE
Focal Length: 100 mm
Exposure: ¹⁄₆₄₀ sec at f/2.5
ISO: 250
Published: www.thenextmiami.com/index.php/the-art-and-science-of-bri...
Abbatiale romane de Pomposa ; commune de Codigoro, province de Ferrare, région d'Emilie-Romagne, Italie
Pomposa s'élève le long du chemin de Rome gui joint Ravenne à Venise, sur la section entre Comacchio et Mesola. ... L'ensemble des édifices abbatiaux se présente à l'état isolé, solitaire, et l'on y repère bien les différentes composantes, placées dans un juste rapports. L'église est liturgiquement orientée Est-Ouest; contre la façade Nord, se dresse l'audacieux clocher, repérable de loin à travers la campagne. L'église et le monastère forment un U autour du cloître, dont demeurent seuls le soubassement (refait) et quatre piliers d'angle isolés. Le côté ouvert est celui de la façade de l'église ; parallèle à celle-ci - mais en arrière dans la partie médiane de l'U - se trouve la façade de la salle capitulaire. ... [La structure de l'église] est simple, selon un schéma cher à l'architecture ravennate : plan basilical à trois nefs, sans transept, avec une couverture en charpente apparente. ... Dans la deuxième moitié du siècle fut construit le haut campanile dont la date de fondation - 1063 - nous est indiquée par une inscription avec le nom du constructeur, maître Deusdedit. L'église avait donc déjà trouvé avant 1100 sa composition architecturale définitive, celle qu'elle garde encore aujourd'hui. Les modifications de structure au cours des siècles qui suivirent furent assez modestes. ... [V]oyons l'église. Façade et campanile offrent de Pomposa l'image la plus représentative, la première que perçoit le visiteur de l'allée bordée d'arbres qui y mène, la dernière qu'il emporte en s'en allant. La façade est constituée essentiellement par la face antérieure de l'atrium, surface rectangulaire très longue par rapport à sa hauteur, percée au centre d'une triple arcade. Sur ce rectangle prend appui le versant du toit qui couvre l'atrium, et au-dessus émerge le mur fermant la nef médiane, ample maçonnerie visible et dépourvue de prétentions décoratives: à deux rampants percée de deux fenêtre simples et scandée de deux contreforts. L'activité décorative qui fait défaut sur ce mur de fond a été entièrement reportée sur l'atrium, et l'architecte y a réalisé avec des moyens relativement pauvres une œuvre aux grands effets de couleur, quelque chose de véritablement unique dans le panorama du roman de la vallée du Pô. En réalité la façade de Pomposa se situe dans le domaine roman au seul point de vue de la chronologie, de sa date de naissance officielle, mais elle découle d'une tendance orientalisante que l'on dirait volontiers byzantine. ... La longue façade rectangulaire est divisible en trois sections à peu près égales, les deux sections latérales pleines et celle du milieu percée de trois arcades. Le désir d'alléger les deux sections latérales se traduit par la présence de deux oculi ou fenêtres rondes, une de chaque côté, mais leur fermeture par des claustra de marbre aux ajourements très fins les fait ressembler beaucoup plus à des sculptures encastrées qu'à des ouvertures. C'est seulement en y regardant à deux fois qu'on se rend compte qu'ils s'agit de claustra et non de bas-reliefs. Dans l'économie du long rectangle, les pleins prévalent donc sur les vides, et sur cette palette maître Mazulo a toute la place pour déployer son ouvrage réalisé avec un œil de peintre plutôt que de maçon. Ou peut-être un œil d'orfèvre : l'un de ces orfèvres médiévaux qui jouent savamment des oppositions de couleur entre l'or, l'argent, les émaux, et les pierres pré¬cieuses. La palette dont dispose Mazulo est essentiellement celle de la brique, de trois tons différents. On sait que la brique n'est pas toujours de même teinte. Il suffit de peu pour en charger la couleur : une proportion différente de fer dans l'argile, une autre température de cuisson ou une durée plus ou moins longue. Au cas où les différences de teinte ne sont pas fortuites mais voulues, la brique offre des possibilités insoupçonnées de jeu de couleurs. Mazulo avait à sa disposition des briques brunes, rouges et ocres et il en a fait le meilleur usage. Un autre jeu de couleur provient des frises en terre cuite. A première vue les frises de Pomposa semblent sculptées dans une pierre tendre, mais il s'agit en fait de terre cuite. Ce n'est pas la terre cuite lombarde typique d'un beau rouge vif, mais une terre cuite pâle au ton délicat que l'on prend facilement pour de la pierre. Dans les oculi à claustra - les pièces les plus élaborées et les plus élégantes qui se détachent sur la façade - les deux matériaux, marbre et terre cuite, sont mariés de façon exemplaire. Les diverses claustra en marbre présentent un dessin quasi identique : deux griffons rampants affrontés, de part et d'autre d'un arbre, thème spécifiquement oriental, peut-être emprunté à des tissus persans. La claustra est entourée d'un anneau en brique aux rinceaux habités d'oiseaux, de fleurs et de feuilles. Le rapprochement est harmonieux et l'on ne s'aperçoit pour ainsi dire pas du passage d'un matériau à l'autre, marqué seulement par une légère différence de couleur. Une seconde bordure est faite d'un anneau de briques en position radiale, alternativement rouge et ocre, et une dernière d'un cercle de briques minces. Dans les trois arcades de la section centrale nous retrouvons la même combinaison des deux bordures ; l'archivolte - en retrait par rapport au nu de la façade - est revêtue en effet d'une frise en terre cuite à rinceaux, semblable à la bordure des claustra, et une frise similaire orne l'intrados. Sur la façade, l'arc est entouré d'une seconde bordure, faite de briques rouges et ocres en position radiale. Les arcs retombent sur des colonnes octogonales en brique, aux chapiteaux tout simples, et latéralement sur des demi-colonnes de même type adossées au mur. Deux longs bandeaux de terre cuite traversent horizontalement la façade, la divisant, discrè¬tement certes, en trois registres. L'une se déroule tangentiellement aux oculi, un peu au-dessus de l'imposte des arcs, et s'interrompt lorsqu'elle rencontre ces arcs ; l'autre se déploie sans interruption au-dessus. Le motif orne¬mental est celui, déjà rencontré, des rinceaux, mais à l'intérieur des volutes nous trouvons une plus grande variété de figures : lions, griffons, paons, oiseaux en plein vol, fleurs aux pétales déployés, et autres. Au registre inférieur, entre les oculi et les arcs, sont encastrées deux inscriptions lapi¬daires. A droite, c'est celle déjà mentionnée où Mazulo lègue son nom à la postérité et demande de prier le Seigneur pour lui; à gauche, au-dessous d'une pièce romaine récupérée (buste de jeune guerrier dans une niche), se trouve la plaque commémorative des travaux exécutés en 1152 sous le gouvernement de l'abbé Jean de Vidor, provenant d'un autre emplacement. Le registre médian est le plus riche en décor, le plus « peuplé » ; on y trouve en effet quelques motifs bien en place, appartenant au projet décoratif d'ensemble, juxtaposés à d'autres qui ont tout l'air d'avoir été insérés là ultérieu-rement. Ces derniers (nous en parlons dès maintenant car ce sont eux qu'on voit en premier) consistent en six hauts-reliefs de pierre, disposés symétriquement, trois de chaque côté : un lion, un aigle aux ailes déployées, un paon. Ce sont des sculptures plutôt grossières, mais leur présence sur la façade ne choque pas. Quant aux motifs d'origine, ce sont les huit patères avec le blason de Pomposa : l'étoile â huit branches, avec une assiette creuse en céramique au centre et une auréole de triangles rouges sur fond clair, renfermés dans un cercle. Le motif est exécuté à nouveau avec des tesselles en brique de différentes couleurs. Les assiettes originelles ont disparu; celles d'à présent sont modernes. Toujours au registre médian, nous trouvons au sommet des arcades latérales deux plaques en terre cuite pleines de mouvement avec des animaux fantastiques; au-dessus de l'arcade centrale, c'est une croix en marbre. Enfin dans les écoinçons des arcs, deux grandes croix en terre cuite dont la surface est entièrement décorée du motif de rinceaux habituel. La façade est couronnée par une bande sous l'égout du toit à trois motifs superposés : d'abord une bande de losanges rouges en brique sur fond clair, puis une dernière frise de rinceaux en brique, enfin une corniche en dents d'engrenage. La description a été un peu longue mais cela valait la peine; nous avons vu comment notre Mazulo, ou Masuôlo, avait créé une œuvre d'une extraordinaire richesse, avec des maté¬riaux pauvres comme la terre cuite et la brique et de très petites touches de marbre blanc. Le campanile a une hauteur de presque 50 m (48 m 50 exactement) et constitue un point de repère traditionnel dans le paysage de Comacchio. Il s'élève détaché de la façade, tout en étant raccordé au côté de l'église par un passage en maçonnerie. Son acte de naissance (1063) consiste en une inscription lapidaire qui se lit au bas de la face occidentale, c'est-à-dire celle correspondant à la façade : ANNO DOMINI MLXIII... HEC TURRIS FUNDATA EST... NOUS ne savons pas si par fundata il faut entendre littéralement le commencement des travaux ou bien leur conclusion, et nous ignorons donc en combien de temps fut exécutée cette admirable construction. Nous connaissons cependant par l'inscription le nom du pape régnant, de l'empereur, et de tous les personnages de Henri IV, l'abbé Mainardo, le prieur Marco, le commanditaire Atto et sa femme Willa. Et enfin l'architecte : MAGISTER DEUSDEDIT ME FECIT. On peut supposer que son nom en langue vulgaire était Dieudonné, Déodat ou Adéodat. Si la façade de Mazulo est une œuvre à part qui entre mal dans les catégories romanes (ou n'y entre pas du tout !), le campanile de Deusdedit se présente par contre à première vue comme un exemple superbe d'architecture romane lombarde. La maçonnerie du campanile reprend les jeux de couleur animés de la façade et en utilise largement les idées dans la décoration : frise de rinceaux en terre cuite, assiettes en céramique, patères entourées des branches d'une étoile, jeu de couleur au moyen de brique de diverses teintes. Mais au contraire de la façade où le décor est au premier plan, le campanile est essentiellement une œuvre d'architecture où le décor joue un rôle secondaire. La tour, posée sur un vigoureux soubas¬sement de pierre, est de section carrée et est divisée en neuf étages par des corniches soulignées d'arceaux. Les faces sont encadrées par des pilastres d'angle bien dessinés; entre ceux-ci, s'inscrivent des lésènes plus fines alternant avec des demi-colonnes, quatre par face, sur lesquelles retombent les arceaux groupés deux par deux. Les ouvertures suivent le principe de l'allégement progressif de bas en haut, par l'augmentation de leur nombre ou de leur amplitude : on part d'une étroite archère au rez-de-chaussée et l'on arrive à la légère fenêtre quadruple de l'étage campanaire. Au-dessus de celui-ci pointe un haut pinacle conique strié avec quatre petits piliers à sa base. Sur cette structure aux puissants effets d'ombre et de lumière (auxquels la saillie des arcs et des lésènes contribue presque autant que le jeu des ouvertures), l'effet de couleur du décor se trouve atténué ; et il est difficile d'en suivre les richesses à mesure que le regard monte vers le sommet. Cependant ces richesses sont nom¬breuses; voyons-en quelqu'une, à titre d'exem¬ple. Dans la corniche qui couronne le second étage, nous trouvons au-dessus des arceaux un bandeau en dents d'engrenage, puis un second où les briques sont disposées en damier, et un troisième fait de briques en zigzag. Dans ce triple bandeau sont insérées deux belles patères semblables à celles de la façade avec une étoile aux rayons rouge et ocre et une assiette en céramique au centre. Dans la corniche du troisième étage nous trouvons par contre les assiettes encastrées dans les écoinçons des arcs, alternant avec des losanges en brique rouge, et au-dessus une frise de rinceaux en terre cuite. Dans toutes les autres corniches on retrouve un décor aussi vivant, toujours à la recherche de motifs différents. Les flancs et l'abside sont par contre complète¬ment dépourvus de décor et apparaissent comme purement géométriques, dans leur brique austère. L'abside médiane est polygonale à l'extérieur - schéma typiquement ravennate -tout en étant de section circulaire à l'intérieur; l'absidiole, elle, est semi-cylindrique. Les ouvertures sont de simples fenêtres non ébrasées. Les flancs sont scandés de contreforts, irrégulièrement espacés : cinq sur le flanc méridional, deux au flanc Nord. Ce dernier présente sur le mur haut de la nef centrale une série d'arcs aveugles correspondant aux travées de l'intérieur, et il est intéressant de constater que ces arcs font défaut sur les deux dernières travées voisines de la façade, ajoutées ultérieu¬rement.
L'intérieur de l’église, vaste et lumineux, frappe par la polychromie somptueuse du décor - fresques aux murs et mosaïques au sol - que fait encore ressortir la simplicité linéaire de l'architecture avec ses trois nefs séparées par des colonnes. Les nefs latérales, éléments de soi secondaires, ont été encore dévalorisés par les murs transversaux ajoutés au xixe siècle pour des raisons de consolidation. L'intérieur se réduit donc en fait à la grande nef centrale, rythmée sur les côtés par les arcades, close dans le fond par le vaste arrondi de l'abside, et couverte d'une charpente apparente. Les lignes sont celles du byzantin tardif, et cette impression se trouve confirmée par la présence d'éléments typiquement ravennates comme les coussinets intercalés entre la retombée des arcs et les chapiteaux. Les éléments sculptés pris en eux-mêmes - colonnes, bases, chapiteaux, coussinets - manifestent clairement leur origine : ou bien ce sont des pièces de remploi provenant de Ravenne ou de Classe, ou bien ils en reprennent les motifs et le style. Le type dominant de chapiteau est de l’ordre corinthien ou composite, avec des feuilles d'acanthe épineuses à double retombée; les consoles sont en majorité marquées d'une croix sur une face à fond lisse ou décoré de feuillage. Les colonnes ont un fût et une base très élargie. Le sol est couvert d’un superbe lithostrotos polychrome qui s’étend comme un tapis sur toute la longueur de la nef. Il se compose de divers secteurs, attribuables à des époques assez éloignées entre elles. Nous employons le mot savant « lithostrotos », à défaut de pouvoir utiliser celui plus simple de mosaïque; la technique varie en effet suivant les divers secteurs : pour certains c’est de la véritable mosaïque, composée de petites tesselles (opus tessalatum) pour d’autres il s’agit d’incrustation avec combinaison de morceaux de pierre de diverses couleurs et de formes définies telles que cercles, rectangles, triangles, losanges, demi- cercles (opus sectilé). Pour d’autres les deux techniques sont employées conjointement. Les fresques originelles qui revêtaient l’intérieur de l’église au moment de la consécration en 1026 furent recouvertes … par celles du XIVe siècle. Un échantillon en est apparu, grâce aux restaurations, sur le revers de la façade, face aux nefs latérales, à l’endroit des fenêtres doubles murées qui communiquaient avec l’atrium. Il s’agit de saints et de prophètes disposés autour de chacune des fenêtres doubles selon une ordonnance rigoureuse : deux figures en pied sur les côtés, et deux bustes dans des cercles au-dessus. Les personnages retrouvés sont dix en tout, cinq dans l’angle Sud, et autant au Nord ; parmi eux quatre sont assez bien conservés et susceptibles d’être appréciés, les autres très abîmés. Salmi les attribue au Xe siècle, c’est-à-dire à l’époque ottonienne, mais on y discerne des influences bien faibles, pour ne pas dire nulles, de l’art ottonien au-delà des Alpes. Les autres fresques sont apparues sur le mur de la nef latérale Sud, laissant supposer que l’extension du décor pictural originel était considérable : si les nefs latérales étaient fresquées, à plus forte raison devait l’être la nef centrale. Il s’agit de scènes racontant l’histoire de saint Pierre (la pêche miraculeuse, le saint consacrant les premiers diacres, le saint prêchant, la résurrection de Tabita), très abîmées mais encore déchiffrables, également assignables au Xe siècle. …
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 379-393)
Coordonnées GPS : N44°49'56" ; E12°10'31"