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Playing around with the Helios 44-2, surprisingly sharp when stopped down.
Pentax Spotmatic + Helios 44-2 58mm f2 + HP5 @ 320 iso + Kodak D76 1:1 @ 13 mins
Brockdish is one of three parish churches within about a mile that can be seen from the A143, but only the top of the tower is visible when heading north, and only fleetingly. THe only other clue is the truncated Church Lane which cuts across the main road, the name of which indicates the nearby church.
I came here at about eleven in the morning, having visited Oulton in Suffolk earlier, and wasn't expecting to find it open to be honest. But I heard the bells being rung, or at least pealing in intermittent intervals, the reason being some people were being given lessons.
Three cars were parked in the lane beside the church, which you reach by traveling up a green lane north out of the village before taking the track to the church.
The door to the tower, where the bellringers were being taught was ajar, and I could have gone up, but instead I go to the porch to try the door, and finding it open, I go inside lest someone comes and closes it.
Soon I am joined inside by the warden who is surprised, but pleased, to find a visitor: she is there to make teas for the ringers, and would I like one?
My breath had already been taken away by the tiles in the chancel, which are of exceptional quality. Tiles are something easily overlooked, and indeed many were clearly bought from catalogues, and so many are similar, but when more attention to detail was given, when extra quality was installed, it shines through.
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When I first visited this church in 2005, it was with something of a sinking heart to arrive at the third church in a row that was locked without a keyholder notice. Today, nothing could be further from the truth. In the south porch there is a large notice now which reads Come in and enjoy your church! Fabulous stuff.
The trim graveyard includes some substantial memorials to the Kay family, including one massive structure with an angel under a spire which would not look out of place opposite the Royal Albert Hall. No expense was spared by the Victorians here at Brockdish. The rebuilding was paid for by the Rector, George France, who also advised architect Frederick Marable on exactly what form this vision of the medieval should take. The tower above is curiously un-East Anglian, looking rather unusual surrounded by Norfolk fields. All around the building headstops are splendid, and fine details like faux-consecration crosses on the porch show that France was generally a man who knew what a medieval church should look like.
It will not surprise you to learn that St Peter and St Paul is similarly grand on the inside, if a touch severe. France actually devised a church much more Anglo-catholic than we find it today; it was toned down by the militantly low church Kay family later in the century. They took down the rood and replaced it with a simple cross, painting out the figures on the rood screen as well. When I first visited, the very helpful churchwarden who'd opened up for me observed that Brockdish is the only church in Norfolk that has stained glass in every window, which isn't strictly true (Harleston, three miles away, has as well) but we can be thankful that, thanks to the Reverend France's fortunes, it is of a very good quality. The glass seems to have been an ongoing project, because some of it dates from the 1920s. In keeping with low church tradition, the glass depicts mainly Biblical scenes and sayings of Christ rather than Saints, apart from the church's two patron Saints in the east window of the chancel. There are also some roundels in the east window of the south aisle, which appear to be of continental glass. They depict the Adoration of the Magi, the deposition of Christ, what appears to be Paharoah's daughter with the infant Moses, and the heads of St Matthias, St John the Evangelist, and Christ with a Crown of Thorns. However, I suspect that at least some of them are the work of the King workshop of Norwich, and that only the Deposition and the Old Testament scene are genuinely old.
If this is rather a gloomy church on a dark day, it is because of the glass in the south clerestory, a surprisingly un-medieval detail - the whole point of a clerestory was to let light reach the rood. The glass here is partly heraldic, partly symbolic. The stalls in the chancel are another faux-medieval detail - there was never a college of Priests here - but they looked suspiciously as if they might contain old bench ends within the woodwork. Not all is false, because the chancel also contains an unusual survival from the earlier church, a tombchest which may have been intended as an Easter Sepulchre.
Above all, the atmosphere is at once homely and devotional, not least because of the exceptional quality of the tiled sanctuary, an increasingly rare beast because they were so often removed in the 1960s and 1970s, when Victorian interiors were unfashionable. Brockdish's is spectacular, a splendid example that has caught the attention of 19th century tile enthusiasts and experts nationally.
Also tiled is the area beneath the tower, which France had reordered as a baptistery. The font has recently been moved back into the body of the church; presumably, whoever supplies the church's liability insurance had doubts about godparents standing with their backs to the steps down into the nave.
I liked Brockdish church a lot; I don't suppose it gets a lot of visitors, but it is a fine example of what the Victorians did right.
Simon Knott, June 2005, revisited and updated July 2010
www.norfolkchurches.co.uk/brockdish/brockdish.htm
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Is the next adjoining town eastward, through which the great road passes to Yarmouth; on the left hand of which, stands the church, on a hill by itself, there being no house near it but the parsonage, which joins to the east side of the churchyard. The advowson always belonged to the Earl's manor here, with which it now continues.
In Norwich Domesday we read, that the rector had a house and 30 acres of land, that it was then valued at 15 marks, and paid as it now doth for synodals 1s. 9d. procurations 6s. 8d. and 12d. Peter-pence. It stands in the King's Books thus:
10l. Brokedish rectory. 1l. yearly tenths.
And consequently pays first-fruits, and is incapable of augmentation. The church stands included in the glebe, which is much the same in quantity as it was when the aforesaid survey was taken. It is in Norfolk archdeaconry, Redenhall deanery, and Duke of Norfolk's liberty, though he hath no lete, warren, paramountship, or superiour jurisdiction at all in this town, the whole being sold by the family along with the manors of the town.
In 1603, there were 103 communicants here, and now there are 50 families, and about 300 inhabitants; it was laid to the ancient tenths at 4l. but had a constant deduction of 14s. on account of lands belonging to the religious, so that the certain payment to each tenth, was 3l. 6s.
The Prior of St. Faith at Horsham owned lands here, which were taxed at 2s. 6d. in 1428.
The Prior of Thetford monks had lands here of the gift of Richard de Cadomo or Caam, (fn. 1) who gave them his land in Brokedis, and a wood sufficient to maintain 20 swine, in the time of King Henry I. when William Bigot, sewer to that King, gave to this priory all the land of Sileham, which from those monks is now called Monks-hall manor, and the water-mill there; all which Herbert Bishop of Norwich conveyed to his father, in exchange for other lands, he being to hold it in as ample a manner as ever Herbert the chaplain did; and in Ric. the Second's time, the monks bought a piece of marsh ground in Brokedis, to make a way to their mill, which being not contained in the grant of Monks-hall manor from Hen. VIII. to the Duke of Norfolk, William Grice, Esq. and Charles Newcomen, who had a grant of such lands as they could find concealed from the Crown, seized on this as such; and upon their so doing, the owner of the mill was obliged to purchase it of them, by the name of Thetford-Mill-Way, and it hath ever since belonged to, and is constantly repaired by the owner thereof.
Rectors of Brockidish.
12 - - Robert
12 - - Sir Ralf de Creping, rector.
1313, Sir Stephen Bygod. The King, for this turn.
1324, Nic. le Mareschal. Tho. Earl of Norfolk and Marshal.
1326, Mathew Paumer, or Palmer. Ditto. He changed for Canefield-Parva in London diocese with
Master Robert de Hales. Ditto.
1333, John de Melburn. Ditto.
1355, Roger de Wombwell. Lady Eleanor and Thomas de Wingfield, attorneys to Sir John Wingfield, Knt.
1356, John Knyght of Exeter. Mary Countess-Marshal, widow of Tho. de Brotherton, who recovered the advowson by the King's writ, against Sir J. Wingfield, Knt. and Thomas his brother, William de Lampet and Alice his wife, and Catherine her sister, and so Wombwell was ejected.
1357, John de Esterford. Mary Countess-Marshal. He resigned in
1367, to John son of Catherine de Frenge, and he in
1368, to John Syward. Sir Walter Lord Manney.
1382, John de Balsham, who changed for Stowe St. Michael in Exeter diocese, with
Bartholomew Porter. Margaret Marshal, Countess of Norfolk.
1405, Sir John Dalyngho of Redcnhall. Eliz. Dutchess of Norf. in right of her dower.
1417, he exchanged with Thomes Barry, priest, for the vicarage of Berkyng church in London. John Lancaster, Ric. Sterisacre, and Rob. Southwell, attorneys to John Duke of Norfolk, EarlMarshal and Notyngham, who was beyond the seas. Barry resigned in
1422, to Sir Thomas Briggs, priest, who died rector. Ditto.
1454, Sir Hen. White, priest. John Duke of Norf. Earl-Marshal and Notingham, Marshal of England, Lord Mowbray, Segrave, and Gower. He resigned in
1455, to Sir Thomas Holm, priest. Ditto. And he in
1478, to John Nun. The King, as guardian to Richard Duke of York and Norfolk, and Lady Ann his wife, daughter and heir of John late Duke of Norfolk.
1491, John Mene; he had a union to hold another benefice.
1497, John Rogers, A. M. Eliz. Dutchess of Norfolk. He resigned in
1498, to Sir John Fisk, priest, chaplain to the Dutchess. Ditto. At whose death in
1511, Sir Robert Gyrlyng, chaplain to Thomas Earl of Surrey, had it of that Earl's gift: he was succeeded by
Sir William Flatberry, chaplain to Thomas Duke of Norfolk, who presented him; he resigned in
1540, to Sir Nic. Stanton, chaplain to his patron, Tho. Duke of Norf. Lord Treasurer and Earl-Marshal, and was succeeded by
William Hide, priest. Ditto. He resigned, and the Duke presented it in
1561, to Sir John Inman, priest, who was buried here Aug. 1, 1586.
1586, Aug. 4, Master Richard Gibson was instituted, who was buried Oct. 1, 1625; he was presented by Robert Nichols of Cambridge, by purchase of the turn from William le Grice, Gent. and Hester le Grice, wife of Charles le Grice, Gent. true patrons.
1625, William Owles, who held it united to Billingford. John Knapp of Brockdish, by grant of this turn. He was succeeded in
1645, by Brian Witherel, and he by
Mr. James Aldrich, who died rector Nov. 10, 1657, from which time somebody held it without institution, till the Restoration, and then receded, for in
1663, May 14, Sir Augustine Palgrave, patron of this turn, in right of Catherine his wife, presented George Fish, on the cession of the last incumbent; he was buried here Oct. 29, 1686.
1686, Thomas Palgrave, A.M. buried here March 24, 1724. Fran. Laurence, Gent.
1724, Abel Hodges, A.B. he held it united to Tharston, and died in 1729. Richard Meen, apothecary, for this turn.
1729, Richard Clark, LL. B. was instituted Dec. 3, and died about six weeks after. Mrs. Ellen Laurence of Castleacre, widow.
1730, Alan Fisher. Ditto. He resigned in
1738, and was succeeded by Robert Laurence, A. B. of Caius college, who lies buried at the south-east corner of the chancel, and was succeeded in
1739, by Francis Blomefield, clerk, the present rector, who holds it united to Fresfield rectory, being presented by Mrs. Ellen Laurence aforesaid.
The church is dedicated to the honour of the apostles St. Peter and Paul, and hath a square tower about 16 yards high, part of which was rebuilt with brick in 1714; there are five bells; the third, which is said to have been brought from Pulham in exchange, hath this on it;
Sancta Maria ora pro nobis.
and on the fourth is this,
Uirgo Coronata duc nos ad Regna beata.
The nave, chancel, and south isle are leaded, the south porch tiled, and the north porch is ruinated. The roof of this chancel is remarkable for its principals, which are whole trees without any joint, from side to side, and bent in such a rising manner, as to be agreeable to the roof. The chancel is 30 feet long and 20 broad, the nave is 54 feet long and 32 broad, and the south isle is of the same length, and 10 feet broad.
At the west end of the nave is a black marble thus inscribed,
Here lyeth buried the Body of Richard Wythe Gent. who departed this Life the 6 of Sept. 1671, who lived 64 Years and 4 Months and 9 Days.
This family have resided here till lately, ever since Edw. the Third's time, and had a considerable estate here, and the adjacent villages. See their arms, vol. iv. p. 135.
Another marble near the desk hath this,
Near this Place lays Elizabeth Wife of John Moulton Gent. who died Oct. 31, 1716, aged 32 Years. And here lieth Mary the late Wife of John Moulton, who died March 20, 1717, aged 27 Years. And also here lyeth the Body of John Moulton Gent. who died June 12, 1718, aged 38 Years.
Moulton's arms and crest as at vol. iv. p. 501.
In a north window are the arms of De la Pole quartering Wingfield.
In 1465, Jeffry Wurliche of Brockdish was buried here, and in 1469 John Wurliche was interred in the nave, and left a legacy to pave the bottom of the steeple. In 1518, Henry Bokenham of Brockdish was buried in the church, as were many of the Spaldings, (fn. 2) Withes, Howards, Grices, Tendrings, and Laurences; who were all considerable owners and families of distinction in this town.
The chapel at the east end of the south isle was made by Sir Ralf Tendring of Brockdish, Knt. whose arms remain in its east window at this day, once with, and once without, a crescent az. on the fess, viz. az. a fess between two chevrons arg.
His altar monument stands against the east wall, north and south, and hath a sort of cupola over it, with a holy-water stope by it, and a pedestal for the image of the saint to which it was dedicated, to stand on, so that it served both for a tomb and an altar; the brass plates of arms and circumscription are lost.
On the north side, between the chapel and nave, stands another altar tomb, covered with a most curious marble disrobed of many brass plates of arms and its circumscription, as are several other stones in the nave, isle, and chancel. This is the tomb of John Tendring of Brockdish-hall, Esq. who lived there in 1403, and died in 1436, leaving five daughters his heirs, so that he was the last male of this branch of the Tendrings. Cecily his wife is buried by him.
On the east chancel wall, on the south side of the altar, is a white marble monument with this,
Obdormit hìc in Domino, lætam in Christo expectans Resurrectionem, Robertus, Roberti Laurence, ac Annæ Uxoris ejus, Filius, hujusce Ecclesiæ de Brockdish in Comitatû Norfolciensi Rector, ejusdem Villæ Dominus, ac Ecclesiæ Patronus, jure hereditario (si vixîsset) Futurus; Sed ah! Fato nimium immaturo abreptus; Cœlestia per Salvatoris merita sperans, Terrestria omnia, Juvenis reliquit. Dec. 31°. Anno æræ Christianæ mdccxxxixo. Ætatis xxvo. Maria, unica Soror et Hæres, Roberti Frankling Generosi Uxor, Fraterni Amoris hoc Testimonium animo grato, Memoriæ Sacrum posuit.
1. Laurence, arg. a cross raguled gul. on a chief gul. a lion passant guardant or.
2. Aslack, sab. a chevron erm. between three catherine-wheels arg.
3. Lany, arg. on a bend between two de-lises gul. a mullet of the field for difference.
4. Cooke, or, on a chevron ingrailed gul. a crescent of the field for difference, between three cinquefoils az. on a chief of the second, a lion passant guardant of the first.
5. Bohun, gul. a crescent erm. in an orle of martlets or.
6. Bardolf, az. three cinquefoils or.
7. Ramsey, gul. a chevron between three rams heads caboshed arg.
8. as 1.
Crest, a griffin seiant proper.
Motto, Floreat ut Laurus.
On a flat stone under this monument, is a brass plate thus inscribed,
Sacrum hoc Memoriæ Roberti Laurence Armigeri, qui obijt xxviijo die Julij 1637, Elizabeth Uxor ejus, Filia Aslak Lany Armigeri posuit.
Arms on a brass plate are,
Lawrence impaling Lany and his quarterings, viz. 1, Lany. 2, Aslack. 3, Cooke. 4, Bohun. 5, nine de-lises, 3, 3, and 3. 6, Bardolf. 7, Charles. 8, on a chevron three de-lises. 9, Ramsey. 10, Tendring. 11, on a fess two coronets. 12, Wachesam, arg. a fess, in chief two crescents gul. 13, a lion rampant. 14, Lany.
There is a picture of this Robert drawn in 1629, æt. 36. He built the hall in 1634; it stands near half a mile north-east of the church, and was placed near the old site of Brockdishe's-hall; the seat of the Tendrings, whose arms, taken out of the old hall when this was built, were fixed in the windows. The arms of this man and his wife, and several of their quarterings, are carved on the wainscot in the rooms.
On the south side of the churchyard is an altar tomb covered with a black marble, with the crest and arms of
Sayer, or Sawyer, gul. a chief erm. and a chevron between three seamews proper.
Crest, a hand holding a dragon's head erased proper.
To the Memory of Frances late the wife of Richard Tubby Esq. who departed this Life Dec. 22, 1728, in the 60th Year of her Age.
And adjoining is another altar tomb,
In Memory of Richard Tubby Esq. (fn. 3) who died Dec. 10th. 1741, in the 80th Year of his Age.
There are two other altar tombs in the churchyard, one for Mr. Rich. Chatton, and another for Eliz. daughter of Robert and Eliz. Harper, who died in 1719, aged 8 years.
The town takes its name from its situation on the Waveney or Wagheneye, which divides this county from that of Suffolk; the channel of which is now deep and broad, though nothing to what it was at that time, as is evident from the names of places upon this river, as the opposite vill, now called Sileham, (oftentimes wrote Sayl-holm, even to Edw. the Third's time) shows; for I make no doubt, but it was then navigable for large boats and barges to sail up hither, and continued so, till the sea by retiring at Yarmouth, and its course being stopt near Lowestoft, had not that influence on the river so far up, as it had before; which occasioned the water to retire, and leave much land dry on either side of the channel; though it is so good a stream, that it might with ease, even now, be made navigable hither; and it would be a good work, and very advantageous to all the adjacent country. That [Brod-dic] signifies no more than the broad-ditch, is very plain, and that the termination of ò, eau, or water, added to it, makes it the broad ditch of water, is as evident.
Before the Confessor's time, this town was in two parts; Bishop Stigand owned one, and the Abbot of Bury the other; the former afterwards was called the Earl's Manor, from the Earls of Norfolk; and the other Brockdishe's-hall, from its ancient lords, who were sirnamed from the town.
The superiour jurisdiction, lete, and all royalties, belonged to the Earl's manor, which was always held of the hundred of Earsham, except that part of it which belonged to Bury abbey, and that belonged to the lords of Brockdishe's-hall; but when the Earl's manor was sold by the Duke of Norfolk, with all royalties of gaming, fishing, &c. together with the letes, view of frankpledge, &c. free and exempt from his hundred of Earsham, and the two manors became joined as they now are, the whole centered in the lord of the town, who hath now the sole jurisdiction with the lete, belonging to it; and the whole parish being freehold, on every death or alienation, the new tenant pays a relief of a year's freehold rent, added to the current year: The annual free-rent, without such reliefs, amounting to above 3l. per annum. At the Conqueror's survey the town was seven furlongs long, and five furlongs and four perches broad, and paid 6d. to the geld or tax. At the Confessor's survey, there were 28 freemen here, six of which held half a carucate of land of Bishop Stigand, and the others held 143 acres under the Abbot of Bury, and the Abbot held the whole of Stigand, without whose consent the freemen could neither give away, nor sell their land, but were obliged to pay him 40s. a year free-rent; (fn. 4) and if they omitted paying at the year's end, they forfeited their lands, or paid their rent double; but in the Conqueror's time they paid 16l. per annum by tale. There were two socmen with a carucate of land, two villeins and two bordars here, which were given to Bury abbey along with the adjacent manor of Thorp-Abbots, but were after severed from that manor, and infeoffed by the Abbot of Bury in the lord of Brockdishe's-hall manor, with which it passed ever after. (fn. 5)
Brockdish-Earl's Manor, or Brockdish Comitis.
This manor always attended the manor of Forncet after it was granted from the Crown to the Bygods, along with the half hundred of Earsham, for which reason I shall refer you to my account of that manor at p. 223, 4. It was mostly part of the dower of the ladies of the several noble families that it passed through, and the living was generally given to their domestick chaplains. In 3 Edward I. the Abbot of Bury tried an action with Roger Bigod, then lord and patron, for the patronage; (fn. 6) pleading that a part of the town belonged to his house, and though they had infeoffed their manor here in the family of the Brockdishes, yet the right in the advowson remained in him; but it appearing that the advowson never belonged to the Abbot's manor, before the feofment was made, but that it wholly was appendant ever since the Confessor's time, to the Earl's manor, the Abbot was cast: notwithstanding which in 1335, Sir John Wingfield, Knt. and Thomas his brother, William de Lampet and Alice his wife, and Catherine her sister, owners of Brockdishe's manor, revived the claim to the advowson; and Thomas de Wingfield, and lady Eleanor wife of Sir John Wingfield, presented here, and put up their arms in the church windows, as patrons, which still remain; but Mary Countess Marshal, who then held this manor in dower, brought her quare impedit, and ejected their clerk; since which time, it constantly attended this manor, being always appendant thereto. In 15 Edw. I. Roger Bigot, then lord, had free-warren in all this town, as belonging to this manor, having not only all the royalties of the town, but also the assise of bread and ale, and amerciaments of all the tenants of his own manor, and of the tenants of Reginald de Brockdish, who were all obliged to do suit once a year at the Earl's view of frankpledge and lete in Brockdish; and it continued in the Norfolk family till 1570, and then Thomas Howard Duke of Norfolk, obtained license from Queen Elizabeth to sell it; it being held in capite or in chief of the Crown, as part of the barony and honour of the said Duke, who accordingly sold the manor, advowson, free-fishery, and all the place or manor-house, and demean lands; together with the lete, view of frankpledge, liberty of free warren, and all other royalties whatsoever, free and exempt from any jurisdiction or payment to his half hundred of Earsham, to
Charles le Grice, Esq. of Brockdish, and his heirs, who was descended from Sir Rorert le Grys of Langley in Norfolk, Knt. equerry to Ric. I. and Oliva his wife, whose son, Sir Simon le Grys, Knt. of Thurveton, was alive in 1238, and married Agnes daughter and coheir to Augustine son of Richard de Waxtenesham or Waxham, of Waxham in Norfolk, by whom he had Roger le Grys of Thurton, Esq. who lived in the time of Edward I. whose son Thomas le Grice of Thurton, had Roger le Grice of Brockdish, who lived here in 1392; whose son Thomas left John le Grice his eldest son and heir, who married a Bateman, and lies buried in St. John Baptist's church in Norwich; (see vol. iv. p. 127;) but having no male issue, William le Grice of Brockdish, Esq. son of Robert le Grice of Brockdish, his uncle, inherited; he married Sibill, daughter and sole heir of Edmund Singleton of Wingfield in Suffolk, and had
Anthony le Grice of Brockdish, Esq. (fn. 7) who married Margaret, daughter of John Wingfield, Esq. of Dunham, who lived in the place, and died there in 1553, and lies buried in the church, by whom his wife also was interred in 1562. His brother Gilbert Grice of Yarmouth, Gent. (fn. 8) first agreed with the Duke for Brockdish, but died before it was completed; so that Anthony, who was bound with him for performance of the covenants, went on with the purchase for his son,
Charles le Grice aforesaid, (fn. 9) to whom it was conveyed: he married two wives; the first was Susan, daughter and heir of Andrew Manfield, Gent. and Jane his wife, who was buried here in 1564; the second was Hester, daughter of Sir George Blagge, Knt. who held the manor for life; and from these two wives descended the numerous branches of the Grices of Brockdish, Norwich, Wakefield in Yorkshire, &c. He was buried in this church April 12, 1575, and was found to hold his manor of the hundred of Earsham, in free soccage, without any rent or service, and not in capite; and Brockdishe's-hall manor of the King, as of his barony of Bury St. Edmund in Suffolk, which lately belonged to the abbey there, in free soccage, without any rent or service, and not in capite, and
William le Grice, Esq. was his eldest son and heir, who at the death of his mother-in-law, was possessed of the whole estate; for in 1585, William Howard, then lord of Brockdishe's-hall manor, agreed and sold it to this William, and Henry le Grice his brother, and their heirs; but Howard dying the next year, the purchase was not completed till 1598, when Edw. Coppledick, Gent. and other trustees, brought a writ of entry against John son of the said William Howard, Gent. and had it settled absolutely in the Grices, from which time the two manors have continued joined as they are at this day; by Alice, daughter and heiress of Mr. Eyre of Yarmouth; he left
Francis le Grice, Esq. his son and heir, who sold the whole estate, manors, and advowson, to
Robert Laurence of Brockdish, Esq. (fn. 10) who married Elizabeth, daughter of Richard, son of Edmund Anguish of Great-Melton, by whom he had
Robert Laurence, Esq. his son and heir, who married Elizabeth, daughter of Aslack Lany, who survived him, and remarried in 1640, to Richard Smith, Gent. by whom she had one child, Eliz. buried here in 1641: he died July 24, 1637, and lies buried by the altar as aforesaid: he built the present hall, and had divers children, as Aslak Laurence, Robert, born in 1633, buried in 1635, Samuel Laurence, born in 1635, Ellen, born in 1635, Elizabeth, who married William Reynolds of Great-Massingham, Gent. and
Francis Laurence of Brockdish, Esq. his eldest son and heir, who married Ellen, daughter of Thomas Patrick of Castle-acre, Gent. widow of Mathew Halcote of Litcham, Gent. who survived him, and held Brockdish in jointure to her death, which happened Jan. 6, 1741, when she was buried in the nave of Litcham church: they had Frances, and Elizabeth, who died infants; Mary, who died single about 1736, and was buried in the vestry belonging to Castleacre church; Jane, married to Mr. Thomas Shin of Great Dunham, by whom a Thomas, a son, &c. she being dead; Ellen, now widow of Thomas Young of Oxboro, Gent. who died Oct. 1743, leaving issue, the Rev. Mr. Thomas-Patrick Young of Caius college in Cambridge, Benjamin and Mary, and
Samuel Lawrence, Gent. their second son, is now alive and single; and
Robert Lawrence, Esq. their eldest son and heir, is long since dead, but by Anne daughter of John Meriton, late rector of Oxburgh, his wife, he left one son,
Robert Laurence, late rector of Brockdish, who died single, and
Mrs. Mary Laurence, his only sister, who is now living, and married to Robert Frankling, Gent. of Lynn in Norfolk, is the present lord in her right, but they have no issue.
Brockdishe's-Hall Manor,
Belonged to Bury abbey as aforesaid, till the time of Henry I. and then the Abbot infeoffed
Sir Stephen de Brockdish in it, from whom it took its present name; he was to hold it at the 4th part of a knight's fee of that abbey: it contained a capital messuage or manor-house, called now Brockdishe's-hall; 105 acres of land in demean, 12 acres of wood, 8 of meadow, and 4l. 13s. 10d. rents of assise; he left it to
Jeffery de Brockdish his son, and he to
William, his son and heir, who in 1267, by the name of William de Hallehe de Brokedis, or Will. of Brockdish-hall, was found to owe suit and service once in a year with all his tenants, to the lete of the Earl of Norfolk, held here. He left this manor, and the greatest part of his estate in Norwich-Carleton (which he had with Alice Curson his wife) to
Thomas, his son and heir, and the rest of it to Nigel de Brockdish, his younger son; (see p. 102;) Thomas left it to
Reginald, his eldest son and heir, and he to
Sir Stephen de Brockdish, Knt. his son and heir, who was capital bailiff of all the Earl of Norfolk's manors in this county; he was lord about 1329, being succeeded by his son,
Stephen, who by Mary Wingfield his wife, had
Reginald de Brockdish, his son and heir, (fn. 11) to whom he gave Brockdish-hall manor in Burston, (see vol. i. p. 127, vol. ii. p. 506,) but he dying before his father, was never lord here; his two daughters and heiresses inheriting at his father's death, viz.
Alice, married to William de Lampet about 1355, and Catherine some time after, to William son of John de Herdeshull, lord of North Kellesey and Saleby in Lincolnshire, who inherited each a moiety, according to the settlement made by their grandfather, who infeoffed Sir John de Wingfield, Knt. and Eleanor his wife, and Thomas his brother, in trust for them; (fn. 12) soon after, one moiety was settled on Robert Mortimer and Catherine his wife, by John Hemenhale, clerk, and John de Lantony, their trustees; and not long after the whole was united, and belonged to
Sir William Tendring of Stokeneyland, Knt. and Margaret his wife, daughter and coheir of Sir Will. Kerdeston of Claxton in Norfolk, Knt. who were succeeded by their son and heir
Sir John Tendring of Stokeneyland, Knt. who jointly with Agnes his wife, settled it on
Sir Ralf Tendring of Brockdish, Knt. one of their younger sons, who built the old hall (which was pulled down by Robert Lawrence, Esq. when he erected the present house) and the south isle chapel, in which he and Alice his wife are interred; his son,
John Tendring of Brockdish, Esq. who was lord here and of Westhall in Colney, (see p. 5,) and was buried in the said chapel, with Cecily his wife, died in 1436, and left five daughrers, coheiresses, viz.
Cecily, married to Robert Ashfield of Stowlangetot in Suffolk, Esq.
Elizabeth, to Simeon Fincham of Fincham in Norfolk, Esq.
Alice, to Robert Morton.
Joan, to Henry Hall of Helwinton.
Anne, to John Braham of Colney.
Who joined and levied a fine and sold it to
Thomas Fastolff, Esq. and his heirs; and the year following, they conveyed all their lands, &c. in Wigenhall, Tilney, and Islington, to
Sir John Howard, Knt. and his heirs; and vested them in his trustees, who, the year following, purchased the manor of Fastolff to himself and heirs; this Sir John left Brockdish to a younger son,
Robert Howard, Esq. who settled here, and by Isabel his wife had
William Howard of Brockdish, Esq. who was lord in 1469; he had two wives, Alice and Margaret, from whom came a very numerous issue, but
Robert, his son and heir, had this manor, who by Joan his wife had
William Howard, his eldest son and heir, who died in 1566, seized of many lands in Cratfield, Huntingfield, Ubbeston, and Bradfield in Suffolk; and of many lands and tenements here, and in Sileham, &c. having sold this manor the year before his death, to the Grices as aforesaid; but upon the sale, he reserved, all other his estate in Brockdish, in which he dwelt, called Howard's Place, situate on the south side of the entrance of Brockdish-street; which house and farm went to
John Howard, his son and heir, the issue of whose three daughters, Grace, Margaret, and Elizabeth, failing, it reverted to
Mathew, son of William Howard, second brother to the said John Howard their father, whose second son,
Mathew Howard, afterwards owned it; and in 1711, it was owned by a Mathew Howard, and now by
Mr. Bucknall Howard of London, his kinsman (as I am informed.)
The site and demeans of the Earl's manor, now called the place, was sold from the manor by the Grices some time since, and after belonged to Sir Isaac Pennington, alderman of London, (see vol. i. p. 159,) and one of those who sat in judgment on the royal martyr, for which his estate was forfeited at the Restoration, and was given by Car. II. to the Duke of Grafton; and his Grace the present Duke of Grafton, now owns it.
the benefactions to this parish are,
One close called Algorshegge, containing three acres, (fn. 13) and a grove and dove-house formerly built thereon containing about one acre, at the east end thereof; the whole abutting on the King's highway north, and the glebe of Brockdish rectory west: and one tenement abutting on Brockdish-street south, called Seriches, (fn. 14) with a yard on the north side thereof, were given by John Bakon the younger, of Brockdish, son of John Bakon the elder, of Thorp-Abbots; the clear profits to go yearly to pay the tenths and fifteenths for the parish of Brockdish when laid, and when they are not laid, to repair and adorn the parish church there for ever: his will is proved in 1433. There are always to be 12 feoffees, of such as dwell, or are owners in the parish, and when the majority of them are dead, the survivors are to fill up the vacancies.
In 1590, 1 Jan. John Howard, Gent. John Wythe, Gent. William Crickmere and Daniel Spalding, yeomen, officers of Brockdish, with a legacy left to their parish in 1572, by John Sherwood, late of Brokdish, deceased, purchased of John Thruston of Hoxne, Gent. John Thruston his nephew, Thomas Barker, and the inhabitants of Hoxne in Suffolk, one annuity or clear yearly rent-charge of 6s. 8d. issuing out of six acres of land and pasture in Hoxne, in a close called Calston's-close, one head abutting on a way leading from Heckfield-Green to Moles-Cross, towards the east; to the only use and behoof of the poor of Brockdish, to be paid on the first of November in Hoxne church-porch, between 12 and 4 in the afternoon of the same day, with power to distrain and enter immediately for non-payment; the said six acres are warranted to be freehold, and clear of all incumbrances, except another rentcharge of 13s. 4d. granted to Hoxne poor, to be paid at the same day and place
In 1592, John Howard of Brockdish sold to the inhabitants there, a cottage called Laune's, lying between the glebes on all parts; this hath been dilapidated many years, but the site still belongs to the parish.
From the old Town Book.
1553, 1st Queen Mary, paid for a book called a manuel 2s. 6d.; for two days making the altar and the holy-water stope, and for a lock for the font. 1554, paid for the rood 9d. 1555, paid for painting the rood-loft 14d. At the visitation of my Lord Legate 16d. To the organs maker 4d. and for the chalice 26s. 1557, paid for carriage of the Bible to Bocnam 12d. for deliverance of the small books at Harlstone 15d.; the English Bibles and all religious Protestant tracts usually at this time left in the churches for the information and instruction of the common people, being now called in by the Papist Queen. Paid for two images making 5s.; for painting them 16d. for irons for them 8d. But in 1558, as soon as Queen Elizabeth ascended the throne, all these Popish, images, &c. were removed out of the church. Paid for sinking the altar 4d.; carrying out the altar 5d.; mending the communion table 3d.; 1561, paid for the X. Commandments 18d.; for pulling down the rood-loft 14d.; paid Roger Colby repairing the crosse in the street 26s. 8d.; for a lock to the crosse-house, &c.; 1565, for digging the ground and levelling the low altar, (viz. in the south chapel,) and mending the pavement. For makyng the communion cup at Harlston 5s. 4d. besides 6s. 2d. worth of silver more than the old chalice weyed. 1569, paid to Belward the Dean for certifying there is no cover to the cup, 8d. 1657, layd out 19s. 4d. for the relief of Attleburgh, visited with the plague. Laid out 17s. for the repair of the Brockdish part of Sileham bridge, leading over the river to Sileham church. This bridge is now down, through the negligence of both the parishes, though it was of equal service to both, and half of it repaired by each of them. In 1618, the church was wholly new paved and repaired; and in 1619, the pulpit and desk new made, new books, pulpit-cloth, altar-cloth, &c. bought.
From the Register:
1593, Daniel son of Robert Pennington, Gent. bapt. 13 July. 1626, John Brame, Gent. and Anne Shardelowe, widow, married Sept. 2. 1631, John Blomefield and Elizabeth Briges married May 30. 1666, Roger Rosier, Gent. buried. 1735, Henry Blomefield of Fersfield, Gent. single man, and Elizabeth Bateman of Mendham, single woman, married Feb. 27.
www.british-history.ac.uk/topographical-hist-norfolk/vol5...
Each year the United States Interdiction Coordinator (USIC) recognizes exceptional performance throughout the interagency interdiction community. Awardees are selected by a committee comprised of members of the interagency interdiction community the 2018 awardees are from eight (8) different units Detection & Monitoring US Coast Guard Cutter James (WMSL 754),
Interdiction Intelligence Support,Operational Intelligence Branch Joint Interagency Task Force West and South, Maritime Interdiction & Apprehension HITRON DET 17-22 ENDGAME 19, Land Interdiction & Apprehension Blue Lightning Operations Center Gulf Coast HIDTA Watch Center, Investigation & Prosecution Border Patrol CAG Mountain Team HSI NATIVE Task Force, Investigation “Phantom Pharm” Operation “Deadly Merchant” Operation “Denial” and Special Recognition / Counternarcotics Force Enabler and the Guatemala Tactical Analysis Team Chief
Jesus D. Romero
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Tomb of I'timād-ud-Daulah (Urdu: اعتماد الدولہ کا مقبرہ, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh. Often described as a "jewel box", sometimes called the "Baby Tāj", the tomb of I'timād-ud-Daulah is often regarded as a draft of the Tāj Mahal..
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Mosaic and Inlay work has been widely used in the tomb of Itimad-ud-Daulah. The white marble interiors are adorned with prolific, graceful and convoluted stylized inlay and stucco designs. The main gateway showcases white marble inlay work on red sandstone. Geometrical designs and wine vases are depicted frequently. The red sandstone platform has bands of highly stylized floral patterns and creepers. The tomb marks the use of dados in their fully developed forms as a distinct feature of architectural embellishment. The sides of entrance arches above the dados have superb inlaid work too with the designs characteristic of the times of Jehangir such as vases with serpentine handles and cypress motifs. .
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The extensive use of rare and semi precious stones of all hues and shades are used for this inlay mosaic work such as agate, carnelian, garnet, jade, jasper, lapis lazuli, opal, onyx and turquoise used in combination with black, white and yellow marble. The central hall, the corner chambers and side halls boast of exceptional wall and stucco paintings depicting guldastas, wine vases, cypress and other Persian motifs. Embroidery designs are often used as the incised stucco on the ceilings and animal motifs can be seen frequently. The designs in the central chamber seem to be moving and human figures are unexpectedly depicted in a scheme of painted panels. Inscriptions on white marble panels can be seen on the frieze, above the arches and the octagonal towers.
1970 The NAGRA SN recorder, in spite of its small size, produces exceptionally high quality recordings. It is much appreciated by reporters, who can record broadcast quality tapes and, at the same time, be more mobile.
The letters 'SN' stand for Série Noir (Black Series) as the recorder was originally ordered by President John F. Kennedy for the American secret services. Apparently, the Nagra SN was even taken to the moon on one of the Apollo missions.
“Inspiring women to be financially independent”
Shaku Atre is an exceptional speaker, with the reputation of capturing the attention of audiences and maintaining their interest while guiding her listeners painlessly through sophisticated material. Ms. Atre is the President of Atre Group Inc. which is a leading consulting, training, and publishing company specializing in Business Intelligence (BI), Data Warehouses and Big Data.
Before heading her present company, Ms. Atre was a Partner with Price Waterhouse Coopers. She also has fourteen years of experience in various fields with IBM. Ms. Atre completed Masters of Science, Suma cum Laude, in Statistics, University of Poona, India; Scholarship to University of Heidelberg, Germany, Applied Mathematics, Thesis on Astronomy. She is an acknowledged expert in the Data Warehousing and database field.
She has extensive practical experience in database projects, has helped a number of clients in establishing successful Data Warehouses and client/server installations, and has taught at IBM’s prestigious Systems Research Institute.
She has lectured on the subject to professional organizations in the USA and Canada, as well as in more than 35 countries around the world. Ms. Atre is frequently quoted in reputable publications such as Computerworld and Information Week. She has written an award-winning outstanding book on database management systems that has become a classic on the subject: Database: Structured Techniques for Design, Performance and Management, published by John Wiley and Sons, New York. The book has sold over 250,000 copies (not including its Spanish and Russian translations) and has been selected by several book clubs and leading universities including Harvard, Columbia, Cornell, MIT, New York University, Stanford, and U.C. Berkeley as well as by the Moscow University. Her book Information Center: Strategies and Case Studies published by Atre International Consultants Inc., has also been very well received by the industry. Database Management Systems is another successful book authored by Ms. Atre. Her fourth book, Distributed Databases, Cooperative Processing & Networking was published by McGraw-Hill.
She has also authored a very well received book: Atre’s Roadmap for Data Warehouse/Data Mart Implementations published by Gartner Group, and is co-author of her latest BI book Business Intelligence Roadmap: The Complete Project Lifecycle for Decision-Support Applications published by Addison Wesley.
Ambassador Daniel Shapiro hosted Professor Robert Mnookin, Director, Harvard Negotiation Research Project, for a Distinguished American Speaker program at his residence on December 9. Prof. Mnookin spoke about his new book, Bargaining With the Devil: When to Negotiate, When to Fight, engaging an audience of 100, which included many Israeli officials who were involved in Israel’s peace negotiations with her neighbors, as well as professors and students of law, conflict resolution, and negotiation, and Wexner Israel program alumni. Following this program, Professor Mnookin conducted a special workshop for a group of Arab and Jewish high school students from Amal Taibe and Amal Lady Davis in Tel Aviv. The workshop was a rare and exciting opportunity for Israeli high school students to meet a world renowned Professor from one of the most prestigious universities in the world. Even though this was a new level of audience for Professor Mnookin, he enjoyed interacting with the young students while demonstrating various negotiation techniques and applicable methods for teaching mutually satisfying agreements in all facets of life. The workshop also gave the group an opportunity to meet with a distinguished academic and practice new and creative communication skills in English. This ‘exceptional’ workshop was adjunct to a larger program supported by a small PD grant which brought together 180 Arab and Jewish students from 6 high schools to learn negotiation skills.
Ambassador Daniel Shapiro hosted Professor Robert Mnookin, Director, Harvard Negotiation Research Project, for a Distinguished American Speaker program at his residence on December 9. Prof. Mnookin spoke about his new book, Bargaining With the Devil: When to Negotiate, When to Fight, engaging an audience of 100, which included many Israeli officials who were involved in Israel’s peace negotiations with her neighbors, as well as professors and students of law, conflict resolution, and negotiation, and Wexner Israel program alumni. Following this program, Professor Mnookin conducted a special workshop for a group of Arab and Jewish high school students from Amal Taibe and Amal Lady Davis in Tel Aviv. The workshop was a rare and exciting opportunity for Israeli high school students to meet a world renowned Professor from one of the most prestigious universities in the world. Even though this was a new level of audience for Professor Mnookin, he enjoyed interacting with the young students while demonstrating various negotiation techniques and applicable methods for teaching mutually satisfying agreements in all facets of life. The workshop also gave the group an opportunity to meet with a distinguished academic and practice new and creative communication skills in English. This ‘exceptional’ workshop was adjunct to a larger program supported by a small PD grant which brought together 180 Arab and Jewish students from 6 high schools to learn negotiation skills.
My exceptionally comfortable, stylish & very swishy crimson Lindy Bop skirt is complemented by a matching Scarf , plus Very Voga peep toe Bowknot Kitten heeled slingbacks buckle shoes, with musical accompaniment entitled "Kingpin In A Skirt". Please click on, or touch the link to vote for me.
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When I was very young & a shorts wearer, my Mother was also my Barber in the 1960`s. She would instruct me to sit on her stool in order to cut my hair. She frequently wore an evidently hypnotic black pleated cotton skirt which tickled my knees as it brushed across them while she was cutting my fringe. I now apparently have the image of her skirt deeply in my eyes. It was first noticed by my (secondary) School Teacher in the 1970`s & by subsequent girlfriends who have also mentioned it. The presence of the image & my Mother regularly sitting with her legs crossed on a high stool at our then Breakfast Bar with her new dark brown sequinned polyester Sunray pleated midi skirt very striking draped very close to the floor during the 1970s has strongly influenced my interest in cross-dressing & I regularly wear one of my pleated or circle skirts/dresses at home.
In November 2015, I was scapegoated by a group of criminals, who waited in a silver Private Hire Taxi outside the building in which I lived expecting me to emerge dressed as a woman with a bob hairstyle. My being dressed as a man rendered them indecisive with their execution plot, so the 3 men did not ambush & abduct me. In view of my cross-dressing hobby saving my life, I shall continue to enjoy femininity. There`s also additional information at; www.flickr.com/photos/127177664@N04/16024330889/in/datepo...
Hội An is a city of Vietnam, on the coast of the South China Sea in the South Central Coast region of Vietnam. It is located in Quảng Nam Province and is home to approximately 120,000 inhabitants. It is recognized as a World Heritage Site by UNESCO. Hội An Ancient Town is an exceptionally well-preserved example of a South-East Asian trading port dating from the 15th to the 19th century. Its buildings and its street plan reflect the influences, both indigenous and foreign, that have combined to produce this unique heritage site.The city possessed the largest harbour in Southeast Asia in the 1st century and was known as Lâm Ấp Phố (Champa City). Between the seventh and 10th centuries, the Cham (people of Champa) controlled the strategic spice trade and with this came tremendous wealth. The former harbour town of the Cham at the estuary of the Thu Bồn River was an important Vietnamese trading centre in the 16th and 17th centuries, where Chinese from various provinces as well as Japanese, Dutch and Indians settled. During this period of the China trade, the town was called Hai Pho (Seaside Town) in Vietnamese. Originally, Hai Pho was a divided town with the Japanese settlement across the "Japanese Bridge" (16th-17th century). The bridge (Chùa cầu) is a unique covered structure built by the Japanese, the only known covered bridge with a Buddhist temple attached to one side.
ETYMOLOGY
Hội An translates as "peaceful meeting place". In English and other European languages, the town was known historically as Faifo. This word is derived from Vietnamese Hội An phố (the town of Hội An), which was shortened to "Hoi-pho", and then to "Faifo".
HISTORY
The early history of Hội An is that of the Cham. These Austronesian-speaking Malayo-Polynesian peoples created the Champa Empire which occupied much of what is now central and lower Vietnam, from Huế to beyond Nha Trang. Various linguistic connections between Cham and the related Jarai language and the Austronesian languages of Indonesia (particularly Acehnese), Malaya, Cambodia and Hainan has been documented. In the early years, Mỹ Sơn was the spiritual capital, Trà Kiệu was the political capital and Hội An was the commercial capital of the Champa Empire - later, by the 14th century, the Cham moved further down towards Nha Trang. The river system was the transportation for goods between the highlands, inland countries of Laos and Thailand and the low lands.In 1535 Portuguese explorer and sea captain António de Faria, coming from Đà Nẵng, tried to establish a major trading center at the port village of Faifo. Hội An was founded as a trading port by the Nguyễn Lord Nguyễn Hoàng sometime around 1595. The Nguyễn lords were far more interested in commercial activity than the Trịnh lords who ruled the north. As a result, Hội An flourished as a trading port and became the most important trade port on the South China Sea. Captain William Adams, the English sailor and confidant of Tokugawa Ieyasu, is known to have made at least one trading mission to Hội An (around 1619). The early Portuguese Jesuits also had one of their two residences at Hội An.
In the 18th century, Hội An was considered by Chinese and Japanese merchants to be the best destination for trading in all of Southeast Asia, even Asia. Japanese believed the heart of all of Asia (the dragon) lay beneath the earth of Hội An. The city also rose to prominence as a powerful and exclusive trade conduit between Europe, China, India, and Japan, especially for the ceramic industry. Shipwreck discoveries have shown that Vietnamese and Asian ceramics were transported from Hội An to as far as Sinai, Egypt.Hội An's importance waned sharply at the end of the 18th century because of the collapse of Nguyễn rule (thanks to the Tây Sơn Rebellion - which was opposed to foreign trade).
Then, with the triumph of Emperor Gia Long, he repaid the French for their aid by giving them exclusive trade rights to the nearby port town of Đà Nẵng. Đà Nẵng became the new center of trade (and later French influence) in central Vietnam while Hội An was a forgotten backwater. Local historians also say that Hội An lost its status as a desirable trade port due to silting up of the river mouth. The result was that Hội An remained almost untouched by the changes to Vietnam over the next 200 years.
Today, the town is a tourist attraction because of its history, traditional architecture and crafts such as textiles and ceramics. Many bars, hotels, and resorts have been constructed both in Hội An and the surrounding area. The port mouth and boats are still used for both fishing and tourism.
WEATHER
Calm mild weather is now limited to the season of May/June - end of August when the seas are calm and wind changes direction and comes from the South. The remainder of the year the weather is intermittent between rain & cold and hot & mild. Popular activities such as visiting offshore Cù lao Chàm islands are only guaranteed to be likely during the short season of end of May to end of August, which is the high season for domestic tourism.
HERITAGE AND TOURISM
In 1999, the old town was declared a World Heritage Site by UNESCO as a well-preserved example of a Southeast Asian trading port of the 15th to 19th centuries, with buildings that display a unique blend of local and foreign influences. According to the UNESCO Impact Report 2008 on Hội An, tourism has bought changes to the area which are not sustainable without mitigation. Due to the increased number of tourists visiting Hoi An a variety of activities are emerging which allow guests to get out of the old quarter and explore by motorbike, bicycle, Kayak or motorboat. The Thu Bon River is still essential to the region more than 500 years after António de Faria first navigated it and it remains an essential form of food production and transport. As such kayak and motorboat rides are becoming an increasingly popular tourist activity.
MUSEUM
The city has four museums highlighting the history of the region. These museums are managed by the Hoi An Center for Cultural Heritage Management and Preservation. Entrance to the museum is permitted with a Hoi An Entrance Ticket.
The Museum of History and Culture, at 13 Nguyen Hue St, was originally a pagoda, built in the 17th century by Minh Huong villagers to worship the Quan An, and is adjacent to the Quan Cong temple. It contains original relics from the Sa Huynh, Champa, Dai Viet and Dai Nam periods, tracing the history of Hoi An's inhabitants from its earliest settlers through to French colonial times.
The Hoi An Folklore Museum, at 33 Nguyen Thai Hoc St, was opened in 2005, and is the largest two-storey wooden building in the old town, at 57m long and 9m wide, with fronts at Nguyen Thai Hoc St and Bach Dang St. On the second floor, there are 490 artifacts, organised into four areas: plastic folk arts, performing folk arts, traditional occupations and artefacts related to the daily life of Hoi An residents.
The Museum of Trade Ceramics is located at 80 Tran Phu St, and was established in 1995, in a restored wooden building, originally built around 1858. The items originating from Persia, China, Thailand, India and other countries are proof of the importance of Hội An as a major trading port in South East Asia.
The Museum of Sa Huỳnh Culture, is located at 149 Tran Phu St. Established in 1994, this museum displays a collection of over 200 artifacts from the Sa Huỳnh culture - considered to be the original settlers on the Hội An site - dating to over 2000 years ago. This museum is considered to be the most unique collection of Sa Huỳnh artefacts in Vietnam.
WIKIPEDIA
February 1991 - exceptionally deep snow and low temperatures - it was -5C when this was taken and it dropped to -16C that night.
French postcard by Editions O.P., Paris, no. 97. Photo: Teddy Piaz.
French actress Renée Faure (1918-2005) had an exceptional theatrical career that spanned from 1937 to 1990. She was a member of the Comédie Française, but also appeared in many films. Faure was married to director Christian-Jaque, but he left her for Martine Carol.
Renée Paule Nanine Faure was born in 1918 in Paris. She was the daughter of René Prosper Faure, director of the Lariboisière Hospital in Paris, and Henriette Anna (née Beauregard). She attended the Maison de la Légion d'Honneur in Saint-Denis. An excellent student, she was the youngest graduate of her class to receive the baccalaureate. With her parents' approval, she entered the Paris Conservatoire to study with René Simon, then André Bruno. At 19, Renée Faure married her classmate, actor Renaud Mary, father of her only daughter, Emmanuelle. Renée Faure joined the Comédie-Française in July 1937, where she played ingénues and was appointed a Sociétaire (a member) in 1942. When, in 1938, she played the role of Emmauelle in 'Asmodée,' directed by Jacques Copeau, Renée Faure demonstrated her dramatic talents, and from then on, she performed plays by the great authors. Her classical repertoire included 'Ruy Blas' by Victor Hugo (1938), 'Cyrano de Bergerac' by Edmond Rostand (1938), 'Twelfth Night' by William Shakespeare (1940) and 'Phèdre' by Racine (1942). After breaking through on stage, she made her film debut in the crime comedy L’assassinat du Père Noël / The Assassination of Santa Claus (Christian-Jaque, 1941), the first film produced by Continental Films. She played Catherine, who dreams of her Prince Charming, Baron Rolant (Raymond Rouleau). Catherine is the daughter of Cornusse (Harry Baur), who, like every year, disguises himself as Santa Claus. But this year, a murdered Santa Claus is found. Fortunately, it isn't Cornusse; the police arrest a stranger hiding among the villagers. Her debut was followed by the romantic comedy Le prince charmant / Prince Charming (Jean Boyer, 1941). She played Rosine, a young girl who meets a wealthy partygoer (Jimmy Gaillard). He falls madly in love and pretends to be a bad boy to seduce her better. Then Robert Bresson offered her a challenging role in his first film, Les Anges du péché / Angels of Sin (Robert Bresson, 1943). In this moving drama, she played an angelic nun who devotes herself to imprisoned women. She strives to help a prisoner (Jany Holt), but once freed, the latter murders the man who caused her incarceration and takes refuge in a convent. Wikipedia: "Though usually seen as being the most 'conventional' of Bresson's features, the religious subject matter and the directness of the film's style are seen by many as auspicious of the director's later work." In Christian-Jaque's romantic drama Sortilèges / The Bellman (Christian-Jaque, 1944), Faure is coveted by a solitary sorcerer and murderer in the mountains of Auvergne. The film was popular and recorded over 2,5 million admissions in France. In the sentimental and tragic drama, Torrents (Serge de Poligny, 1946), Georges Marchal's character had to choose between his cousin (Renée Faure) and his wife (Helen Vita). A huge hit was the historical drama La chartreuse de Parme / The Charterhouse of Parme (Christian-Jaque, 1947), based on Stendhal's novel. Renée Faure played the daughter of a prison governor, who falls in love with a handsome prisoner, a marquis played by Gérard Philipe. It was the most popular French film at the French box office in 1948. In 1949, Faure starred in the romantic drama On n'aime qu'une fois / You Only Love Once (Jean Stelli, 1949), in which the mother (Françoise Rosay) of her childhood friend (Jacques Berthier) rejects their relationship and sends her son to Paris to become a great surgeon.
In 1947, Renée Faure married director Christian-Jaque. The couple worked together three times. Their last film together was the romantic comedy Adorables créatures / Adorable Creatures (Christian-Jaque, 1952) starring Daniel Gélin, Antonella Lualdi, Danielle Darrieux and Martine Carol. When Christian-Jaque started an affair with Carol, Faure's marriage to him ended in a divorce in 1953. Faure played a sinister role as an organiser of the trafficking of women in Cargaison blanche / White Cargo (Georges Lacombe, 1953) with Georges Rivière. During the 1950s, she continued to perform on stage and played in William Shakespeare's 'Romeo and Juliet' (1952), Racine's 'Britannicus' (1953), and Jean Giraudoux's 'Electra' (1959). On screen, she was three times the partner of Jean Gabin, in Le sang à la tête / Blood to the Head (Gilles Grangier, 1956), the psychological drama Rue des Prairies (Denys de La Patellière, 1959) and Le Président / The President (Henri Verneuil, 1961). The following decade, Renée Faure devoted herself to television and theatre, and her appearances on the big screen became less frequent. On stage, she appeared in Jean Anouilh's 'Antigone' (1961), Friedrich Schiller's 'Mary Stuart' (1963), and Jean Cocteau's 'The Two-Headed Eagle' (1965). In 1964, she left the Comédie-Française, and in 1965, she was appointed a Sociétaire honoraire (honorary member). After a ten-year hiatus, she returned to the cinema in Bertrand Tavernier's Le juge et l’assassin / The Judge and the Assassin (1975). She played the fearsome mother of the social climber Judge Rousseau (Philippe Noiret), who handles the case of Bouvier (Michel Galabru), who has killed his fiancée and committed other crimes. In La petite voleuse /The Little Thief (Claude Miller, 1988), she had a brief but striking role as an abortionist with a witchy look who terrifies a pregnant teenager (Charlotte Gainsbourg), a little thief living on the fringes of society. After twenty-two years' absence, she returned to the Comédie-Française to play the role of the first prioress in 'Dialogue of the Carmelites' (1987) by Georges Bernanos. In the 1990s, her career was almost over. She made brief appearances in such films as À la vitesse d'un cheval au galop (Fabien Onteniente, 1992) and the crime drama L'inconnu dans la maison / Stranger in the House (Georges Lautner, 1992), starring Jean-Paul Belmondo. The latter was based on a novel by Georges Simenon, previously filmed by Henri Decoin in 1941, the year of her film debut. Then, she returned to television, which she considered an ideal compromise between film and theatre. Her final film was the Italian drama
Nel profondo paese straniero / Homer: Portrait of the Artist as an Old Man (Fabio Carpi, 1995) with Claude Rich. After her divorce from Christian Jaque, she never remarried. In 2005, Renée Faure died of complications following surgery at the age of 86 in Clamart, near Paris. She is buried in the old cemetery in Boulogne-Billancourt. At Notre Cinéma, Gary Richardson cites her answer to a journalist who asked her once what her passion was in life: "Fishing. Whenever I can, I go to my cottage in the Nièvre to harpoon salmon trout."
Sources: Gary Richardson (Notre Cinéma - French), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Hoi An Ancient Town is an exceptionally well-preserved example of a South-East Asian trading port dating from the 15th to the 19th century. Its buildings and its street plan reflect the influences, both indigenous and foreign, that have combined to produce this unique heritage site. Source: whc.unesco.org
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Hội An, formerly known as Fai-Fo or Faifoo, is a city with a population of approximately 120,000 in Vietnam's Quảng Nam Province and noted since 1999 as a UNESCO World Heritage Site.
Old Town Hội An, the city's historic district, is recognized as an exceptionally well-preserved example of a South-East Asian trading port dating from the 15th to the 19th century, its buildings and street plan reflecting a unique blend of influences, indigenous and foreign. Prominent in the city's old town, is its covered "Japanese Bridge," dating to the 16th-17th century. Source: www.wikiwand.com
And there was I thinking that I had caught up with the shots I had taken over the summer. But then I remembered the glass. The glass of Canterbury Cathedral.
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Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion; the archbishop, being suitably occupied with national and international matters, delegates the most of his functions as diocesan bishop to the Bishop suffragan of Dover. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury.
Founded in 597, the cathedral was completely rebuilt from 1070 to 1077. The east end was greatly enlarged at the beginning of the twelfth century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket, the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late fourteenth century, when they were demolished to make way for the present structures.
Christianity had started to become powerful in the Roman Empire around the third century. Following the conversion of Augustine of Hippo in the 4th century, the influence of Christianity grew steadily .[2] The cathedral's first archbishop was Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 596 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour.[3]
Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin.
Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road.[5][6] They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.[6] During the ninth or tenth century this church was replaced by a larger structure (49 m. by 23 m.) with a squared west end. It appears to have had a square central tower.[6] The eleventh century chronicler Eadmer, who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse.[7]
During the reforms of Dunstan, archbishop from 960 until his death in 988,[8] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). Dunstan was buried on the south side of the high altar.
The cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, Alphege, was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. After this a western apse was added as an oratory of St. Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038).
The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.
The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–77). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of St. Etienne in Caen, where he had previously been abbot, using stone brought from France.[9] The new church, its central axis about 5m south of that of its predecessor,[6] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aiseless transepts with apsidal chapels, a low crossing tower, and a short choir ending in three apses. It was dedicated in 1077.[10]
The Norman cathedral, after its expansion by Ernulf and Conrad.
Under Lanfranc's successor Anselm, who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors.[11] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt. Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126.[12] The new choir took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory.[12] A free standing campanile was built on a mound in the cathedral precinct in about 1160.[13]
As with many Romanesque church buildings, the interior of the choir was richly embellished.[14] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the panelled ceiling above."[14]
Though named after the sixth century founding archbishop, The Chair of St. Augustine, the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205.
Martyrdom of Thomas Becket
Image of Thomas Becket from a stained glass window
The 12th-century choir
A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket, in the north-west transept (also known as the Martyrdom) on Tuesday, 29 December 1170, by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege).
The posthumous veneration of Becket made the cathedral a place of pilgrimage. This brought both the need to expand the cathedral and the wealth that made it possible.
Rebuilding of the choir
Tomb of the Black Prince
In September 1174 the choir was severely damaged by fire, necessitating a major reconstruction,[15] the progress of which was recorded in detail by a monk named Gervase.[16] The crypt survived the fire intact,[17] and it was found possible to retain the outer walls of the choir, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged.[18] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The choir was back in use by 1180 and in that year the remains of St Dunstan and St Alphege were moved there from the crypt.[19]
The master-mason appointed to rebuild the choir was a Frenchman, William of Sens. Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as "William the Englishman".
The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry, described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems".[22] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains.[23] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery.[24] For much of the time the chest (or "ferotory") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered.[21][23] Erasmus, who visited in 1512–4, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes."[25]
The income from pilgrims (such as those portrayed in Geoffrey Chaucer's Canterbury Tales) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine.
The shrine was removed in 1538. Henry VIII summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and twenty-six carts.
Monastic buildings
Cloisters
A bird's-eye view of the cathedral and its monastic buildings, made in about 1165[27] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge.[28] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries, although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house.[27]
The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. To the north a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brew house and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium.
The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks,-- the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft, and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory lead eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks.[27]
The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory," the common room of the monks. At its north-east corner access was given from the dormitory to the necessarium, a building in the form of a Norman hall, 145 ft (44 m) long by 25 broad (44.2 m × 7.6 m), containing fifty-five seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end.[27]
A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 ft (14 m) square (200 m2), with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two lavatories, where the monks washed before and after eating.
[27]
Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).[29] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Forde and Thomas Cobham.
Early in the fourteenth century, Prior Eastry erected a stone choir screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [30]
The cathedral was seriously damaged by an earthquake of 1382, losing its bells and campanile.
From the late fourteenth century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele.[31] In contrast to the contemporary rebuilding of the nave at Winchester, where much of the existing fabric was retained and remodelled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls completely taken down except for a low "plinth" left on the south side. [32][6] More Norman fabric was retained in the transepts, especially in the east walls,[32] and the old apsidal chapels were not replaced until the mid-15th century.[30] The arches of the new nave arcade were exceptionally high in proportion to the clerestory.[30] The new transepts, aisles and nave were roofed with lierne vaults, enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new choir screen at the east end of the nave, into which Eastry's existing screen was incorporated.[30] The Norman stone floor of the nave, however survived until its replacement in 1786.
From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created.
A shortage of money, and the priority given to the rebuilding of the cloisters and chapter-house meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.[30]
In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built in 1448–55.[30]
The 235-foot crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate, when the piers had been reinforced. Further strengthening was found necessary around the beginning of the sixteenth century, when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles.
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Birth of the mysterious Alchemical Sentinels
3 months working day and night with an exceptional “dream team"… a big thank you to ACS, Luc, my trusty Giant who could lift a juggernaut onto a balcony (QED Thierry Loir) Thomas Cart'1, Goin, and of course Marc for the paints.
I have managed to set up my installation of 99 raw steel sculptures with an incredibly demanding specification: none of the 3600 work on the DDC site were to be hidden… we had to think about power sources, water crossings, access for construction machinery including the telescopic booms (3m wide)… public safety, ERP museum standards, etc, ... constantly alternating between the visible and the invisible...
Are they inhabited? I don’t know. One thing is certain: each sentinel stands as a unique sculpture in terms of its alchemical elements and paintwork (either with anti-rust paint or voluntarily with paints that do not resist rust). This autumn, each sentinel will reveal – with the acid rain – different interpretations, depending on the paints and solvents used, making each one different, with stratifications that future archaeologists will decipher.
But my most perilous challenge was to create a giant (9000 m²) installation that envelops the Abode of Chaos with dozens of tons of steel, so that my visitors, from any angle, enter a dreamlike fantasy and where the world of the Abode of Chaos on the one hand and that of the 99 monumental sculptures (named "Alchemical Sentinels" during an extremely busy night ) intersect like the Inframince defined by Marcel Duchamp (or, how to build intensities by subtraction).
These 99 Alchemical Sentinels are now the guardians of the Sanctuary that the Abode of Chaos has become. I designed them as veritable quantum energy wells that we placed with patience and wisdom at different spots all over the Abode of Chaos.
There are 99 in total, made of 10mm rough steel (50 tons), welded to form perfect equilateral triangles. Each of the three sides constituting an Alchemical Sentinel is itself cut to reveal a meurtrière, again in the shape of an equilateral triangle, presenting a superb Euclidean geometry to the visitor.
These 99 Alchemical Sentinels are each placed at specific energy points on the 9000 m² of the Abode of Chaos. Some are hidden by vegetation or natural landforms or are placed in relation to existing works. Others are located in our private and professionals spaces.
In my alchemical work that began on 9 December 1999, the three gates arranged in an equilateral triangle with one vertex pointing upwards, form the luminous delta. They represent the three elements that alchemists work with. These three elements are sulphur, mercury and salt.
Note that the three elements found in the Prima Materia (or Alchemical Chaos) are very closely related. The point triangle is also the symbol of the fire philosophers.
The equilateral triangle resting on its base – like the three points – is the symbol of the fire element, one of the four elements that the alchemist works with in the laboratory.
The geometric properties of the equilateral triangle evoke absolute perfection by their spiritual strength and their age-old symbolism going back to ancient Egypt… strength, beauty and harmony.
They will remain for a thousand years as witnesses to a civilization lost through the folly of men.
thierry Ehrmann
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3 mois de travail jour et nuit, une "dream team" hors du commun, un grand merci à ACS, Luc, mon fidèle Géant qui poserait un 38 T. sur un balcon (cqfd Thierry Loir) Thomas, Cart'1, Goin et bien sûr Marc pour les peintures.
Je suis arrivé à poser mon installation de 99 sculptures d'acier brut avec un cahier des charges de ouf, aucune des 3600 œuvres de la DDC ne devaient être occultées, penser aux sources électriques, les passages d'eau, les voies de transport pour engin de chantier, les nacelles télescopiques (3m de large), protéger le grand public, respecter les normes ERP muséales, etc… Alterner en permanence monstration et effacement…
Sont-elles habitées ? Je l'ignore. Une chose certaine est que chacune, par les éléments alchimiques et les codes peints soit à l'antirouille soit volontairement avec des peintures dégradables par la rouille avec le temps, rend chaque sentinelle comme une sculpture unique. Cet automne chaque sentinelle va laisser apparaître, avec les pluies acides, différents niveaux de lecture, selon les peintures et solvants utilisés, les rendant singulières avec des stratifications que les archéologues des temps futurs décrypteront...
Mais mon défi le plus périlleux, était de créer une installation géante de 9000 m2 qui enveloppe, par des dizaines de tonnes d'acier, la Demeure du Chaos pour que mes visiteurs sur 360 degrés, plongent dans un univers onirique et fantasmagorique où les deux univers que sont la Demeure du Chaos d'une part et d'autre part l'installation des 99 sculptures monumentales (baptisées par une nuit très agitée "Sentinelles Alchimiques") s'entrecroisent selon l'Inframince définit par Marcel Duchamp (ou comment construire des intensités par soustraction).
Ces 99 Sentinelles Alchimiques sont désormais les gardiennes du Sanctuaire que représente la Demeure du Chaos. Je les ai conçus comme de véritable puits d’énergie quantique que je pose avec patience et sagesse sur l’ensemble de la Demeure du Chaos.
Elles sont au nombre de 99, faites d’acier brut de 10 mm (50 tonnes) soudées pour former un triangle équilatéral parfait. Chacun des 3 pans constituant une Sentinelle Alchimique, est lui même découpé pour laisser entrevoir une mystérieuse meurtrière, elle même en forme de triangle équilatéral, donnant ainsi une géométrie Euclidienne au regard du visiteur.
Ces 99 Sentinelles Alchimiques sont chacune à des points d’énergie particuliers de la Demeure du Chaos sur 9000 m2. Certaines se dissimulent par la végétation ou les reliefs naturels ou bien en écho aux autres œuvres, d’autres sont dans les espaces privatifs ou professionnels.
Dans mon travail alchimique démarré le 9 décembre 1999, les trois portes disposées en triangle équilatéral, dont un sommet est dirigé vers le haut, forment le delta lumineux. Elle sont les trois corps sur lesquels l’alchimiste va œuvrer. Ces trois corps sont le soufre, le mercure et le sel.
Soulignons que les trois corps présents dans la Materia Prima ou Chaos alchimique sont étroitement mélangés. Le triangle de point est aussi la marque des philosophes par le feu.
Le triangle équilatéral reposant sur sa base, à la manière des trois points, est le symbole de l’élément feu, l’un des quatre éléments avec lequel l’alchimiste travaille au laboratoire.
Les propriétés géométriques du triangle équilatéral relèvent de la perfection absolue par sa force spirituelle, son symbolisme de la nuit des temps notamment dans l’ancienne Egypte, il est force, beauté et harmonie.
Elles resteront durant mille ans comme les témoins d’une civilisation disparue par la folie des hommes
thierry Ehrmann
Birth of the mysterious Alchemical Sentinels
3 months working day and night with an exceptional “dream team"… a big thank you to ACS, Luc, my trusty Giant who could lift a juggernaut onto a balcony (QED Thierry Loir) Thomas Cart'1, Goin, and of course Marc for the paints.
I have managed to set up my installation of 99 raw steel sculptures with an incredibly demanding specification: none of the 3600 work on the DDC site were to be hidden… we had to think about power sources, water crossings, access for construction machinery including the telescopic booms (3m wide)… public safety, ERP museum standards, etc, ... constantly alternating between the visible and the invisible...
Are they inhabited? I don’t know. One thing is certain: each sentinel stands as a unique sculpture in terms of its alchemical elements and paintwork (either with anti-rust paint or voluntarily with paints that do not resist rust). This autumn, each sentinel will reveal – with the acid rain – different interpretations, depending on the paints and solvents used, making each one different, with stratifications that future archaeologists will decipher.
But my most perilous challenge was to create a giant (9000 m²) installation that envelops the Abode of Chaos with dozens of tons of steel, so that my visitors, from any angle, enter a dreamlike fantasy and where the world of the Abode of Chaos on the one hand and that of the 99 monumental sculptures (named "Alchemical Sentinels" during an extremely busy night ) intersect like the Inframince defined by Marcel Duchamp (or, how to build intensities by subtraction).
These 99 Alchemical Sentinels are now the guardians of the Sanctuary that the Abode of Chaos has become. I designed them as veritable quantum energy wells that we placed with patience and wisdom at different spots all over the Abode of Chaos.
There are 99 in total, made of 10mm rough steel (50 tons), welded to form perfect equilateral triangles. Each of the three sides constituting an Alchemical Sentinel is itself cut to reveal a meurtrière, again in the shape of an equilateral triangle, presenting a superb Euclidean geometry to the visitor.
These 99 Alchemical Sentinels are each placed at specific energy points on the 9000 m² of the Abode of Chaos. Some are hidden by vegetation or natural landforms or are placed in relation to existing works. Others are located in our private and professionals spaces.
In my alchemical work that began on 9 December 1999, the three gates arranged in an equilateral triangle with one vertex pointing upwards, form the luminous delta. They represent the three elements that alchemists work with. These three elements are sulphur, mercury and salt.
Note that the three elements found in the Prima Materia (or Alchemical Chaos) are very closely related. The point triangle is also the symbol of the fire philosophers.
The equilateral triangle resting on its base – like the three points – is the symbol of the fire element, one of the four elements that the alchemist works with in the laboratory.
The geometric properties of the equilateral triangle evoke absolute perfection by their spiritual strength and their age-old symbolism going back to ancient Egypt… strength, beauty and harmony.
They will remain for a thousand years as witnesses to a civilization lost through the folly of men.
thierry Ehrmann
-------------------------------------------------
3 mois de travail jour et nuit, une "dream team" hors du commun, un grand merci à ACS, Luc, mon fidèle Géant qui poserait un 38 T. sur un balcon (cqfd Thierry Loir) Thomas, Cart'1, Goin et bien sûr Marc pour les peintures.
Je suis arrivé à poser mon installation de 99 sculptures d'acier brut avec un cahier des charges de ouf, aucune des 3600 œuvres de la DDC ne devaient être occultées, penser aux sources électriques, les passages d'eau, les voies de transport pour engin de chantier, les nacelles télescopiques (3m de large), protéger le grand public, respecter les normes ERP muséales, etc… Alterner en permanence monstration et effacement…
Sont-elles habitées ? Je l'ignore. Une chose certaine est que chacune, par les éléments alchimiques et les codes peints soit à l'antirouille soit volontairement avec des peintures dégradables par la rouille avec le temps, rend chaque sentinelle comme une sculpture unique. Cet automne chaque sentinelle va laisser apparaître, avec les pluies acides, différents niveaux de lecture, selon les peintures et solvants utilisés, les rendant singulières avec des stratifications que les archéologues des temps futurs décrypteront...
Mais mon défi le plus périlleux, était de créer une installation géante de 9000 m2 qui enveloppe, par des dizaines de tonnes d'acier, la Demeure du Chaos pour que mes visiteurs sur 360 degrés, plongent dans un univers onirique et fantasmagorique où les deux univers que sont la Demeure du Chaos d'une part et d'autre part l'installation des 99 sculptures monumentales (baptisées par une nuit très agitée "Sentinelles Alchimiques") s'entrecroisent selon l'Inframince définit par Marcel Duchamp (ou comment construire des intensités par soustraction).
Ces 99 Sentinelles Alchimiques sont désormais les gardiennes du Sanctuaire que représente la Demeure du Chaos. Je les ai conçus comme de véritable puits d’énergie quantique que je pose avec patience et sagesse sur l’ensemble de la Demeure du Chaos.
Elles sont au nombre de 99, faites d’acier brut de 10 mm (50 tonnes) soudées pour former un triangle équilatéral parfait. Chacun des 3 pans constituant une Sentinelle Alchimique, est lui même découpé pour laisser entrevoir une mystérieuse meurtrière, elle même en forme de triangle équilatéral, donnant ainsi une géométrie Euclidienne au regard du visiteur.
Ces 99 Sentinelles Alchimiques sont chacune à des points d’énergie particuliers de la Demeure du Chaos sur 9000 m2. Certaines se dissimulent par la végétation ou les reliefs naturels ou bien en écho aux autres œuvres, d’autres sont dans les espaces privatifs ou professionnels.
Dans mon travail alchimique démarré le 9 décembre 1999, les trois portes disposées en triangle équilatéral, dont un sommet est dirigé vers le haut, forment le delta lumineux. Elle sont les trois corps sur lesquels l’alchimiste va œuvrer. Ces trois corps sont le soufre, le mercure et le sel.
Soulignons que les trois corps présents dans la Materia Prima ou Chaos alchimique sont étroitement mélangés. Le triangle de point est aussi la marque des philosophes par le feu.
Le triangle équilatéral reposant sur sa base, à la manière des trois points, est le symbole de l’élément feu, l’un des quatre éléments avec lequel l’alchimiste travaille au laboratoire.
Les propriétés géométriques du triangle équilatéral relèvent de la perfection absolue par sa force spirituelle, son symbolisme de la nuit des temps notamment dans l’ancienne Egypte, il est force, beauté et harmonie.
Elles resteront durant mille ans comme les témoins d’une civilisation disparue par la folie des hommes
thierry Ehrmann
I present my exceptionally comfortable, stylish & very swishy midi skirt. Please click on, or touch the link to vote for me to become the next Miss YoModel; www.missyomodel.com/coningsby131
When I was very young & a shorts wearer, my Mother was also my Barber in the 1960`s. She would instruct me to sit on her stool in order to cut my hair. She frequently wore an evidently hypnotic black pleated cotton skirt which tickled my knees as it brushed across them while she was cutting my fringe. I now apparently have the image of her skirt deeply in my eyes. It was first noticed by my (secondary) School Teacher in the 1970`s & by subsequent girlfriends who have also mentioned it. The presence of the image & my Mother regularly sitting with her legs crossed on a high stool at our then Breakfast Bar with her new dark brown sequinned polyester Sunray pleated midi skirt very striking draped very close to the floor during the 1970s has strongly influenced my interest in Drag modelling & I regularly wear one of my pleated or circle skirts/dresses at home.
In November 2015, I was scapegoated by a group of criminals, who waited in a silver Private Hire Taxi outside the building in which I lived expecting me to emerge dressed as a woman with a bob hairstyle. My being dressed as a man rendered them indecisive with their execution plot, so the 3 men did not ambush & abduct me. In view of my Drag modelling hobby saving my life, I shall continue to enjoy femininity. There`s also additional information at; www.flickr.com/photos/127177664@N04/16024330889/in/datepo...
Lake Travis water level at 51.67 below normal. Third lowest water level recorded for lake Travis since the historic low set on august 14, 1951. Photo by - Chase Fountain/TPWD ©2011.
You wouldn't know after ten minutes on the Hangers Way, but the night before I'd diligently cleaned and buffed up my walking boots. Now they were once more a muddy, soggy mess, and I was once again wondering whether I should invest in some gaiters.
Mill Network Kinderdijk NL
The Mill Network at Kinderdijk-Elshout is a group of buildings in an exceptional human-made landscape in which the centuries-long battle of the Dutch people to drain parts of their territory and protect them against further inundation is dramatically demonstrated through the survival of all the major elements of the complex system that was devised for this purpose.
Construction of hydraulic works for the drainage of land for agriculture and settlement began in the Middle Ages and has continued uninterruptedly to the present day. The property illustrates all the typical features associated with this technology: polders, high and low-lying drainage and transport channels for superfluous polder water, embankments and dikes, 19 drainage mills, 3 pumping stations, 2 discharge sluices and 2 Water Board Assembly Houses. The beautifully preserved mills can be divided into three categories: 8 round brick ground-sailers, 10 thatched octagonal smock mills, and one hollow post mill.
The installations in the Kinderdijk-Elshout area demonstrate admirably the outstanding contribution made by the people in Netherlands to the technology of handling water. The landscape is striking in its juxtaposition of its horizontal features, represented by the canals, the dikes, and the fields, with the vertical rhythms of the mill system. There is no drainage network of this kind or of comparable antiquity anywhere else in the Netherlands or in the world.
2017 Weekly Alphabet Challenge, Week 50, X for eXceptional
It's been 7 years since there has been as much snow as fell on Sunday and Monday in the whole of The Netherlands. Traffic was a chaos and left many tourists stranded. We even had blizzard-like conditions in our garden ! The picture was taken on Sunday afternoon, by Monday there was about 8 cm of snow.
Chartres is famous worldwide for its cathedral. Mostly constructed between 1193 and 1250, this Gothic cathedral is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century.