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Santa María de Castellar de la Muntanya.
Santa Maria de Castellar de la Muntanya és una església romànica del segle xii molt modificada, situada al municipi de la Vall de Bianya a la comarca de la Garrotxa. És un monument inventariat a l'Inventari del Patrimoni Arquitectònic de Catalunya.[1]
Història
Apareix esmentada per primer cop l'any 1001 en un document segons el qual Arnau Gaufred Isarn i altres executors testamentaris d'un difunt anomenat Guillem fan donació al monestir de Sant Pere de Camprodon d'una mas situat a Castellar de la Muntanya prop de l'església.[2] Més tard apareix documentada el 1079 quan els bescomtes de Bas en fan donació per establir el priorat de Sant Joan les Fonts, cintant-la com Sancte Marie de Castellario.[3] Al segle xiii també apareix amb el nom de castlario. L'any 1346, a més de l'altar major hi havia un altre dedicat a Santa Àgata que un temps comparí amb Sant Sebastià fins que aquest en tingué un de propi. En constituir-se la confraria del Roser el 1644 l'altar de Santa Àgata va passar a estar dedicat a la Mare de Déu del Roser. Més tard, el 1734, l'altar de Sant Sebastià va passar a ser dedicat a Sant Francesc Xavier.
Descripció
És un edifici del segle xii d'una sola nau rectangular coberta amb volta de canó. La capçalera situada a llevant, presenta un absis semicircular amb finestra central modificada. A la banda de migdia hi ha l'entrada. Sembla que la seva porta, molt bonica, ara es troba a Sant Llorenç d'Oix.[3] El campanar és de torre. La sagristia i la rectoria són afegits del segle xviii. L'església també té una pica baptismal d'immersió llisa, fora del seu lloc i mig encastada a la paret.[3]
ENGLISH TEXT DOWN UNDER THE LINE
Aquest és el soterrani cripta on s'atrinxeraren els darrers paracaigudistes txecoslovacs un cop moriren els seus companys de dalt l'església. Tots es suicidaren abans de caure vius en mans dels nazis. Actualment és un santuari nacional, amb els busts dels morts. Aquí teniu Jan Kubis i Josef Gabcik, els que atacaren el cotxe de Heydrich. Gabcik apuntà amb la metralleta Sten, però li fallà, i Kubis llença una granada que ferí de mort Heydrich.
Aquesta església barroca aparentment anodina no tant sols és la catedral ortodoxa de Praga (ja explicaré perquè), sino que és un dels llocs més importants i dramatics de la historia txeca i eslovaca del s. XX, un veritable camp de batalla en miniatura. Es tracta de la catedral de St. Ciril i Metodi de Praga. El 27 de maig de 1942, paracaigudistes txecoslovacs emboscaren i feriren de mort al Reichprotektor de Bohemia i Moravia, el temudissim Reinhard Heydrich, organitzador de la Gestapo, del extermini dels jueus europeus i un dels 4 o 5 homes més importants del III Reich (el seu cotxe portava la matrícula SS-3, essent els altres dos primers per a Hitler i Himmler). Les repercussions mortals foren terribles, amb centenars de represaliats (en especial al poble de Lidice, on foren assassinats unes 340 persones), però no localitzaren els executors fins que un company seu els va trair, l’infame Karel Čurda.
Els paracaigudistes s’amagaven a la cripta de St. Ciril, montant guardia també a dalt del cor de l’església. El 18 de juny de 1942 de matinada, l’església fou encerclada per uns 800 soldats de les SS. Dins l’església hi havia 7 paracaigudistes, 3 dalt el cor i 4 dormint a la cripta. L’arribada sobtada dels alemanys impedí que els de la cripta poguessin sortir a ajudar als seus companys. Durant sis hores aguantaren els assalts de les SS, sobretot Jan Kubis, Adolf Opalka i Josef Bublik des de dalt del cor, on dominaven tot l’interior de l’església. Tots foren morts en combat, tot i que mataren a uns 14 alemans, i en feriren una trentena més. Un cop la nau de l’església estava en mans nazis, aquests localitzaren l’entrada a la cripta, però era massa petita per poder assaltar-la. Així que finalment inundaren el soterrani amb manegues dels bombers per l’única finestra de la cripta, previament ametrallada per a impedir que els paracaigudistes s’hi poguessin acostar. Aquests intentaren fugir excavant un forat fins les clavegueres, però el creixent nivell d’aigua i la voladura d’una segona entrada a la cripta acabà amb les seves opcions. Tots es suicidaren per no caure vius en mans dels nazis: Josef Gabzic, Josef Valcik, Jan Hruby i Jaroslav Sbarc.
Avui en dia, la cripta i tot l’edifici és un santuari molt emotiu, i de nou torna a ser catedral ortodoxa, també (per cert, originariament era una església catolica, però el 1930 fou venguda a l’exglésia ortodoxa, molt minoritaria a Txequia). Diverses pel·licules mostren el setge de St. Ciril i Metodi, notablement Operation Daylight (1975) i Anthropoid (2016).
ca.wikipedia.org/wiki/Operaci%C3%B3_Antropoide
www.prague.eu/en/object/places/442/cathedral-church-of-st...
www.katedrala.info/index.php/galerie-katedraly
www.army.cz/images/id_7001_8000/7419/assassination-en.pdf
Una escena del combat a Anthropoid (2016):
www.youtube.com/watch?v=_TLiRxwFCk0
I a Operation Daybreak (1975):
www.youtube.com/watch?v=mAWgbmluk34&t=194s
I crec que a la txecoslovaca Atentát (1965):
www.youtube.com/watch?v=ipoGy1XadYw
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This is the crypt were the last czechoslovak paras entrenched themselves after the upper church had fallen in German hands. The Germans couldn't get in, and they tried to flood the crypt with water. As the water level rose and the SS blown up a stone slab to enter the crypt, the paras killed themselves. Now it's a memorial to the martyrs. Here are Josef Gabcik, who tried to kill Heydrich with his Sten gun (but it jammed), and Jan Kubis, who thrown a grenade that wounded Heydrich. The nazi tyrant later died in the hospital.
This rather mundane baroque church in Prague is in fact a cathedral, an orthodox one, St. Cyril and Methodius. But it is what happened here in WW2 that makes this place one of the most important and dramatic places in czech and slovak XX Century. On May 27th, 1942, czechoslovak paras killed the Reichprotektor of Bohemia and Moravia, Reinhard Heydrich. He was one of the 4 or 5 top nazi leaders, organizer of the Gestapo and of the Holocaust. In fact, his car, where he was mortally wounded, had the SS-3 plate (the 1 was for Hitler and the 2 for Himmler). The nazi repprisal was terrible, with thousands of imprisoned people, hundreds murdered (notably in the razed to the ground Lidice, where 340 were murdered). But the nazis failed to locate the paras. Until a traitor told them a lead that ultimately gave the hidding place: St. Cyril and Methodius cathedral.
The paras were hidding in the cript, but also kept guard up in the choir, which dominated the nave of the church. On the early morning of June 18th, 1942, the building and several streets were surrounded by 800 German soldiers and SS. Seven paras were in the church, four sleeping in the cript and three, Jan Kubis, Adolf Opalka and Josef Bublik, guarding the choir. When the SS entered the nave, the battle began. The siege lasted 6 hours, and all the paras were killed or comited shoot themselves. But they killed at least 14 Germans, according to some sources, and wounded maybe 30. With the nave secured, the nazis located the entrance into the cript but was so small that was impossible to attack. So they put firemen hoses down the only tiny window of the cript and blown up a large stone leading to the cript. The paras tried to dig a hole into the sewers but was too late and finally commited suicide to avoid being captured alive: : Josef Gabzic, Josef Valcik, Jan Hruby and Jaroslav Sbarc.
Nowadays the cript and all the building is a national sanctuary, a quite moving place when you know the dramatic events that happened there. Several movies show in a quite spectacular way the siege and assault, most notably Operation Daylight (1975) and Anthropoid (2016).
en.wikipedia.org/wiki/Ss._Cyril_and_Methodius_Cathedral
www.prague.eu/en/object/places/442/cathedral-church-of-st...
www.katedrala.info/index.php/galerie-katedraly
www.army.cz/images/id_7001_8000/7419/assassination-en.pdf
Here are the scenes of Anthropoid (2016) and Operation Daybreak (1975):
www.youtube.com/watch?v=_TLiRxwFCk0
www.youtube.com/watch?v=mAWgbmluk34&t=194s
I presume this is the scene in the czechoslovak film Atentát (1965):
I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.
St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.
We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.
Dead on time the warden arrived, and was very welcoming indeed. They loved to have visitors she said. Now I know how to contact them, I can see that.
She was clearly proud of the church, and rightly so, most impressive was the south chapel with a pair of kneeling couples on top of chest tombs, staring at each other for all eternity.
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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.
After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.
This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.
The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.
In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).
The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.
www.faversham.org/community/churches/throwley.aspx
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TQ 95 NE THROWLEY THROWLEY
ROAD
(west side)
4/181
Church of
St. Michael
and All
24.1.67 Angels
GV I
Parish Church. C12, C13 north chapel, C14 south chapel, C15
nave arcades, restored 1866 and tower heightened. Flint and
plain tiled roofs. Chancel, north and south chapels, nave and
aisles, south tower and south porch. West doorway, C12, with
attached shafts and 3 orders, the outer panelled with X's on
circles, the centre roll moulded with the blocks offset and
alternately projecting, the inner with more X's on circles,
with 2 offset buttresses either side of doorway. South aisle
with plinth, string course and parapet, 3 offset buttresses and
C15 Perpendicular windows. South tower of 2 stages with square
south-eastern stair turret and C16 moulded brick surround
sundial. Water spouts on each corner in the 4 Evangelical
symbols. Half-timbered C19 south porch, south doorway with
rolled and double hollow chamfered surround, and outer surround
with label and quatrefoil spandrels. North aisle under 1 roof
with nave, with C15 fenestration, and C19 chimney to north west.
North and south chapels with C14 cusped 'Y' tracery fenestration,
with hollow chamfered and ogee drip moulds. Chancel east
window C19 curvilinear style. Interior: 2 bay nave arcades,
double hollow chamfered arches on octagonal piers. C12 single
arches to north and south eastern bay, that to south recessed
and double chamfered through tower wall. Barrel roof.
Chamfered arch on corbels from south aisle to tower, itself
with corbel table on south wall, and triple arch through to south
chapel C19 chancel arch. Chancel with 2 bay double chamfered
arcade to north chapel with octagonal capitals on round piers, and
single double chamfered arch on round responds to south chapel.
Fittings: hollow chamfered piscina and sedile in window reveal in
chancel and cusped recess in north wall. C19 reredos and altar
rail. Cusped piscina and four centred arched wall recess in
south chapel. Choir stalls, some C19, the four on the south C15
with carved misericords. Monuments: south chapel C16 chest tomb,
with shields in panelled sides, moulded plinth, lozenge-shaped
flowers, fluting and frieze. Chest tomb, Sir George Sondes,
Earl of Faversham, d.1677. Black marble with blank panelled sides.
Inscription on the top panel (made 1728). Standing monument,
Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with
achievements on side panels. Kneeling alabaster figures of
knight and his Lady on opposite sides of central prayer desk,
carrying inscription. Mary Sondes, died 1603. Smaller and
identical to Sir Thomas Sonde's monument, with 2 adults and 2
infant sons and daughters on either side of sarcophagus. Misplaced
scrolled and enriched carved achievement on floor to east of
those monuments. Wall plaque, Captain Thomas Sondes, died 1668.
Black and white marble, with draped apron, swagged and draped
sides with military trophies. Broken segmental pediment with male
bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).
North chapel C16 chest tomb, moulded plinth, panelled sides with
shields (1 panel reset in south chapel south wall). Early C16
tomb recess with moulded jambs, with rope work, crenellated,
with late Perpendicular motifs in spandrels, and tomb with 3
panelled recesses with 2 shields on each panel. Wall plaque,
Charles Harris, d.1814, by Flaxman. White plaque on white
background; dead soldier lifted from the grave by Victory, with
palms and cannon in background. Statue, to George, first Lord
Harris, life size soldier with sword and plans, on four foot
plinth. By George Rennie, 1835. Nave, wall plaque, Stephen
Bunce, d.1634. Black plaque on coved base and apron. Foliated
sides. Scrolled nowy cornice and pediment with achievement.
(See B.O.E. Kent II, 1983, 476-7.)
Listing NGR: TQ9883454254
www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...
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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.
THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)
There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.
About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.
THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.
The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.
In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.
MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.
THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:
Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.
On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.
After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.
In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.
William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.
His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.
He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.
Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.
Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.
The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.
WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.
On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.
On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.
There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.
BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)
John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.
IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.
There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.
The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)
In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.
The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)
This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.
The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.
THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.
The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.
Charities.
CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.
THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.
The poor constantly relieved are about thirty, casually double that number.
THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.
There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.
In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.
It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.
An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.
¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.
A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)
It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.
In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.
Earth gravity = 0. Me = 1000
Yeah, this is big brain time.
EDIT: if you are going to use that trick, make sure to replace the round hollow plate by its 1x2 counterpart , otherwise this lacks sturdyness!
Mono version - which has most impact I do wonder
St Peter’s Church, Parham is one of the five Wildbrooks Churches
Recent archaeological investigations indicate that the south wall of the church probably dates from c.1150, but the north wall, with its thirteenth-century arcades, had a north aisle, which was demolished when the building was largely rebuilt in the early 1800s
The tower, which dates from the rebuild, is a strange mixture of architectural styles.
At the south east corner is a mortuary chapel, built from recycled stone. Robert Palmer, who died on 14th May 1544, had asked to be buried in Parham Church and “that a chapel should be built adjoining [ the] choir there or chancel and over me a tomb be made as mine executors shall think meet and honest for a remembrance of me to be had”. That chapel still exists and is now the vestry. No trace of his monument remains.
The church seats nearly 80 people in high box-pews. These, the pulpit and the screen are Georgian. The Squire’s pew is recognisable by its private fireplace.
The original church had a steeple, recorded in 1665, and was roofed with Horsham stone, as mentioned in a presentment of 1641. In 1662 it had no pews but only a pulpit.
The mid fourteenth-century lead font has horizontal rectangular panels, enclosing the legend “+ IHC Nazar” [Jesus of Nazareth] in Lombardic letters. In the spaces between the panels are small shields bearing gyronny within a bordure charged with roundels – the arms of Andrew Peverell, knight of the shire in 1351. Lead fonts are exceptionally rare – there are only 29 in England – but Sussex has two more, at Edburton and Pyecombe.
www.parhaminsussex.co.uk/other-information/st-peters-church/
1980 BMW 635CSi auto.
Supplied by Sorensons of King's Lynn (BMW).
Last MoT test expired in August 2012.
Anglia Car Auctions, King's Lynn -
"Offered on behalf of the executors, this 87,515 mile example was supplied new by Sorensons of King's Lynn, now Listers. Obviously cherished by it's four owners, the car has not been used since, we believe, around 2012 and will require a degree of straight-forward mechanical recommissioning. The brakes are sticking and a fuel line has split rendering it impossible for us to start the car. However, the engine turns freely and attempts to fire. Complete with full original tool-kit, torch and service wallet.
Chassis number: WBA53420005585364
Result inc Premium: £10,070."
The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.
Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.
A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.
Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.
She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.
In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.
On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.
Fawcett's record-breaking poster that sold 12 million copies.
The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.
Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.
Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.
The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.
The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.
In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.
In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.
The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.
In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.
She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.
Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.
That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.
In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.
In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.
Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.
Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.
From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.
From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.
On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.
Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.
Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.
Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.
In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.
A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.
The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.
The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.
Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.
Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.
The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.
Larry King said of the Fawcett phenomenon,
TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.
Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.
Kate Jackson said,
She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.
She is buried at the Westwood Village Memorial Park in Los Angeles.
The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.
The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.
In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31
So, this is the structure of the model, based on
Fabrice Neaud's midscale Executor experiment. To perfectly align the underside hull (which is 10 degree angled), the triangular shape of my structure had to be as close as possible as 13.85 degrees but not above (determined empirically using Stud.io):
- A wedge plate 1x4 makes a 14.05 degree angle (which is not narrow enough and result in almost a 1 stud gap between both underside hull parts, near the thrusters).
- This structure makes a narrower 13.57 degree angle.
- A mixed use of friction and standard pins will allow to compensate the 13.85-13.57 degree difference without stressing the parts.
The center of the structure is not attached to the angled sides due to the angle, but it is firmly held together using a simple trick: the angled sides have protruding plates above and below the center of the structure.
This is surprinsigly sturdy this way and does not bend, and I am using only 3 hinges 1x4 plates. This further reduced the gap between upper and lower hulls, now being at 16 LDU (2 plates thickness).
EDIT: the underside hull is attached and it's quite good. I lowered also the ventral bay by 8 LDU (1 plate) to add more details. What remains is all the boring stuff now: side greebles.
> Since I don't have much space I think I am just gonna align like 30 hinge brick top plates (3938).
Once done, one last bricklink order and I should be able to complete this.
The weekend.
At last.
And for the weekend, Saturday was to bring sunshine, but Sunday would bring wind and rain.
But, as always, no one told Mother Nature, and Saturday was graced with thick and dark cloud.
But first: shopping.10% of our weekly shop goes on stuff for the local foodbank. Such things should not be needed, but it is.Around the store, just about everything is well stocked, except the fresh fruit which like it has been most of the year, thin on the ground.
Back home to put our goodies away, the to have two breakfasts, forst one of fruit, then followed by bacon.
Same every week.
And then: time to go out.
I am posting my top 50 Kent churches on Twitter, or until that site crashes, and I realise I needed to go back to a couple: Newnham and Wychling. Which meant on the way I could stop to look at Stone Chapel beside what used to be Watling Street, now the old A2, between Faversham and Sittingbourne.
A half hour run up the A2, through Faversham. Jools dropped me off at the junction opposite the chapel, and I have to scamper across the main road.
That done.
I have wanted to visit Stone Chapel just outside of Faversham for some while, but parking here is very difficult.
Yesterday, with the plan to visit Newnham and Doddington, it seemed too good an opportunity to visit the ruin.
You can see the remains from the old A2, Watling Street, and doesn't look that much, but worth visiting for the project, I thought.
In fact, close up it appears to be part Roman or made with Roman remains, the nave walls on both side have layers of clearly Roman tiles.
I am currently reading an archaeological paper which doubts the conclusions reached on the English Heritage site.
It is a less travelled path across the fields to the copse with the ruins in front. The field had been left fallow, so was full of Annual Mercury, Common Groundsel and a few Shepherd's Purse.
Straight away the courses of red Roman tiles were obvious, and even to me, seemed to form a square. The rest of the church was built of flint, and is crumbling still. Not bad for ruins of a building abandoned in the 1530s.
Ferns grow out of the mortar, quite a rare ecosystem here in Kent.
The stone altar is still in situ in the Chancel, or what remains of it. A step leads down into the nave, and was worn with steps of nearly a thousand years of use.
An amazing an mysterious place.
I walk back over the field, wait to cross the road and join Jools back in the car. From here it was a ten minute drive to Newnham where I was pretty sure the church would be open.
Outside, you can't tell how dull and gloomy it is, but inside a church, then you can tell. In the church, it was dark, almost night, but the camera found things to focus on until I found the lightswitches.
The church has no stained glass, and few memorials, but otherwie a few things to see. But good to have visited the first church and it was open.
Next up it was one of my favourites: Doddington.
A couple of miles further on, and up the hill is the gruesomely dedicated The Beheading of St John the Baptist, though named for the feast day rather than the even itself.
A walk over the litter-strewn and narrow lane, and into the churchyard, where the low clapboarded tower is wonderful in itself.
But inside an unusual double squint, wall paintings of St Francis and St John the Baptist, a couple of fresh looking hatchings, a realy excentric roal coat of arms of an unknown monarch, but remarkable. In the churchyard, the wardens have worked with Plantlife to create fine wildflower meadows in the churchyard, turning God's Acre into something to support our native flora and fauna.
I take 150 or so shots, then walk back to the car, and take Jools to the next target: Wychling.
Wychling is a remote church, pretty much without a village, but the church lays back from the road, through a meadow and then through the bare churchyard, the church with its tower hidden by mature trees.
The website said it would be open, but I had my doubts, and I was proven right as the porch door was locked.
So, it was a long walk back to the car where Jools was waiting.
Our final call was to be Hollingbourne, which I seem to remember my last visit was cut short.
So, it was just a five mile trip over the downs, so set the sat nav, and off we went. Thing is, roads round there are narrow, and partially flooded after the week of rain, so it was quite the adventure, and a couple of times we said, "NZ Tony would love this", as we went down another road barely wider than the car.
The other thing I should mention is that there was a fire at one of the oldest pubs in Kent, in the village. Not that I thought that would be a problem.
But it was, as the road past the hotel is closed while they try to secure the building.
No matter, if we could get to the M20, turn off at Leeds, then there was another way into the village there.
So, down gravel strewn lanes, and others so covered in fallen leaves they were not really roads at all. To the A249, down the hill and onto the motorway for one junction.
We turned off and went under the motorway and HS1, only to find the road through the village closed, for different reasons, this side too. Looking at the map, the chuch and a few houses sit isolated in the middle of the two closed roads. Nowhere to park.
I gave up, and we decded to drive home.
Back to the motorway, and cruise back to the coast through Ashford, Hythe and Folkestone.
No firebombing this time, though.
Back in time for the second half of the League 1 game featuring the Old Farm Enemy, Ipswich. I turned it on as Town scored their second goal, and so turned it off again.
That's not how its supposed to happen.
And due to the world cup cancelling out a month of Prem and Championship football, there was no commentary on the radio, nor no videoprinter.
All a bit dull.
We have dinner: tacos and home made spiced chicken tenders and salsa.
It was spicy, but not too spicy.
And after that, no football to watch on the tellybox, so we just have Craig on the wireless, playing funk and soul.
Jools beats me at crib.
And that was it.
Phew.
--------------------------------------------------
An enchanting church set in a wooded churchyard on the edge of a steep valley. The building displays much of medieval interest due to minimal nineteenth-century interference. The most important feature is the small stone prayer desk next to the westernmost window of the chancel. This window is of the low side variety - the desk proving the window's part in devotional activities. The nearby thirteenth-century lancet windows have a series of wall paintings in their splays, while opposite is a fine medieval screen complete with canopy over the priests' seats. There is also an excellent example of a thirteenth-century hagioscope that gives a view of the main altar from the south aisle, which was a structural addition to the original building. The south chancel chapel belonged to the owners of Sharsted Court and contains a fine series of memorials to them. Most of the stained glass is nineteenth century - some of very good quality indeed. Outside there is a good tufa quoin on the north wall of the nave and a short weatherboarded tower.
www.kentchurches.info/church.asp?p=Doddington
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DODDINGTON.
NEXT to that of Linsted south-eastward, is the parish of Doddington, called in the record of Domesday, Dodeham.
THIS PARISH is about two miles across each way, it lies the greatest part of it on the hills on the northern side of the high road leading from Faversham through Newnham valley over Hollingborne hill towards Maidstone. It is a poor but healthy situation, being much exposed to the cold and bleak winds which blow up through the valley, on each side of which the hills, which are near the summit of them, interspersed with coppice woods, rise pretty high, the soil is mostly chalk, very barren, and much covered with slint stones. The village stands on the road in the valley, at the east end of it is a good house, called WHITEMANS, which formerly belonged to the family of Adye, and afterwards to that of Eve, of one of whom it was purchased by the Rev. Francis Dodsworth, who almost rebuilt it, and now resides in it. Upon the northern hill, just above the village, is the church, and close to it the vicarage, a neat modern fashed house; and about a mile eastward almost surrounded with wood, and just above the village of Newnham, the mansion of Sharsted, a gloomy retired situation.
Being within the hundred of Tenham, the whole of this parish is subordinate to that manor.
At the time of taking the above record, which was anno 1080, this place was part of the possessions of Odo, the great bishop of Baieux, the king's half brother; accordingly it is thus entered, under the general title of that prelate's lands:
The same Fulbert holds of the bishop Dodeham. It was taxed at one suling. The arable land is . . . . . In demesne there is one carucate and seventeen villeins, with ten borderers having two carucates. There is a church, and six servants, and half a fisbery of three hundred small fish, and in the city of Canterbury five houses of seven shillings and ten pence. In the time of king Edward the Confessor it was worth ten pounds. The bishop let it to ferm for ten pounds, when Fulbert received it, six pounds, and the like now . . . . . Sired held it of king Edward.
Four years after which the bishop of Baieux was disgraced, and all his effects were consiscated to the crown.
PART OF THE above-mentioned estate was, most probably, THE MANOR OF SHARSTED, or, as it was antiently called Sabersted, the seat of which, called Sharsted-court, is situated on the hill just above the village of Newnham, though within the bounds of this parish.
This manor gave both residence and name to a family who possessed it in very early times, for Sir Simon de Sharsted died possessed of it in the 25th year of king Edward I. then holding it of the king, of the barony of Crevequer, and by the service of part of a knight's see, and suit to the court of Ledes.
Richard de Sharsted lies buried in this church, in the chapel belonging to this manor. Robert de Sharsted died possessed of it in the 8th year of king Edward III. leaving an only daughter and heir, married to John de Bourne, son of John de Bourne, sheriff several years in the reign of king Edward I. whose family had been possessed of lands and resided in this parish for some generations before. In his descendants this estate continued down to Bartholomew Bourne, who possessed it in the reign of Henry VI. in whose descendants resident at Sharsted, (who many of them lie buried in this church, and bore for their arms, Ermine, on a bend azure, three lions passant guardant, or) this estate continued down to James Bourne, esq. who in the beginning of king Charles I.'s reign, alienated Sharsted to Mr. Abraham Delaune, merchant, of London, the son of Gideon Delaune, merchant, of the Black Friars there, who bore for his arms, Azure, a cross of Lozenges, or, on a chief gules, a lion passantguardant of the second, holding in his dexter paw a fleur de lis; which was assigned to him by William Segar, garter, in 1612, anno 10 James I.
He resided at Sharsted, in which he was succeeded by his eldest son, Sir William Delaune, who resided likewise at Sharsted, where he died in 1667, and was buried in Doddington church. He was twice married; first to Anne, daughter and only heir of Tho. Haward, esq. of Gillingham, by whom he had an only daughter Anne, heir to her mother's inheritance. His second wife was Dorcas, daughter of Sir Robert Barkham, of Tottenham High Cross, (remarried to Sir Edward Dering) by whom he had a son William, and a daughter Mary, married to colonel Edward Thornicroft, of Westminster.
William Delaune, esq. the son, succeeded to this estate, and was knight of the shire for this county. He died in 1739, s.p having married Anne, the widow of Arthur Swift, esq. upon which it passed by the entail in his will to his nephew Gideon Thornicroft, son of his sister Mary, widow of Edward Thornicroft, esq. by whom she had likewise three daughters, Dorcas, Elizabeth, and Anne. This branch of the family of Thornicroft was situated at Milcomb, in Oxfordshire, and was a younger branch of those of Thornicroft, in Cheshire. John Thornicroft, esq. of London, barrister-at-law, was younger brother of Edward Thornicroft, esq. of Cheshire, and father of John, for their arms, Vert, a mascle, or, between four crasscreated a baronet of August 12, 1701, and of colonel Edward Thornicroft above-mentioned. They bore for their arms, Vert, a mascle, or, between four crosscroslets, argent. Lieutenant-colonel Thornicroft was governor of Alicant, when that fortress was besieged in 1709, and perished there, by the explosion of a mine. (fn. 1)
Gideon Thornicroft, esq. possessed this estate but a small time, and dying in 1742, s.p. and being the last in the entail above-mentioned, he devised it by his will to his mother, Mrs.Mary Thornicroft, who dying in 1744, by her will devised to her two maiden daughters, Dorcas and Anne, this manor and seat, as well as all the rest of her estates, excepting Churchill farm in Doddington, which she gave to her second daughter Elizabeth, who had married George Nevill, lord Abergavenny, who dieds.p. and lady Abergavenny, in her life-time, made a deed of gift of this farm, to her son Alured Pinke, esq. who now owns it.
They possessed this estate jointly till the death of Mrs.Dorcas Thornicroft, in 1759, when she by will devised her moiety of it, as well as the rest of her estates, except the Grange in Gillingham, to her sister Mrs. Anne Thornicroft, for her life, remainder in tail to her nephew Alured Pinke, barrister-at-law, son of Elizabeth, lady Abergavenny, her sister by her second husband Alured Pinke. esq. barrister-at-law, who had by her likewise a daughter Jane, married to the Rev. Henry Shove; upon this Mrs.Anne Thornicroft before-mentioned, became the sole possessor of this manor and estate, in which she resided till her death in 1791, æt. 90, upon which it came to her nephew, Alured Pinke, esq. before-mentioned, who married Mary, second daughter of Thomas Faunce, esq. of Sutton-at-Hone, by whom he has one son Thomas. He bears for his arms, Argent, five lozenges in pale, gules, within a bordure, azure, charged with three crosses pattee, fitchee. He resides here, and is the present possessor of this seat and estate. A court baron is held for this manor.
DOWNE-COURT is a manor in this parish, situated on the hill, about half a mile north westward from the church. In the reign of king Edward I. it was in the possession of William de Dodington, who in the 7th year of it did homage to archbishop Peckham for this manor, as part of a knight's fee, held of him by the description of certain lands in Doddington, called Le Downe. His descendant Simon de Dodington, paid aid for it in the 20th year of king Edward III. as appears by the Book of Aid; from him it passed into the family of Bourne, of Bishopsborne, whose ancestors were undoubtedly possessed of lands in this parish, (fn. 2) so early as the reign of Henry III. for archbishop Boniface, who came to the see of Canterbury in the 29th year of it, granted to Henry de Bourne, (fn. 3) one yoke of land, in the parish of Dudingtune, belonging to his manor of Tenham, which land he held in gavelkind, and might hold to him and his heirs, of the archbishop and his successors, by the service of part of a knight's fee, and by rent to the manor of Tenham.
His descendant John de Bourne lived in the reign of king Edward I. in the 17th year of which he obtained a charter offree warrenfor his lands in Bourne, Higham, and Doddington, after which he was sheriff in the 22d and the two following years of it, as he was again in the 5th year of king Edward III. His son John de Bourne married the daughter and sole heir of Robert de Sharsted, by which he became possessed of that manor likewise, as has been already related, and in his descendants Downe-court continued till about the latter end of king Henry VI.'s reign, when it was alienated to Dungate, of Dungate-street, in Kingsdown, the last of which name leaving an only daughter and heir, she carried it in marriage to Killigrew, who about the beginning of Henry VIII. ending likewise in two daughters and coheirs, one of whom married Roydon, and the other Cowland, they, in right of their respective wives, became possessed of it in equal shares. The former, about the latter end of that reign, alienated his part to John Adye, gent. of Greet, in this parish, a seat where his ancestors had been resident ever since the reign of Edward III. for he was descended from John de Greet, of Greet, in this parish, who lived there in the 25th year of that king's reign. His grandson, son of Walter, lived there in the reign of Henry V. and assumed the name of Adye. (fn. 4) This family bore for their arms, Azure, a fess dancette, or, between three cherubins heads, argent, crined of the second; which coat was confirmed by-Sir John Segar, garter, anno 11 James I. to John Adye, esq. of Doddington, son and heir of John Adye, esq. of Sittingborne, and heir of John Adye, the purchaser of the moiety of this manor.
He possessed this moiety of Downe court on his father's death, and was resident at Sittingborne. He died on May 9, 1612, æt. 66, and was buried in Doddington church, leaving issue by Thomasine his wife, daughter and coheir of Rich. Day, gent. of Tring, in Hertsordshire, one son John, and five daughters.
John Adye, esq. the grandson of John, the first purchaser, succeeded at length to this moiety of Downe-court, and resided there, during which time he purchased of the heirs of Allen the other moiety of it, one of which name had become possessed of it by sale from the executors of Cowland, who by his will in 1540, had ordered it to be sold, for the payment of debts and legacies. He died possessed of the whole of this manor and estate, in 1660, and was buried in Nutsted church, of which manor he was owner. He left by his first wife several children, of whom John, the eldest, died s.p. Edward, the second, was of Barham in the reign of king Charles II. under which parish more of him and his descendants may be seen; (fn. 5) and Nicholas was the third son, of whom mention will be made hereafter. By his second wife he had Solomon, who was of East Shelve, in Lenham, and other children.
Nicholas Adye, esq. the third son, succeeded to Downe-court, and married Jane, daughter of Edward Desbouverie, esq. Their eldest son, John Adye, succeeded to this manor, at which he resided till he removed to Beakesborne, at the latter end of Charles II.'s reign, about which time he seems to have alienated it to Creed, of Charing, in which name it continued till it was sold to Bryan Bentham, esq. of Sheerness, who devised it to his eldest son Edward Bentham, esq. of the Navy-office, who bore for his arms, Quarterly, argent and gules, a cross story counterchanged; in the first and fourth quarters, a rose, gules, seeded, or, barbed vert; in the second and third quarters, a sun in its glory, or; being the arms given by queen Elizabeth to Thomas Bentham, D.D. bishop of Litchfield, on his being preferred to that see in 1559, the antient family arms of Bentham, of Yorkshire, being Argent, a bend between two cinquefoils, sable. Since his death this estate has by his will become vested in trustees, to fulfil the purposes of it.
Charities.
JOHN ADYE, ESQ. gave by will in 1660, 40s. to the poor of this parish, payable yearly out of Capel hill, in Leysdown, the estate of Samuel-Elias Sawbridge, esq.
AN UNKNOWN PERSON gave 20s. per annum, payable out of an estate in Doddington, late belonging to the earl of Essingham, and now to the Rev. Francis Dodsworth.
TEN SHILLINGS are paid yearly at Christmas, to the poor of this parish, by the lessee of the parsonage by the reservation in his lease.
THE REV. MR. SOMERCALES, vicar of this parish, by his will gave an Exchequer annuity of 14l. to be applied to the instructing of poor children in the Christian religion.
FORTY HILLINGS are payable yearly at Michaelmas, out of a field formerly called Pyding, now St.John Shotts, belonging to Alured Pinke, esq. towards the repair of the church.
A PERSON UNKNOWN gave for the habitation of three poor persons, a house, now containing three dwellings.
The poor constantly relieved are about forty-five.
DODDINGTON is within the ECCLESIASTICAL JURISDICTION of the dioceseof Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. John Baptist, consists of a body and chancel, with a chapel or chantry on the south side of it, belonging to the Sharsted estate. At the west end is a low pointed steeple, in which are six bells. About the year 1650, the steeple of this church was set on fire by lightning, and much damaged. In this church are memorials for the Swalman's, Nicholson's of Homestall, and the Norton's, and in the south, or Sharsted chancel, there is a black marble of an antique form, and on a fillet of brass round the verge of it, in old French capitals, Hic Jacet Ricardus de Saherstada, with other letters now illegible, and memorials for the Bourne's and Delaune's.
The church of Doddington was antiently esteemed as a chapel to the church of Tenham, as appears by the Black Book of the archdencon, and it was given and appropriated with that church and its appendages, in 1227, by archbishop Stephen Langton, to the archdeaconry. It has long since been independent of the church of Tenham, and still continues appropriated to the archdeacon, who is likewise patron of the vicarage of it.
Richard Wethershed, who succeded archbishop Langton in 1229, confirmed the gift of master Girard, who whilst he was rector of the church of Tenham, granted to the chapel of Dudintune, that the tithes of twenty acres of the assart of Pidinge should be taken for the use of this chapel for ever, to be expended by the disposition of the curate, and two or three parishioners of credit, to the repairing of the books, vestments, and ornaments necessary to the chapel. (fn. 6)
It is valued in the king's books at fifteen pounds, and the yearly tenths at 1l. 10s. In the visitation of archdeacon Harpsfield, in 1557, this vicarage was returned to be of the value of twelve pounds; parishioners sixty, housholders thirty-two.
In 1569, at the visitation of archbishop Parker, it was returned, that the chapel of Doddington used to be let to farm for forty pounds, and sometimes for less; that there were here communicants one hundred and thirteen, housholders thirty-five. In 1640 the vicarage was valued at thirty pounds; communicants one hundred and seven.
¶Archdeacon Parker, at the instance of archbishop Sancrost, by lease, anno 27 Charles II. reserved an additional pension of ten pounds per annum to the vicar. It pays no procurations to the archdeacon. It is now a discharged living in the king's books.
According to the Connecticut Park's website at www.ct.gov/deep/cwp/view.asp?a=2716&q=325204, the estate was "Purchased by the State of Connecticut in 1943 from the executors of Mr. Gillette's will. Gillette Castle and the adjoining property with its fine woodlands, trails, and vistas are now administered for the enjoyment of present and future generations. This apparently would have pleased Gillette, since his will gave specific directions to see that the property did not fall into the hands "of some blithering saphead who has no conception of where he is or with what surrounded." Also see home.howstuffworks.com/eccentric-home-passageway7.htm for interesting background.
See my other Connecticut views at www.flickr.com/photos/bobphoto51/sets/72157624939831020/
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This property represents three eras of African American residence and commerce in Virginia City, from 1867 through 1931. Beginning with Minerva Coggswell and later her sister Parthenia Sneed, continuing with Jack Taylor’s tenure, and ending with Sarah Bickford’s ownership, the history of the property intertwines with not only the rise and fall of the mining town itself, but more particularly the legacy of the African American presence there. The histories of these owners provide a narrative of “personal achievements and social integration of this largely under-represented group of pioneers on Virginia City’s mining frontier.”
Between 1870 and 1880, Virginia City’s African American population was small compared to other minorities such as the Chinese. African American freighter Jack “Jarrett” Taylor was in town as early as 1866, Sarah Bickford arrived in January 1871, and Minerva Coggswell came sometime in the 1870’s.
Born in the 1840’s in Kentucky, Jack or “Jarrett” Taylor resided in Virginia City from 1866 until his death in 1926. After serving as a Union Army stable hand, Taylor made his way to Virginia City by working for a freighting company. He continued freighting on the vital Virginia city-Fort Benton road for the F.R. Merk Company, formerly located in what is now the Pioneer Bar on Wallace Street. Taylor eventually became a successful real estate entrepreneur and by 1875, he owned 160 acres in the Madison Valley. In 1880 Taylor was boarding with African American sisters Minerva Coggswell and Parthenia Sneed. Shortly after Minerva’s death in 1894, Taylor purchased this house from her estate. Sarah Bickford, a prominent local African American businesswoman, cared for Taylor in his final years and served as the executor of his estate.
Sarah Bickford was born a slave in 1852 in North Carolina or Tennessee. Sarah made her way to Virginia City and in 1872 married John L. Brown whom she had three children with. In 1879, Brown abandoned Sarah and their only surviving child, Eva. Sarah soon filed for divorce, stating that John was physically abusive and unwilling to support his family. Bickford then started the New City Bakery & Restaurant in downtown Virginia City. In 1883, Sarah married Stephen Bickford, a white man originally from Maine, prior to Montana’s 1909 miscegenation law prohibiting interracial marriage. In 1888, Stephen purchased two-thirds of the Virginia City Water Company. Stephen died in 1900 from pneumonia leaving Sarah his shares of the water company in his $9,500 estate. In 1902, Sarah purchased the “Hangman’s Building” as the water company’s headquarters. She ultimately bought out her partner in the water company, running the business until her death in July 1931. Sarah Bickford would become an iconic Montana businesswoman for being the first and only African American woman in Montana to own a utility.
The integration of Taylor, Bickford, and other African Americans in the community suggest better race relations in Virginia City than other parts of the country.
A Catedral de Sao Sebastião do Rio de Janeiro ou com é chamada Catedral Metropolitana, foi inaugurada em 1979.
O lancamento da Pedra Fundamental foi no dia 20 de Janeiro de 1964.
Ela foi construinda no Aterro na entao Esplanada Oriunda do desmonte do Morro de Santo Antonio.
Sua forma foi baseada na Espaçonave Apollo 13, para mostrar a Igreja no Futuro.
Nunca olhei essa Catedral com Bons Olhos, neste dia chegamos já no fim da Tarde e não podiamos percorrer seu interior pois já estava escuro e absurdamente não acendem a Luz mesmo ela sendo um ponto de visita turistica para os city tours da cidade, mas confesso que mudei "um pouco" minha opinião em relação a ela, infelizmente Burle Max não esta mais entre nós, pois o trabalho dele seria de grande auxilio para um tratamento paisagistico em seu entorno.
Essa Catedral parece estar sempre no meio de um grande patio de obra, Talvez agora com o aquecimento e crescimento de sua area a coisa pode mudar ou então piorar de vez, na falta de estacionamento para os predios que estão nascendo na vizinhança e seu terreno fique de vez um grande estacionamento o que já o é e autorizado pela propria igreja pois é um estacionamento fechado e pago
No seu Subsolo (que estava fechado), há o Museu de Arte Sacra, com destaque para a fonte usada para batizar os príncipes da Familia Real, a estátua de N.S. do Rosário, o trono de D.Pedro II e a Rosa de Ouro concedida à Princesa Isabel pelo Papa Leão XIII celebrando sua assinatura do Ato de Abolição da Escravatura no Brasil.
Foto: Catedral Metropolitana do Rio de Janeiro - Centro - Rio de Janeiro - Brasil
Nota: Apenas a foto sozinha na ultima sequencia antes da montagem que esta aberta, pois ela já foi postada anteriormente
*********************************************************************************************************************
FORMA ARQUITETÔNICA DA CATEDRAL E SUA SIMBOLOGIA
A tarefa de dar corpo às idéias que o Cardeal Câmara tinha concebido e discutido com o seu secretário particular e futuro executor das obras, Monsenhor Ivo Antonio Calliari, sobre a Catedral, foi confiada ao arquiteto Edgar Fonceca (s.i.c.), professor da PUC do Rio. O engenheiro foi Newton Sotto Maior e o mestre de obras Joaquim Corrêa.
A Catedral tem as seguintes medidas: 75 metros de altura externa e 64 metros de altura interna, 106 metros de diâmetro externo e 96 de diâmetro interno, cada vitral: 64,50 x 17,80 x 9,60 metros; área de 8.000 m2, com capacidade para abrigar 20.000 pessoas em pé ou 5.000 sentadas.
A exemplo de todas as igrejas católicas, também a Catedral do Rio de Janeiro tem como símbolo máximo a cruz. Não é apenas a cruz que paira alguns metros acima do altar-mor, sustentada do teto por seis cabos de aço. A cruz que se impõe é aquela que está na origem do projeto: uma cruz grega, de vastas proporções e feita de material transparente, seria o centro e recheio de um círculo imenso, com trinta metros de diâmetro, símbolo expressivo da presença de Cristo entre os homens.
De que maneira conjugar o círculo e a cruz foi o desafio enfrentado até delinear a Catedral que aí está, de estilo tão diferente de todas as igrejas construídas conforme os padrões convencionais. E esse desafio encontrou resposta e inspiração na pirâmide que os Maias construíram na Península de Yucatan, no México. Na base, a pirâmide é quadrada e larga, mas se estreita a medida em que sobe, até tomar, no topo, a forma de um platô.
Diferentemente das pirâmides dos Maias, ela tem forma circular e cônica para significar a eqüidistância e proximidade das pessoas em relação a Deus, lembrando um pouco também a mitra usada pelos bispos nas cerimônias mais solenes; Deus, - como que "desce" das alturas para vir ao encontro do homem - é simbolizado pela luz que se esparrama dos quatro braços da cruz, à qual domina grande parte do teto e tem o seu prolongamento nos quatro vitrais que se ligam aos pórticos. Aqui, os fiéis são como que acolhidos pelo Cristo que foi enviado pelo Pai, morreu e ressuscitou para a nossa salvação, instituiu a Igreja e enviou sobre ela o Espírito Santo.
Os quatro vitrais, que nos dão impressão de estarem abraçados por fios de betão, são também uma afirmação da fé que está na origem e na finalidade maior da Catedral e estão posicionados conforme os pontos cardeais. Eles simbolizam as quatro notas características da Igreja: Una, Santa, Católica e Apostólica.
Una: Somos o Rebanho do Senhor, nosso único Pastor, cuja Palavra é referencial de vida. A característica da Igreja - Una - está representada pelo Bom Pastor que figura no vitral verde, também à frente de quem entra pelo pórtico principal. Foi Jesus Cristo quem disse: "Importa que haja um só rebanho e um só pastor". Neste vitral são vistos outros símbolos que conduzem à idéia de unidade da fé: a Bíblia, a Mitra dos bispos, a Tiara do Papa e o Cálice da Salvação com a Hóstia Consagrada (direção sul).
Santa: A Igreja é Santa porque o Senhor Jesus Cristo, o Santo dos santos a instituiu, mas também é pecadora porque nós, seus membros, somos imperfeitos. O vitral que representa a característica da Igreja - Santa - está à direita de quem entra na Catedral e inclui São José e Nossa Senhora entre outros santos. A cor que predomina é a vermelha, a mesma que simboliza os dons do Espírito Santo, a terceira pessoa da Santíssima Trindade (direção oeste).
Católica: Todas as pessoas (quatro raças), indistintamente, são chamadas a serem membros da Igreja de Cristo. A terceira característica da Igreja - Católica - está estampada no vitral acima do pórtico da entrada principal, com predomínio da cor azul. A catolicidade da Igreja, isto é, sua universalidade, está expressa nas diversas raças (branca, vermelha, negra e amarela) que o vitral apresenta na parte inferior. Mais acima, estão os símbolos dos quatro evangelistas ( o leão, São Marcos; o touro, São Lucas; o jovem, São Mateus e a águia, São João ) e o globo terrestre encimado com a cruz (direção norte).
Apostólica: Instituída por Cristo, a Igreja honra São Pedro como primeiro Papa, cujos sucessores ocupam sua cátedra em Roma como vigários de Cristo na terra, tendo os Bispos como colaboradores diretos, pois são sucessores dos demais Apóstolos e devem pastorear o rebanho a eles confiado em comunhão com o sucessor de Pedro. O vitral que representa a quarta característica da Igreja - Apostólica - encontra-se à esquerda de quem entra na Catedral. Sobre tons de fundo amarelo aparece São Pedro, com as chaves; mais abaixo, dois personagens simbolizando os sucessores de Pedro (papa) e dos demais apóstolos (bispo); mais acima podem ser vistos os instrumentos da paixão de Cristo, sobretudo a cruz em que Ele morreu e da qual pende o lençol no qual foi envolto o seu corpo. O lençol está em forma de M para lembrar a especial participação de Maria, mãe de Jesus, no mistério da Redenção operada por seu filho (direção leste).
Para saber mais sobre sua historia, caracteristicas e ver fotos melhores clique AQUI e navegue no site da catedral
Not only was its owner dead by 1948, the building was close to death too. Following the evacuation of the British army from Dunkirk, the castle was one of the many building requisitioned around the country and used as barracks to house the troops in. The destruction wrought by a combination of the British army and a dry rot infestation, left it, in the opinion of some surveyors, beyond saving. Douglas Ainslie’s executors sold Delgatie in 1948 - to the Countess of Erroll.
The Countess of Erroll presented Delgatie to Capt. John Hay, although I have yet to discover why she did! John Hay (1906 - 1997), known universally as Jock, was a somewhat eccentric man. He was a Shetland laird and former officer in the Indian army, while at the same time managing to be a strong socialist and a Scottish Nationalist. He would have liked the Scotland of today!
Jock Hay's obituary in the Scottish Herald tells the story of his time as an officer on the Indian North-west frontier during the 1930s (before the existence of Pakistan of course).
"While commanding a fort on the Afghan border, he was involved in culinary fraternisation with the enemy! According to his version, he noticed, after some weeks of desultory hostilities, that the fort he was shelling flew a flag which suggested that its commander was, like himself, a Mason of high degree. A runner was dispatched with a white flag and in due course the Afghan warlord came to dinner. He was indeed a Mason. Jock could not offer much in the way of good food but he had an inexhaustible supply of excellent whisky, much appreciated by his Moslem guest. The enemy reciprocated with a lavish dinner of roasted goat and, Jock hinted, with the favours of his harem. The two conspirators agreed as brother Masons, to stop endangering each other's chaps and for several months enjoyed convivial visits where they concocted fictitious reports of imaginary battles, duly dispatched to HQ in Kabul and Peshawar."
Captain Hay and his wife Everild spent the next forty years lovingly restoring Delgatie, gradually selling off his land in the Shetlands to finance the work. He named one of the bedrooms Attock Fort, after the fort he had commanded on the Khyber Pass! With the castle habitable again, he went on to establish the Clan Hay Centre here and opened the castle to the public in 1994. When he died aged 91 in 1997, he left the castle and estate to the Delgatie Castle Trust, whose role is to maintain Delgatie as it was during the Captain's life.
1965 Jaguar E-type 4.2 FHC.
Anglia Car Auctions, King's Lynn -
"V5 Present
MoT Jun 2018 - Expired
Chassis number: 1E20313
Offered on behalf of the executors. Purchased by the vendors in 2016 following an extensive restoration carried out between 2012 & 2015 by the previous owner. This included a replacement engine by Jim Stokes in 2015 at a cost of £11k & the interior re‑trim in grey leather by Rawles Motor Sport at a cost of £6k. Offered in 'semi‑lightweight' specification, with the complete bonnet and lower panel, front wings, side doors and under‑bonnet panels being made of aluminium. The copy Heritage certificate confirms that the car was supplied to Henlys, London where the car was sold a month later. It comes complete with an extensive photographic album, a large quantity of invoices from the late 1980s/1990s & then from 2010 to 2017, various MoT's some dating from the 1990s, older V5s & spare keys. 6 registered owners. 66,995 recorded miles."
Sold for £67,840 including premium.
Ladies and gentlemen, friends and fellow builders!
I´m very proud to present you my Executor after 2 years of building, troubles, problems and so on. But I had very much fun to design Darth Vader's flagship. As I began to design the first of fifth versions, I was a bad Lego builder. With the time I built better and better and the result you see here. So a long way is going to an end, now.
Now some facts about my Executor:
Large: 2,04m long
Pieces: I don´t know the number of parts, but I can say that this are much over 10000 bricks
weight: I haven´t a scales, which is big enough to weight my ship, but I can´t carry it alone, so it must weight over 30 kilogramms.
Time of building: over 2 years and over 2000 hours (no gag)
Maybe you are a bit shock about the fact that this is complete build by my own, a 16 years old german boy. So now the pictures of the Super Star Destroyer:
Thomas Pynchon - The Crying of Lot 49
Perennial Books, 1990
Cover Illustration © Mark Penberthy
"Oedipa Maas is made the executor of the estate of her late boyfriend, Pierce Inverarity. As she diligently carries out her duties, Oedipa is enmeshed in what would appear to be a worldwide conspiracy, meets some extremely interesting characters, and attains a not-inconsiderable amount of self-knowledge."
1988 Volkswagen Polo CL 3-door.
1272cc.
East Anglian Motor Auctions, Wymondham -
"Selling on behalf of executors. Estimate: £800 - £1200."
Sold for £1250 plus premium.
The third Ida Rentoul Outhwaite Children's Library Stained Glass Window features the excerpt from a poem; "While underneath in phantom shells, the fairy sailors go, and shining o'er the silent dells, the fairy beacons glow". It, and the painted panel above come from "Fairy Islands" from "Elves and Fairies" published by Thomas Lothian in Melbourne in 1910. The book illustration, much more Art Nouveau in influence than any of the others, is rich with night time blues. Yet the stained glass panel featuring six faeries riding down a river in nautilus shells beneath a silvery full moon, has highlights of pink and golden yellow. The girl faeries all wear Edwardian empire line dancing dresses, such as Isadora Duncan and Anna Pavlova wore, with belts of trailing yellow flowers. Whilst the water looks tranquil enough, the faeries are obviously moving swiftly down the river as their hair and dresses blow in the breeze, and the pink heath sprigs they carry all bend to the wind. The silhouettes of narrow gum trees stand against a full moon glimpsed between two steep banks.
In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.
Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.
The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.
I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.
Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
St Mary, Diss, Norfolk
Gather ye rosebuds while ye may,
Old Time is still a-flying:
And this same flower that smiles to-day
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,
And while ye may, go marry:
For having lost but once your prime,
You may for ever tarry.
Robert Herrick, To the Virgins, to make much of Time, 1648
If I was asked which town out of all of those I have visited is most typical of Norfolk, then I would certainly say Diss. It is ancient, quirky, predominantly working class. Its people are friendly yet reticent, politically conservative, socially liberal, welcoming but uncompromising. Its architecture is utilitarian, with glimpses of sudden loveliness that make you gasp.
Betjeman loved Diss above all East Anglian towns, and often said he was more proud of being president of the Diss Society than of being Poet Laureate. His friend Mary Wilson, a minor poet and wife of the Prime Minister of the day, had been brought up in Diss; he wrote to her: Dear Mary, yes, it will be bliss, to go with you by train to Diss...
In the 1970s, there was a local lobby for Diss to be the centre of regional government in the east of England, sitting as it does exactly halfway between Norwich and Ipswich. Whitehall smiled and nodded, and then sensibly opted for Cambridge, reasonably considering that one shouldn't allow such things as regional government to get too far out of ones grasp.
Diss became a backwater in the 17th and 18th centuries, and no major fire led to its rebuilding like Bungay, Beccles and other places in the Waveney valley. Because of this, Diss is second only to Sudbury in having more surviving medieval houses than any other town in East Anglia of its size. The other feel of the place is 19th century, because Diss was a railway town, and still is. Tudor and Victorian architecture is a happy combination, and Diss retains narrow streets and cobbled yards that have been bulldozed elsewhere.
More recently, European money has funded a major refurbishing of the Mere area (did I mention that Diss is the only market town in England built around a large lake?) and the town is also taking part in CittaSlow, a European-led project for small towns which aims to keep fast cars and fast food out, making the streets safe for pedestrians, pavement cafes and good food. And right in the heart of the town, hemmed in by narrow streets and leaning 16th century buildings, is the great church of St Mary.
The massive rebuilt Victorian chancel detracts from the nave, but this is also huge, and largely the product of the late 15th century. The attention to detail on the buttresses is remarkable. Every one has a pedestal in the form of an animal that once supported an image of a Saint. It must have been quite a sight. The 14th century tower has a processional archway through the base, as at St Peter Mancroft in Norwich, and like that church this one also has a wooden fleche turret surmounting the tower, dating from 1906.
This, then, is a grand, urban church, central and essential to the townscape. Its churchyard is crossed by pathways that lead between the market square and the houses beyond the church; there is constant pedestrian traffic. Like all great urban churches St Mary is open all day, everyday, and is well-used. Not once have I ever been alone inside.
Being a grand, urban church, I am afraid that St Mary is almost entirely Victorianised. I do not know who the architect was, but I thought I detected the hand of Richard Phipson, responsible for the refurbishment of St Peter Mancroft and the complete rebuilding of St Mary le Tower in Ipswich. He would have been diocesan architect at the time, so whatever plans were made here would have passed through his hands in any case. There are a few medieval survivals - but very few. They are exquisite little panels of 15th and 16th century glass, handily set in the west window of the south aisle so you can get them out the way before you enter into the Victorianism of it all. A pretty girl wears a garland of flowers. A bearded man sits in a chair. A crowned woman in a kennel headdress gazes up piously. A Madonna and child, so faded as to be transparent, to be barely there. They are the ghosts of medieval Diss.
There are two piscinas in the south aisle, one of them 13th century, about four metres short of the east end, and a 15th century one further east. The first piscina obviously marks the end of the original aisle before the 15th century extension.
Everything else is post-Reformation. This is essentially an Anglican church. There is a remarkable decalogue board on the west wall which I take to be 18th century, but the overwhelming impression here is of the 1860s and 1870s, which brought the grand sanctuary and east window, the furnishings and, most of all, the glass. Every window in the nave is filled with the work of Ward & Hughes at their most imposing. Pevsner thought it was terrible, but actually there are a few details that are worth selecting, for taken in isolation they look like illustrations in a Victorian children's book, and are quite charming.
The glass in the chancel is quite something else. It is by Francis Oliphant, and Pevsner considered it an important work, the scenes of the nativity and the entombment in particular. There are a couple of other very interesting 19th century windows in the chancel and south aisle chapel, but unfortunately some of the best, including another Oliphant, were removed in 1980 in an attempt to make the chancel lighter.
A couple of curiosities. There are a number of late 19th and early 20th century brasses around the walls, as if this was a significant local industry in those days. The Camden Society at Cambridge had assumed that there would be a memorial brass revival on the scale of the stained glass revival. This of course did not happen, but two of the best are here, one signed by Weyer & Co of Norwich.
There is a large early 18th century tombchest in the north aisle to one Richard Burton. The lengthy inscription is worth a read. Basically, it says that he left a hundred pounds, and the interest of this was to go to the parish for the work of maintaining his tomb. Any money left over was to be given to the poor of Diss. However, if his executors felt that the tomb was not being maintained, then the job and the money were to default to the parish and poor of neighbouring Roydon instead. Hedging his bets still further, Burton's inscription then goes on to say that if Roydon isn't up to the job, then the benefit will fall to Bressingham, the next parish out.
To finish, it is worth saying that Diss is as proud as any small town is of its famous son and daughters. An expansion in housing around the town in the last fifteen years has left plenty of scope for naming new roads. The aforementioned Betjeman, Wilson, Manning and Burton have all been immortalised. Other commemorated Diss people include another Poet Laureate, John Skelton, probably the most idiosyncratic voice of 16th century poetry. He was renowned for his compassion, and his enthusiasm for inventing words; Keats and Auden both claimed debts. He was Catholic parish priest here for thirty years in pre-Reformation days. He once stood in the pulpit and held up what the church guide charmingly calls a 'love-child', claiming it as his own, and defying the congregation to find fault with it, its mother or with him.
John Wilbye, the Elizabethan composer of madrigals, came from Diss. Thomas Paine is more usually associated with Thetford where he was born, but he lived in Diss for twenty years, and perhaps learned his radical politics here, for Diss in the 18th century was a hotbed of non-conformism. A mark of how civilised this town is can be seen even out in the anonymous roads of the new estates, where many of the street signs include a brief explanation of the person or event the road is named after. Living in Diss must be an education in itself.
03JUN2023 update: new bridge design, final 3d prototype
Just adding some dark bluish grey so it's less monochrome, changed the side greebles to something less lazy (hoping that this will narrow slightly the gap between upper and lower hulls).
If it works well i'll release the new buildings instructions
Stephen Gardiner (27 July 1483 – 12 November 1555)
Gardiner was a conservative and an opponent of Anne Boleyn, Cranmer, Cromwell and of any innovation in the Church, although he acquiesced grudgingly in the steadily increasing influence of the Reformation on the royal counsels. A description of his character from George Cavendish declared him "a swarthy complexion, hooked nose, deep-set eyes, a permanent frown, huge hands and a vengeful wit. He was ambitious, sure of himself, irascible, astute, and worldly."
In early August 1529 he was appointed the king's secretary. He had already been archdeacon of Taunton for several years. The archdeaconries of Worcester and of Norfolk were also added to a list of pluralities before November 1529 and in March 1530 respectively; in April 1531 he resigned all three for that of Leicester. In 1530 the King demanded a precedent from Cambridge to procure the decision of the university as to the unlawfulness of marriage with a deceased brother's wife: in accordance with the new plan devised for settling the question without the pope's intervention. In this Gardiner succeeded. In November 1531 the king rewarded him with the bishopric of Winchester, vacant since Wolsey's death.
During the reign of Edward VI Lord Seymour, Jane Seymour’s brother, appointed himself Lord Protector to advise and to act for the King in his minority. At this time several prominent statesmen were incarcerated in the Tower of London.
At the accession of Queen Mary I, the Duke of Norfolk and other state prisoners of high rank were in the Tower along with Gardiner; but the Queen, on her first entry into London, set them all free. After recanting his work regarding her mother’s divorce and her bastardy and restoring the ‘Old Faith’, Mary restored Gardiner to his Bishopric and appointed him Lord Chancellor. It was he who placed the crown on the Queen's head at her coronation. He also opened her first parliament and for some time was her leading councillor. As chancellor he had the onerous task of negotiating the Queen's marriage treaty with Philip II of Spain, for which he shared a general repugnance. In executing it, he took care to make the terms as advantageous for England as possible, with express provision that the Spaniards should in nowise be allowed to interfere in the government of the country. He officiated at their wedding in Winchester Cathedral in 1554. After the appointment of Cardinal Pole, and the reconciliation of the realm to the see of Rome, he still remained in high favour. How far he was responsible for the persecutions which afterwards arose is open to debate. He no doubt approved of the act, which passed the House of Lords while he presided there as chancellor, for the revival of the heresy laws.
Bishop Gardiner died at Westminster on 12 November 1555. He was temporarily buried in a vault at the church of St Mary Overie, and in February 1556 his body was conveyed to Winchester Cathedral, where, after a number of ceremonies, a final funeral service was conducted on 28 February 1556, at which time it was recorded that he had not been buried and that no ground was broken, in the expectation that in due course his executors would build a chapel within the cathedral for his incarceration. Abridged from Wikipedia: en.wikipedia.org/wiki/Stephen_Gardiner His chantry chapel, built in 1556, is situated in the south presbytery aisle.
This two-storeyed timber residence with an attic was constructed by 1879, and possibly dates to the 1860s. It is located in the heart of Spring Hill in inner Brisbane, and is associated with the mid-19th century development of this area as one of the city's earliest dormitory suburbs.
Land in Spring Hill, much of it located within the original Brisbane town boundaries, was alienated in the 1850s and 1860s as large suburban allotments. Blocks along the ridge roads which became known as Wickham Terrace and Leichhardt Street, were the first to be taken up, followed by the area between Boundary Street (which formed the old northern limit to Brisbane Town) and Gregory Terrace. Subdivision of these allotments commenced from the 1850s, and Spring Hill, within easy walking distance of Queen Street, rapidly emerged as North Brisbane's first dormitory suburb, with little commercial or industrial base of its own. More affluent residents occupied the larger allotments and houses along the ridges, and the working classes occupied the valleys in between (Hanly's Valley and Spring Hollow).
Subdivision accelerated during the 1870s and 1880s, and by 1900 Spring Hill was Brisbane's most densely populated suburb. From the 1860s a row of small shops was established along Leichhardt Street between Fortescue and Rogers Streets, with other shops congregated around the hotels at the intersections of Leichhardt Street with Edward, Wharf, and Boundary Streets. In the 1870s and 1880s churches, schools, hospitals, a mechanics' institute, and a tram service were established along Leichhardt Street, which became the hub of Spring Hill.
Boundary Street, running from the river west to Gregory Terrace, attracted a mainly working class population, including artisans, trades persons and labourers, with middle class residents occupying the higher blocks near Leichhardt Street and Gregory Terrace.
Lonsdale House, fronting Boundary Street close to the intersection with Leichhardt Street, was erected on part of Northern Suburban Allotment 97, an area of just under 3 acres alienated in 1853 by pastoralist David Cannon McConnel, and subdivided the same year. In December 1853 subdivision 16 of NSA 97 (22.5 perches) was re-subdivided into two blocks, 283 Boundary Street (12.5 perches - site of Lonsdale House) and 277 Boundary Street (10 perches). An 1856 map of Brisbane shows two structures fronting Boundary Street, between what became Leichhardt and Phillips streets - the westernmost of these may have been located at 283 or 277 Boundary Street, but this is not clear.
In 1862 Robert Bourne of Brisbane acquired title to the 12.5 perches re-subdivision fronting Boundary Street, and to the adjacent 10 perches in 1864, by which time he was living in Spring Hill. Whether he erected Lonsdale House after obtaining title to the land, or whether it was already extant, is not known. Nor is it known whether he ever occupied the house. Robert Bourne and his wife Anne Butler were retired missionaries (associated with the London Missionary Society in Tahiti 1817 - 1827). They had business interests in Sydney and in Victoria in the 1830s and 1840s, and in 1852 moved to Brisbane following the move there from Sydney in 1851 of their daughter and son-in-law, Harriet and George Raff. Bourne acquired a number of Brisbane properties, including 1a 20p of NSA 97 between Leichhardt and Phillips streets from DC McConnel in February 1856, and portion 192 (1a 3r 36p) on the southern side of Boundary Street in November 1856. He was resident in Leichhardt Street, Spring Hill by 1868, possibly in the two-storeyed brick residence he appears to have erected on the land he purchased from McConnel in 1856, adjoining the northern boundary of Lonsdale House. Bourne was Secretary to the Queensland Board of General Education from June 1860 to January 1870. He died at his home in Leichhardt Street in 1871, aged 78. His death was certified by his son Joseph Bourne of Boundary Street, Brisbane.
Following Bourne's death his Spring Hill properties were transferred to executors (sons-in-law George Raff of Brisbane and Stewart Murray of Sydney), and after Anne's death in December 1878, Raff offered the Spring Hill properties for sale by auction in August 1879. By this date, 4 houses had been erected on the property: Lonsdale House (a two-storeyed timber building with verandah and balcony front and back, containing seven rooms, with detached kitchen); a four-roomed timber cottage adjacent; the two-storeyed brick house behind; and Strathmore Cottage fronting Boundary Street opposite Lonsdale House. They were located close to the heart of Brisbane, on a rise, with breezes and fine views over the town and river.
Lonsdale House on 14.2 perches (comprising the original 12.5 perches re-subdivision plus extended northern and eastern boundaries) was purchased by Henry Lander Pethebridge for £350, with title transferred in March 1880.
Pethebridge, a carpenter and joiner and government Inspector of Works in the Portmaster's Office, was resident in Brisbane from at least April 1860, when he married Elizabeth Mary Symons. The family lived at various addresses in Spring Hill until the mid-1870s, when they left Brisbane briefly, but had returned by May 1877. Pethebridge was employed in the Department of Harbours, Lighthouses and Pilots, and supervised construction of Cape Bowling Green Lighthouse in the early 1870s. In August 1874 he was appointed Inspector of Works (Class IV) in the Department, a position he held until 1900. The Pethebridges occupied Lonsdale House after their purchase of the property. Mrs Pethebridge died in 1894, but Henry remained at 283 Boundary Street until his death in 1910, after which the property passed to his son, Samuel Augustus Pethebridge of Melbourne, and son-in-law Edward J Atkinson of Brisbane, as trustees. Lonsdale House then was rented out to a series of tenants who used the place as a boarding house.
Sir Samuel Augustus Pethebridge died in January 1918 and in August that year, 283 Boundary Street was transferred to Bridget Kenny of Spring Hill. The property changed hands several times in the 1920s, and from 1934 was occupied by the Hough family. Herbert Hough obtained title to the property in 1946, ane retained this until 1956. From the 1950s, if not earlier, the house was utilised as a boarding house of 9 rooms, (1 room enclosed on the first floor rear verandah and 1 room in the kitchen wing, in addition to the 7 rooms in the core of the house), and a second ground-level kitchen was constructed at the rear, 1950s. Title was transferred to the present owners in 1966.
Lonsdale House is a rare surviving early inner-city residence and was identified in the Brisbane History Group's 1993 Spring Hill Heritage Tour as a place of cultural heritage interest.
Source: Queensland Heritage Register.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Ightham Mote (/ˈaɪtəm ˈmoʊt/), Ightham, Kent is a medieval moated manor house. The architectural writer John Newman describes it as "the most complete small medieval manor house in the county". Ightham Mote and its gardens are owned by the National Trust and are open to the public. The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.
The origins of the house date from circa 1340-1360. The earliest recorded owner is Sir Thomas Cawne, who was resident towards the middle of the 14th century. The house passed by the marriage of his daughter Alice to Nicholas Haute and their descendants, their grandson Richard Haute being Sheriff of Kent in the late 15th century. It was then purchased by Sir Richard Clement in 1521. In 1591, Sir William Selby bought the estate.
The house remained in the Selby family for nearly 300 years. Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne. He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son. During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s. The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.
The Mote was purchased by Thomas Colyer-Fergusson. He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect. Ightham Mote was opened to the public one afternoon a week in the early 20th century.
Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.
On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.
In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.
In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions. The final year of construction was followed by the television series Time Team.
Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally. The construction is of "Kentish ragstone and dull red brick," the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.
The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat." The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the Great Hall, to which were attached, at the high, or dais end, the Chapel, Crypt and two Solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.
The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loccia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel. The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. Parts of the interior were remodelled by Richard Norman Shaw.
(Wikipedia)
Ightham Mote (sprich wie "item moot") ist ein mittelalterliches Herrenhaus mit Wassergraben in der Nähe des Dorfes Ightham bei Sevenoaks in der englischen Grafschaft Kent.
Ightham Mote und die umgebenden Gärten werden heute vom National Trust verwaltet und sind öffentlich zugänglich. English Heritage hat das Herrenhaus als historisches Gebäude I. Grades gelistet und Teile davon gelten als Scheduled Monument.
Die eigentliche Bedeutung des ursprünglich um 1320 entstandenen Gebäudes liegt in der Geringfügigkeit der Änderungen, die nachfolgende Besitzer nach der Fertigstellung des Vierseitgebäudes mit einer neuen Kapelle im 16. Jahrhundert an der Grundstruktur vornehmen ließen. Nikolaus Pevsner nannte es „(...) das kompletteste kleine mittelalterliche Herrenhaus auf dem Land.“ Es zeigt heute noch, wie solche Häuser im Mittelalter ausgesehen haben. Anders als die meisten anderen Hofhäuser dieses Typs, von denen jeweils Teile im Laufe der Zeit abgerissen wurde, sodass das Haus sich nach außen orientiert, besitzt Ightham Mote noch alle vier Gebäudeseiten um den Hof und orientiert sich so nach innen. Nach außen zeigt es wenig Details und Informationen.
Es gibt mehr als 70 Räume in dem Haus, alle arrangiert um den Hof in der Mitte. Auf allen Seiten umgibt ein Graben mit quadratischem Querschnitt das Gebäude. Drei Brücken überqueren ihn. Die früheste urkundliche Erwähnung eines Hauses an dieser Stelle datiert auf den Anfang des 14. Jahrhunderts. Es hatte einen Rittersaal, an dessen oberes Ende eine Kapelle, eine Krypta und zwei Solare angeschlossen waren. Der Hof wurde dann durch Zubauten in seiner begrenzten, grabenbewehrten Lage und den zinnenbewehrten Turm im 15. Jahrhundert vollständig umschlossen. Außen ist nach den Umbauten im 15. und 16. Jahrhundert nur wenig vom 14. Jahrhundert bis heute erhalten geblieben.
Das Grundgerüst enthält unübliche und einzigartige Elemente, wie z. B. der Portiersspion, ein schmaler Schlitz in der Mauer, der es dem Torwächter ermöglichte, das Beglaubigungsschreiben eines Besuchers zu prüfen, bevor er ihn einließ. Eine offene Loggia mit einer Galerie aus dem 15. Jahrhundert darüber verbindet die Hauptwohnräume mit dem Torhaustrakt. Eine große Hundehütte aus dem Ende des 19. Jahrhunderts für einen Bernhardiner namens Dido ist die einzige, die als historisches Gebäude I. Grades gelistet ist.
Man erzählt sich, dass im 19. Jahrhundert ein weibliches Skelett eingemauert hinter einer nicht benutzten Seitentüre gefunden wurde. Diese Türe in der Spezialsendung Nr. 21 der archäologischen Fernsehserie ‚‘Time Team‘‘ zu sehen. Tatsächlich handelt es sich dabei um einen Abstellraum. Es gibt keine Aufzeichnungen über den Fund eines Skeletts und so nahm man das Gerücht nicht in den 2004 verlegten Führer auf.
In der historischen Novelle A Rose for the Crown von Anne Easter Smith, die im 15. Jahrhundert spielt, ist Ightham Mote häufig erwähnt. Die Novelle Green Darkness von Anya Seton spielt auch hauptsächlich in Ightham Mote. Die Legende vom eingemauerten Skelett spielt darin eine wesentliche Rolle.
Das Haus blieb fast 300 Jahre lang in den Händen der Familie Selby. Sir William Selby kaufte es 1591 von Charles Allen. Ihm folgte sein Neffe, ebenfalls William Selby, nach, der bekanntermaßen die Stadtschlüssel von Berwick-upon-Tweed an Jakob I. übergab, als dieser auf dem Weg nach Süden war, um den Thron zu übernehmen. Dieser William Selby heiratete Dorothy Bonham aus West Malling, aber das Paar blieb kinderlos. Dennoch verblieb das Anwesen in den Händen der Familie, bis diese Linie Mitte des 19. Jahrhunderts mit Elizabeth Selby, der Witwe eines Thomas Selby, der seinen einzigen Sohn enterbte, endete. Das Anwesen ging an einen Vetter, Prideaux John Selby, einen ausgewiesenen Naturalisten, Sportler und Wissenschaftler, über. Nach dessen Tod 1867 vererbte er Ightham House an seine Tochter, Mrs Lewis Marianne Bigge. Deren zweiter Mann, Robert Luard, änderte seinen Namen in Luard-Selby. Sie starb 1889 und die Nachlassverwalter ihres Sohnes Charles Selby-Bigge, einem Makler aus Shropshire, boten das Anwesen im Juli 1889 zum Verkauf an.
Ightham Mote wurde von Thomas Colyer-Fergusson erworben, der seine sechs Kinder in dem Herrenhaus aufzog. In den Jahren 1890–1891 ließ er umfangreiche Reparatur- und Restaurierungsarbeiten ausführen und so ist das Haus trotz jahrhundertelanger Vernachlässigung bis heute erhalten. Er ließ die Rumpelkammer in ein Billiardzimmer umbauen, Badezimmer und Zentralheizung einbauen, arrangierte die Küche und das Speisezimmer neu und ließ ungezählte Reparaturen durchführen. Anfang des 20. Jahrhunderts wurde Ightham Mote einen Nachmittag pro Woche der Öffentlichkeit zugänglich gemacht.
Sir Thomas Colyer-Fergussons dritter Sohn, Riversdale, fiel 1917 im Alter von 21 Jahren in der dritten Flandernschlacht. Ihm wurde posthum ein Victoria Cross verliehen. In der neuen Kapelle erinnert ein Holzkreuz an ihn. Der älteste Bruder, Max, starb 1940 im Alter von 49 Jahren bei einem Bombenangriff auf eine Armeefahrschule bei Tidworth. Eine der drei Töchter, Mary (auch „Polly“ genannt), heiratete Walter Monckton.
Im Zweiten Weltkrieg schlief die dezimierte Dienerschaft in der Krypta, die Schutz vor Fliegerangriffen bot. Ein deutscher Pilot, der mit dem Fallschirm auf dem Anwesen landete, nachdem sein Flugzeug abgeschossen worden war, wurde eine Nacht dort eingesperrt.
Nach dem Tod von Sir Thomas 1951 fielen das Anwesen und der Titel eine Barons an Maxs Sohn James, der nie heiratete. Die Kosten für die Erhaltung und Reparatur des Herrenhauses zwangen ihn, das Haus zu verkaufen und den größten Teil des Inventars versteigern zu lassen. Die Versteigerung fand im Oktober 1951 statt und dauerte drei Tage. Man schlug vor, das Haus abzureißen und das Blei auf dem Dach wiederzuverwerten oder das Haus in Wohnungen aufzuteilen. Drei Männer aus der Gegend taten sich zusammen, um das Herrenhaus zu retten, weil es ihnen so gefiel: William Durling, John Goodwin und John Baldock. Sie zahlten £ 5500 für die Grundstücksrechte und hofften, dass sich weiterer, reicherer Wohltäter anschließen würde.
1953 kaufte der unverheiratete Charles Henry Robinson aus Portland in Maine das Haus. Aus steuerlichen Gründen konnte er das Haus nur 14 Wochen im Jahr bewohnen. Er ließ viele dringende Reparaturen durchführen und möblierte die Innenräume teilweise mit englischen Stücken aus dem 17. Jahrhundert. 1965 kündigte er an, dass er Ightham Mote und seinen Inhalt dem National Trust überlassen wollte. Er starb 1985 und seine Asche wurde außen an der Krypta eingemauert. Im selben Jahr übernahm der National Trust das Anwesen.
1989 begann der National Trust ein ambitioniertes Erhaltungsprojekt, das auch eine weitgehende Demontage der Gebäude umfasste, um deren Konstruktionsprinzip aufzunehmen. Danach wurden sie wiederhergestellt. Das Projekt endete 2004 nach der Entdeckung zahlreicher struktureller und ornamentaler Details, die von späteren Umbauten verdeckt waren. Die Kosten dieser Arbeiten werden auf mehr als £ 10 Mio. geschätzt.
(Wikipedia)
The altar in the south Slade Chapel is formed by a table tomb with strapwork and now blank shields, previously against the south wall. It has no name or inscription but is believed to be in memory of Philip Cole who died in 1596. He was the first husband of Joane, daughter of Thomas Williams of Stowford, Speaker of the House of Commons in the reign of Elizabeth I, to whom there is a memorial in Harford church.
Joane married again but desired to be buried here with him . Her executors erected a framework of stone on the south wall of the Chapel about the tomb enclosing two kneeling figures in the dress of the time representing Joane and Philip. www.flickr.com/gp/52219527@N00/54U22H34c7
(Slade Chapel also contains memorials to the families associated with the house & manor of Slade, especially the Cole family who lived there from the time of Henry IV until the early 17c after which it passed successively to the Savery, Spurrell, Pode and Martin families, the two latter being commemorated by memorial plaques. The Podes are also commemorated by some tablets on the south wall of the chancel)
- Church of St Michael & All Angels, Cornwood Devon
www.churchmonumentsgazetteer.co.uk/Devon-B.html#Cornwood_...
Originally in their north chantry chapel, www.flickr.com/gp/52219527@N00/644wQX898a but now at the entrance of the chancel , now used by the vicar is the 15c Prie-Dieu carved in 1472 for the marriage of Philip Coplestone and Anne Bonville, an heiress from her maternal grandmother Leva Gorges , this marriage greatly boosting the Coplestone coffers!
The prie-dieu is crudely carved with a grotesque figure on both panels each holding a shield bearing the coat-of-arms of the Coplestone family ( a chevron engrailed gules between 3 leopard's faces azure) and that of the Gorges family. www.flickr.com/gp/52219527@N00/27Lu2RFx92
The north family chantry was built by Philip Copleston and his brother Walter c 1460 as executors of their father John who died in 1458, and lived at Coplestone House in this parish, which was the family residence for several centuries.
In his will of 18th October 1858 John Coplestone had requested burial in St. Katherine’s north aisle here next to his wife Elizabeth, who had died the previous year. The well-worn ledger stone can still be viewed in the aisle. www.flickr.com/gp/52219527@N00/wc5x79SM8Z
- Church of St Andrew, Colebrooke Devon
escapetobritain.com/colebrooke-church/?unapproved=998&...
The first Ida Rentoul Outhwaite Children's Library Stained Glass Window, "Regatta" is taken from the story "Serana: The Bush Fairy", from the book "Fairyland", published by A. and C. Black in London in 1926. The original illustration was executed in pen and ink, so it is brought to colourful life in the pink, brown, green and golden yellow stained glass panel. Juvenile faeries, both male and female, naughty pixies and frogs ride down a river in everything from canoes to improvised vessels made of nutshells, cups and lily pads with paper sails. One of two water police frogs in the bottom right of the panel hooks a naughty pixie as he sails by with his silver topped cane, making the whole scene quite a chaotic one. The faerie girls all wear contemporary 1920s sun dresses, and have either fashionable Marcelle Wave or bobbed hairstyles, which is contrary to the little boy faerie, who seems to have what we may consider to be more traditional faerie garb. The faerie girl at the top right of the melee even has a 1920s stub handled parasol to shade her! The canoe rowed by a frog with two girl faeries in it also has a connection to 1920s modernity, with a Chinese lantern hanging from the stern of the boat: a common site on punts at the time.
In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.
Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.
The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.
I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.
Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.
The fourth Ida Rentoul Outhwaite Children's Library Stained Glass Window features an excerpt from the poem "A Concert"; "Then clear on a flute of purest gold, a sweet little fairy played, and wonderful fairy tales she told, and marvellous music played". This is Ida Rentoul Outhwaite's most famous quotes, although it was actually written by her elder sister Annie Rattray Rentoul as the quote is taken from "Fairyland" published by A. and C. Black in 1926, for which Annie wrote poems and Ida's husband Arthur Grenbry Outhwaite wrote stories, all of which Ida illustrated. The original illustration was executed in pen and ink, so it is brought to colourful life in the pink, blue, brown and golden yellow stained glass panel. It features a little girl faerie with pink wings and a silvery dress atop a ragged toadstool playing her golden pipe to an assembled audience of six pixies, a koala and a little boy. The little boy (whose name is John) wears contemporary 1920s clothes, with button up short trousers, ankle socks, strap over shoes and a collared shirt. John's hair is also a modern 1920s pageboy cut. The faerie too has a contemporary pageboy cut, with a wreath of flowers about her crown. Her dress is typical of 1920s sundresses for little girls and on her feet she wears a pair of fashionable black Mary Janes. The audience sit beneath a row of spindly gum trees whilst about them through the grass sprout tiny white daisies such as are found in many an Australian lawn today. All the audience appear entranced except the brown koala who sits at the end and the pixie next to him. The pixie looks unimpressed as the koala's head lolls forward and his lids droop. This may be in reference to the remaining part of the poem's stanza which reads: "But Teddy Bear began to nod, and gave a very loud snore, and yet at the end - it's true, though odd -, he grunted out 'Encore!'"
In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.
Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.
The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.
I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.
Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.
The land on the corner of Gang Gang Street and Lurline Street which is occupied by the Metropole and its carpark, was first developed by the Rev. Charles Baber after the sub-division of the Neale estate in the 1880s. The original purchaser of lot 1 in 1883 was William Sharpe, who soon sold it to the rector of All Saints Anglican church at Petersham, an inner suburb of Sydney. Baber soon built a substantial single-storied cottage with verandahs on the Lurline Street frontage. The house had a cleared and levelled garden area, suitable for a croquet lawn, extending north to Gang Gang Street.
Baber’s country retreat was significantly lower than even the east end of the steeply inclined Gang Gang Street and there was almost certainly a retaining wall below the wooden fence on the unmade footpath of the street. All this is shown in some detail as an incidental feature of a photograph of the Carrington taken by Kitch about 1890.
Baber’s house was sold early in the twentieth century to Stephen Foster, whose executors leased it to Mrs A.J. Craig, the wife of a well-known real estate agent and local politician. In 1917 the house was purchased by Mr and Mrs Wootton, who had since 1903 operated the original Eldon guesthouse on the site of the present Allawah Flats, 123 Katoomba Street.
The Woottons named their Lurline Street home Chelvey: after they sold it in 1924 to Joynton Smith’s Katoomba Theatres it was renamed Cambridge. It is not clear why the former owners, the Woottons, gave to their new home in the 1930s, the former Rocks, the name not Chelvey but Cambridge, when they divided it into a duplex, calling the other half Oxford.
Baber’s cottage in Lurline Street had a valuable garden frontage onto Gang Gang Street. When Katoomba Theatres bought the house in 1924, the northern part of the garden was detached and sold separately. This land on Gang Gang Street was acquired by Mrs Godsell by 1932 and, despite the Depression, she soon built the Metropole on this frontage, defined as lots D and E in the Rate Books. The Depression relief work on the roadway and footpath of Gang Gang Street was to Mrs Godsell’s advantage.
Mrs Godsell had been running a guesthouse in Katoomba Street called Studleigh, next to St Canice’s Catholic church, since 1924. Studleigh accommodated sixty visitors; the Metropole, opened in 1933, had a similar capacity, but was expanded to house ninety in 1937 when Mrs Godsell bought the three adjacent lots to the west in Gang Gang Street. Lot C was a narrow piece of vacant land but lots A and B contained a garage in the 1920s and 1930s, and previously a plumber’s business and earlier still the local ambulance station.
Mrs Godsell had run the Metropole as a temperance hotel. After changing hands several times, it dramatically changed style and clientele in the 1980s: no accommodation was now offered, but several licensed bars were opened on two levels. The small bedrooms on the first floor were amalgamated into some of these bar areas by the removal of walls. By 1989 this usage was proving unsuccessful and the Metropole was bought by the Assanti family, who recreated a guesthouse.
The building to the west on lots A and B acquired in 1937 was sold by the Assantis to the community radio station and a Day and Evening College.
The site of Baber’s original cottage had been owned since 1924 by Katoomba Theatres, the proprietors of the casino and palais de danse now known as the Savoy. This was convenient, since part of the Savoy backs onto the cottage site. The cottage was not demolished until the 1930s. The vacant site was probably then used as parking for the Katoomba Street entertainment centre, which still owned the land in 1946.
At some subsequent date it was sold to the Metropole, which also uses it as a carpark. There are likely to be archaeological remains of Baber’s cottage under the tarmac, as the site has never been built upon since the cottage was removed.
The date of the stone walling for the carpark on Lurline Street is not known, but it almost certainly dates from the carpark period, from the 1930s onwards. The wall is quite different from the earlier walling further down Lurline Street which has been classified as a serial heritage item.
Source: New South Wales Heritage Register.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
The "Mission Executor" coming in at 106 Studs and around 2800 pieces. An updated version of the great classic set "Mission Commander," 6986.
Two of 4 sons of Sir Humphrey Bradbourne 1513-1581 and wife Elizabeth Turville on the side of their tomb www.flickr.com/gp/52219527@N00/1aXCnH their hands resting on shields of arms
"Here lieth the bodies of Sir Humpry Bradburn Knight died the 17 of April in the year of our God 1581 and Dame Elizabeth his wife and daughter of Sir William Turville of Newhall in the county of Leicester Knight who died May the 28th 1598"
The tomb was moved into this chapel c1840 after originally being in the family mausoleum in the south transept
The guide says a Spanish connection is alluded to by the pomegranate decorating the hilt of his dagger. www.flickr.com/gp/52219527@N00/mGR6Ek
Humphrey was the son & heir of John Bradbourne 1523 of Bradbourne and Lea by Isabella daughter and coheir of Richard Cotton of Ridware.
On his paternal side he was the great grandson of Sir John Bradbourne 1488 and Anne Vernon 1499 whose monument is nearby www.flickr.com/gp/52219527@N00/L9fq7m
On his mother's side he was the great grandson of Nicholas Longford & Joan Warren (whose arms are in the stained glass here www.flickr.com/gp/52219527@N00/XEE1W3
A minor on the death of his father, Bradbourne succeeded to an inheritance consisting of the manor of Bradbourne and other property in the west of Derbyshire, as well as the manor of Hough and a small amount of other land in Staffordshire, the whole being valued at £99 a year. It is not known who purchased his wardship or when he had livery of these lands. His appointment in 1538 to the Derbyshire commission of the peace marks the beginning of his career in shire administration, and six years later he was called upon to supply 20 men for the Earl of Hertford’s expedition against Scotland. He himself served as a captain and was knighted by Hertford, being the only member of his family so honoured. In 1557 he was one of the Derbyshire gentlemen who certified to the 5th Earl of Shrewsbury the number of men each could supply for service on the borders, his own quota being 12 billmen and three bowmen.
He m Elizabeth daughter of Sir William Turville of Aston Flamville Leics & Newhall, by 2nd wife Jane Warburton www.flickr.com/gp/52219527@N00/1M08C3
Children - 9 sons (4 in armour holding shields, 2 in civilian robes, 3 infants) & 6 daughters (4 holding shields indicating their marriage)
1. William 1547 m1 Joan Fleetwood ; m2 Tabitha www.flickr.com/gp/52219527@N00/540jQa daughter of Thomas Cockayne 1592 & Dorothy Ferrers www.flickr.com/gp/52219527@N00/kD33tB : m3 Frances Priest
2. George Bradborne b 1530
3. Francis Bradburne b 1532
4. John Bradburne b 1534
5. Hugh Bradburne b 1536
6. Nicholas Bradburne 1540 - 1553
7. Humphrey Bradbourne b 1545
8. Edward b 1547
9. Anthony b 1551
1. Ann 1542 - 1599 m (1st wife) Sir Humphrey 1607 son of John Ferrers & Barbara daughter of Francis Cockayne 1536 & Dorothy Marrow flic.kr/p/dBpGjH ; Humphrey m2 Elizabeth Longford widow of Humphrey Dethick of Hartshorne www.flickr.com/gp/52219527@N00/EP590F ( dispositions of the property by Sir Humphrey Ferrers after his own death and that of his wife, Lady Elizabeth, and his brother, William Bradbourne. It is Sir Humphrey's intention that after his death his wife will have the lands for her jointure; after her death, his "daughter Ferrers" will have them for her jointure; subsequently the lands shall descend unto his next male heir or, in the case of lack of issue, unto his wife's heirs)
2. Elizabeth m Sir John Cotton of Landwade 1620 son of John Cotton 1593 flic.kr/p/9CZ6h6
3. Jane m Henry Sacheverell
www.flickr.com/gp/52219527@N00/4jV2Ew
Although he remained a justice of the peace for over 40 years, for most of this time Bradbourne was not of the quorum, probably because of his religion. In the report to the Privy Council on the justices of Derbyshire compiled in 1564, he was named as one of the two ‘adversaries to religion’ in the shire. His disaffection is more likely to have been of a Catholic than of a Puritan kind, since Henry Vernon, the other justice so described, was a Catholic whereas Richard Blackwell, whom the signatories recommended for dismissal, was seemingly a Puritan and was defended by the bishop. Bradbourne was an executor of Vernon’s will of 1568. Although his religion had not prevented him from serving two terms as sheriff, it was only in his later years that he was entrusted with such special commissions as the investigation of 1578 into local animosity towards (Sir) John Zouche II.4
It was with Sir Thomas Cokayne that Bradbourne had sat in his first Parliament, that of March 1553 called under the aegis of the Duke of Northumberland: a man of his conservative views can hardly have felt at home in such an assembly. He would have found more congenial his next and last Parliament, the fourth of Mary’s reign, although the manoeuvres of the opposition would probably have offended him and it is not surprising that his name is absent from the list of them. His fellow-knight in that Parliament, Vincent Mundy, was to be one of those commissioned in 1556 and 1557 to investigate a dispute, which had already reached the Star Chamber, between Bradbourne and his cousin Aden Beresford over a brook which ran through their adjacent properties. Bradbourne was involved in a number of other suits in both Chancery and Star Chamber, including one in the reign of Henry VIII when he was charged with enclosing common land. In February 1557 he appeared before the barons of the Exchequer to meet an accusation of maintaining retainers in blue livery who accompanied him to the local sessions of the peace and the assizes. The case was brought by Thomas Gravenor, a husbandman of Bentley: Bradbourne asked for trial by jury but no further process is recorded.5
Humphrey's death gave suspicion of foul play. Three days after his death the Privy Council ordered an investigation of a ‘dangerous practice taken in hand by certain lewd persons, whereby is intended the destruction of the person of Sir Humphrey Bradbourne and conveying away of his goods’. A charge of murder was made against a yeoman of Lea, Richard Haughton, for allegedly having smeared Bradbourne’s right leg with an ointment containing poison which, after a lapse of 3 years proved fatal. - the result of this charge is not known.
By his will of 8 Oct. 1580 Humphrey had appointed as sole executrix his wife Elizabeth and as overseer Sir John Manners of Bakewell www.flickr.com/gp/52219527@N00/E1w2d2
Humphrey asked for a tomb of alabaster with ‘pictures of myself, my wife and all my children ... set thereupon’, This was made by Richard and Gabriel Royley of Burton on Trent who were "popular and inexpensive"
- Church of St Oswald, Ashbourne Derbyshire
www.historyofparliamentonline.org/volume/1509-1558/member...
www.wikitree.com/wiki/Bradbourne-4 ancestors.familysearch.org/en/LZ1S-CBL/anne-bradbourne-15...
Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), often referred to mononymously as Elvis, was an American singer and actor. Dubbed the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.
Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.
In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of his most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.
Having sold over 400 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, rhythm & blues, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.
Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis's identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.
A photo of Elvis's parents at the Historic Blue Moon Museum in Verona, Mississippi
Presley's father Vernon was of German, Scottish and English origins. He was a descendant of the Harrison family of Virginia through his ancestor Tunis Hood. Presley's mother Gladys was Scots-Irish with some French Norman ancestry. His mother and the rest of the family believed that her great-great-grandmother, Morning Dove White, was Cherokee. This belief was restated by Elvis's granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief.
Vernon moved from one odd job to the next, showing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.
In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, was his first public performance. The ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."
In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime and was often teased as a "trashy" kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim's show on the Tupelo radio station WELO. He was described as "crazy about music" by Slim's younger brother, who was one of Presley's classmates and often took him into the station. Slim supplemented Presley's guitar instruction by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.
In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing". He was usually too shy to perform openly and was occasionally bullied by classmates who viewed him as a "mama's boy".
In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew's State Theater. Other jobs followed at Precision Tool, Loew's again, and MARL Metal Products. Presley also helped Jewish neighbors, the Fruchters, by being their shabbos goy.
During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes' Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that."
Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe.
Like some of his peers, he may have attended blues venues—of necessity, in the segregated South—only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations, such as WDIA-AM, that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.
Graceland is a mansion on a 13.8-acre (5.6-hectare) estate in Memphis, Tennessee, United States, which was once owned by the rock and roll singer Elvis Presley. His daughter, Lisa Marie Presley, inherited Graceland after his death in 1977. Following Lisa Marie Presley's death in 2023, the mansion is to be inherited by her daughters. In addition to being the final resting place of Elvis Presley himself, the property contains the graves of his parents, paternal grandmother and grandson, and contains a memorial to Presley's stillborn twin brother. In addition, Lisa Marie Presley will be buried there.
Graceland is located at 3764 Elvis Presley Boulevard in the Whitehaven neighborhood, about nine miles (14 kilometers) south of central Memphis and fewer than four miles (6.4 km) north of the Mississippi border.[5] It was opened to the public as a house museum on June 7, 1982. The site was listed in the National Register of Historic Places on November 7, 1991, becoming the first site recognized for significance related to rock music. Graceland was declared a National Historic Landmark on March 27, 2006, also a first for such a site. Graceland attracts more than 650,000 visitors annually.
Graceland Farms was originally owned by Stephen C. Toof, founder of S.C. Toof & Co., the oldest commercial printing firm in Memphis. He worked previously as the pressroom foreman of the Memphis newspaper, the Memphis Daily Appeal. The "grounds" (before the mansion was built in 1939) were named after Toof's daughter, Grace. She inherited the farm/property from her father in 1894. After her death, the property was passed to her niece Ruth Moore, a Memphis socialite. Together with her husband, Thomas Moore, Ruth Moore commissioned construction of a 10,266-square-foot (953.7 m2) Colonial Revival style mansion in 1939. The house was designed by architects Furbringer and Ehrman.
After Elvis Presley began his musical career, he purchased a $40,000 home for himself and his family at 1034 Audubon Drive in Memphis. As his success and fame grew, especially after his appearances on television, the number of fans who would congregate outside the house multiplied. Presley's neighbors, although happy to have a celebrity living nearby, soon concluded that the constant gathering of fans and journalists was a nuisance.
In early 1957, Presley gave his parents, Vernon and Gladys Presley, a budget of $100,000 and asked them to find a "farmhouse"-like property to purchase, with buffer space around it. At the time, Graceland was located in southern Shelby County, several miles south of Memphis' main urban area. In later years, Memphis would expand with residential developments, resulting in Graceland being surrounded by other properties. Presley purchased Graceland on March 19, 1957, for the amount of $102,500.
Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out." Presley was fond of claiming that the US government had mooted a visit to Graceland by Nikita Khrushchev of the Soviet Union, "to see how in America a fellow can start out with nothing and, you know, make good."
After Gladys died in 1958 aged 46, Presley's father Vernon remarried to Dee Stanley in 1960, and the couple lived at Graceland for a time. There was some discord between Presley and his stepmother Dee at Graceland, however. Elaine Dundy, who wrote about Presley and his mother, said that
"Vernon had settled down with Dee where Gladys had once reigned, while Dee herself – when Elvis was away – had taken over the role of mistress of Graceland so thoroughly as to rearrange the furniture and replace the very curtains that Gladys had approved of." This was too much for the singer, who still loved his late mother deeply. One afternoon, "a van arrived ... and all Dee's household's goods, clothes, 'improvements,' and her own menagerie of pets, were loaded on ... while Vernon, Dee and her three children went by car to a nearby house on Hermitage until they finally settled into a house on Dolan Drive which ran alongside Elvis' estate."
According to Mark Crispin Miller, Graceland became for Presley "the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling." The author adds that Presley's father Vernon "had a swimming pool in his bedroom", that there "was a jukebox next to the swimming pool, containing Elvis' favorite records", and that the singer himself "would spend hours in his bedroom, watching his property on a closed-circuit television." According to the singer's cousin, Billy Smith, Presley spent the night at Graceland with Smith and his wife Jo many times: "we were all three there talking for hours about everything in the world! Sometimes he would have a bad dream and come looking for me to talk to, and he would actually fall asleep in our bed with us."
Priscilla Beaulieu lived at Graceland for five years before she and Presley wed in Las Vegas, Nevada, on May 1, 1967. Their daughter Lisa Marie Presley was born on February 1, 1968, and spent the first years of her life on the estate. After her parents divorced in 1972, her mother moved with the girl to California. Every year around Christmas, Lisa Marie Presley and all her family would go to Graceland to celebrate Christmas together. Lisa Marie often returned to Graceland for visits.
When Elvis would tour, staying in hotels, "the rooms would be remodeled in advance of his arrival, so as to make the same configurations of space as he had at home – the Graceland mansion. His furniture would arrive, and he could unwind after his performances in surroundings which were completely familiar and comforting." 'The Jungle Room' was described as being "an example of particularly lurid kitsch."[
On August 16, 1977, Presley died aged 42 at Graceland. The official cause of death was cardiac arrhythmia, although later toxicology reports strongly suggested that polypharmacy was the primary cause of death; "fourteen drugs were found in Elvis' system, with several drugs such as codeine in significant quantities. Presley lay in repose in a 900-pound (410 kg), copper-lined coffin just inside the foyer; more than 3,500 of his mourning fans passed by to pay their respects. A private funeral with 200 mourners was held on August 18, 1977, in the house, with the casket placed in front of the stained glass doorway of the music room. Graceland continued to be occupied by members of the family until the death of Presley's aunt Delta in 1993, who had moved in at Elvis's invitation after her husband's death. Elvis's daughter, Lisa Marie Presley, inherited the estate in 1993 when she turned 25.
Presley's tombstone, along with those of his parents Gladys and Vernon Presley, and his grandmother Minnie Mae Presley, are installed in the Meditation Garden next to the mansion. They can be visited during the mansion tours or for free before the mansion tours begin. A memorial gravestone for Presley's stillborn twin brother, Jesse Garon, is also at the site.
In 2019, the owners of Graceland threatened to leave Memphis unless the city provided tax incentives. The Memphis City Council subsequently voted on a deal to help fund a $100 million expansion of Graceland.
Constructed at the top of a hill and surrounded by rolling pastures and a grove of oak trees, Graceland is designed by the Memphis architectural firm, Furbringer and Erhmanis. It's a two-story, five-bay residence in the Colonial Revival style, with a side-facing gabled roof covered in asphalt shingles, a central two-story projecting pedimented portico, and two one-story wings on the north and south sides. Attached to the wing is an additional one-story stuccoed wing, which was originally a garage that houses up to four cars. The mansion has two chimneys; one on the north side's exterior wall, the second rising through the south side's roof ridge. The central block's front and side facades are veneered with tan Tishomingo limestone from Mississippi and its rear wall is stuccoed, as are the one-story wings. The front facade fenestration on the first floor includes 9x9 double-hung windows set in arched openings with wooden panels above, and 6x6 double-hung windows on the second floor.
Flanked by two marble lions, four stone steps ascend from the driveway to the two-story central projecting pedimented portico. The pediment has dentils and a small, leaded oval window in the center while the portico contains four Corinthian columns with capitals modeled after architect James Stuart's conjectural porticos for the "Tower of the Winds" in Athens, Greece. The portico's cornered columns are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns while its transom and sidelights contain elaborate and colorful stained glass. And above the main entrance is another rectangular window, completed with a shallow iron balcony.
Graceland is 17,552 square feet (1,630.6 m2) and has a total of 23 rooms, including eight bedrooms and bathrooms. To the right of the Entrance Hall, through an elliptical-arched opening with classical details, is the Living Room. The Living Room contains a 15-foot-long (4.6 m) white couch against the wall overlooking the front yard. To the left are two white sofas, a china cabinet and a fireplace with a mirrored wall. The painting that hangs in the room was Elvis' last Christmas present from his father, Vernon, and also displayed are photographs of Elvis' parents Vernon and Gladys, Elvis and Lisa Marie. Behind an adjoined doorway is the Music Room, framed by vivid large peacocks set in stained glass and contains a black baby grand piano and a 1950s style TV. And the third adjacent room is a bedroom that was occupied by Elvis' parents. The walls, carpet, dresser, and queen size bed are bright white with the bed draped in a velvet-looking dark purple bedspread along with an en-suite full bathroom done in pink.
To the left of the Entrance Hall, mirroring the Living Room, is the Dining Room, headlined by a massive crystal chandelier. It features six plush chairs in golden metal frames set around a marble table, all of which are placed on black marble flooring in the center with carpet around the perimeter. Connected to the Dining Room is the Kitchen, which was used by Elvis' aunt Delta until her death in 1993 before it was opened to the public two years later.
The original one-story wing on the north end of the residence includes a mechanical room, bedroom, and bath. In the mid-1960s, Presley enlarged the house to create a den known as the Jungle Room which features an indoor waterfall of cut field stone on the north wall. The room also contains items both related to and imported from the state of Hawaii because, after starring in the tropical film "Blue Hawaii" (1961), the musician wanted to bring some memorabilia from The Aloha State to his mansion, which gives visitors the same feeling. In 1976, the Jungle Room was converted into a recording studio, where he recorded the bulk of his final two albums, From Elvis Presley Boulevard, Memphis, Tennessee (1976) and Moody Blue (1977); these were his final known recordings in a studio setting.[27] During the mid-1960s expansion of the house, Presley constructed a large wing on the south side of the main house that was a sidewalk, between the music room in the original one-story wing and the swimming pool area, that connected to the house by a small enclosed gallery. The new wing initially housed a slot car track and to store his many items of appreciation, but was later remodeled to what is now known as the Trophy Building, which now features an exhibit about the Presley family, and includes Priscilla's wedding dress, Elvis' wedding tuxedo, Lisa Marie's toy chest and baby clothes and more.
The Entrance Hall contains a white staircase leading to the house's second floor with a wall of mirrors. However, the second floor is not open to visitors, out of respect for the Presley family, and partially to avoid any improper focus on the bathroom which was the site of his death. Still, it features Elvis' bedroom at the southwest corner that connects to his dressing room and bathroom in the northwest. His daughter Lisa Marie's bedroom is in the northeast corner, and in the southeast is a bedroom that served as a private personal office for the musician. The floor has been untouched since the day Elvis died and is rarely seen by non-family members.
Downstairs in the basement is the TV room, where Elvis often watched three television sets at once, and was within close reach of a wet bar. The three TV sets are built into the room's south wall and there's a stereo, and cabinets for Elvis' record collection. And painted on the west wall is The King's 1970s logo of a lightning bolt and cloud with the initials TCB, both of which represent 'taking care of business in a flash'. And the last room in the mansion opposite of the TV room is the billiard room; an avid billiards player, Elvis bought the pool table in 1960 and had the walls and ceiling covered with 350–400 yards of pleated cotton fabric after the two basement rooms were remodeled in 1974. The pool balls are arranged just the way they were in the musician's final days along with a strict warning sign to visitors that says "Please Do Not Touch! Thank You!" in capital letters. And in one corner of the pool table, there's a rip in the green felt, which was caused by one of Elvis' friends in a failed attempt of a trick shot.
Critics such as Albert Goldman write: "Though it cost a lot of money to fill up Graceland with the things that appealed to Elvis Presley, nothing in the house is worth a dime." In chapter 1 of his book, Elvis (1981), the author describes Graceland as looking like a brothel: "it appears to have been lifted from some turn-of-the-century bordello down in the French Quarter of New Orleans. Lulu White or the Countess Willie Piazza might have contrived this plushy parlor for the entertainment of Gyp the Blood. The room is a gaudy mélange of red velour and gilded tassels, Louis XV furniture and porcelain bric-a-brac..." And he dismisses the interior as "bizarre," "garish" and "phony," adding that "King Elvis's obsession with royal red reaches an intensity that makes you gag."
In similar terms, Greil Marcus writes that people who visited the inside of Graceland—"people who to a real degree shared Elvis Presley’s class background, and whose lives were formed by his music—have returned with one word to describe what they saw: ‘Tacky.’ Tacky, garish, tasteless—words others translated as white trash."
According to Karal Ann Marling, Graceland is "a Technicolor illusion. The façade is Gone With the Wind all the way. The den in the back is Mogambo with a hint of Blue Hawaii. Living in Graceland was like living on a Hollywood backlot, where patches of tropical scenery alternated with the blackened ruins of antebellum Atlanta. It was like living in a Memphis movie theater... Diehard fans are sometimes disappointed by the formal rooms along the highway side of Graceland. They’re beautiful, in a chilly blue-and-white way, but remote and overarranged." The Jungle Room's "overt bad taste" lets nonbelievers "recoil in horror and imagine themselves a notch or two higher than Elvis on the class scale."
After purchasing the property Presley spent in excess of $500,000 carrying out extensive modifications to suit his needs including a pink Alabama fieldstone wall surrounding the grounds that has several years' worth of graffiti (signatures and messages) from visitors, who simply refer to it as "the wall". Designed and built by Abe Sauer is the wrought-iron front gate shaped like a book of sheet music, along with green colored musical notes and two mirrored silhouettes of Elvis playing his guitar. Sauer also installed a kidney shaped swimming pool and a racquetball court, which is reminiscent of an old country club, furnished in dark leather and a functional bar. There is a sunken sitting area with the ever-present stereo system found throughout Graceland, as well as the dark brown upright piano upon which Elvis played for what were to be his last songs, Willie Nelson's "Blue Eyes Crying in the Rain" and "Unchained Melody".
However, reports conflict about which one was the last song. The sitting area has a floor-to-ceiling shatterproof window designed to watch the many racquetball games that took place there when Elvis was alive. In the early hours of the morning on which Elvis died, he played a game of racquetball with his girlfriend Ginger Alden, his first cousin Billy Smith and Billy's wife Jo before ending the game with the song on the piano before walking into the main house to wash his hair and go to bed. Today the two story court has been restored to the way it was when Elvis used the building.
Elsewhere on the estate is a small white building that served as an office for Vernon, along with an old smokehouse that housed a shooting range and a fully functional stable of horses.
One of Presley's better known modifications was the addition of the Meditation Garden, designed and built by architect Bernard Grenadier. It was used by the musician to reflect on any problems or situations that arose during his life. It is also where his entire family is buried: himself (1935–1977), his parents Gladys (1912–1958) and Vernon (1916–1979), and grandmother Minnie Mae Hood (1890–1980) while a small stone memorializes his twin brother Jesse Garon, who died at birth thirty minutes before Elvis was born on January 8, 1935. In late 2020, Lisa Marie's son Benjamin Keough was laid to rest on the opposite end of the Meditation Garden after his death from suicide in July of that year. Lisa Marie Presley died from sudden cardiac arrest in January 2023 and is buried next to her son.
After Elvis Presley's death in 1977, Vernon Presley served as executor of his estate. Upon his death in 1979, he chose Priscilla to serve as the estate executor for Elvis's only child, Lisa Marie, who was only 11. Graceland itself cost $500,000 a year in upkeep, and expenses had dwindled Elvis's and Priscilla's daughter Lisa Marie's inheritance to only $1 million. Taxes were due on the property; those and other expenses due came to over $500,000. Faced with having to sell Graceland, Priscilla examined other famous houses/museums, and hired a CEO, Jack Soden, to turn Graceland into a moneymaker. Graceland was opened to the public on June 7, 1982. Priscilla's gamble paid off; after only a month of opening Graceland's doors the estate made back all the money it had invested. Priscilla Presley became the chairwoman and president of Elvis Presley Enterprises, or EPE, stating at that time she would do so until Lisa Marie reached 21 years of age. The enterprise's fortunes soared and eventually the trust grew to be worth over $100 million.
An annual procession through the estate and past Elvis's grave is held on the anniversary of his death. Known as Elvis Week, it includes a full schedule of speakers and events, including the only Elvis Mass at St. Paul's Church, the highlight for many Elvis fans of all faiths. The 20th Anniversary in 1997 had several hundred media groups from around the world that were present resulting in the event gaining its greatest media publicity.
One of the largest gatherings assembled on the 25th anniversary in 2002 with one estimate of 40,000 people in attendance, despite the heavy rain. On the 38th anniversary of Elvis's death, an estimated 30,000 people attended the Candlelight Vigil during the night of August 15–16, 2015. On the 40th anniversary of Elvis's death, on August 15–16, 2017, at least 50,000 fans were expected to attend the Candlelight Vigil. No official figure seems to have been released, maybe because, for the first time, attendees had to pay at least the lowest tour fare, $28.75, to cover the extra security costs due to a larger than usual crowd.
For many of the hundreds of thousands of people who visit Graceland each year, the visit takes on a quasi-religious perspective. They may plan for years to journey to the home of the 'King' of rock and roll. On site, headphones narrate the salient events of Elvis's life and introduce the relics that adorn the rooms and corridors. The rhetorical mode is hagiographic, celebrating the life of an extraordinary man, emphasizing his generosity, his kindness and good fellowship, how he was at once a poor boy who made good, an extraordinary musical talent, a sinner and substance abuser, and a religious man devoted to the Gospel and its music. At the meditation garden, containing Elvis's grave, some visitors pray, kneel, or quietly sing one of Elvis's favorite hymns. The brick wall that encloses the mansion's grounds is covered with graffiti that express an admiration for Presley as well as petitions for help and thanks for favors granted.
The Graceland grounds include a new exhibit complex, Elvis Presley's Memphis, which includes a new car museum, Presley Motors, which houses Elvis's Pink Cadillac. The complex features new exhibits and museums, as well as a studio for Sirius Satellite Radio's all-Elvis Presley channel. The service's subscribers all over North America can hear Presley's music from Graceland around the clock. Not far away on display are his two aircraft including Lisa Marie (a Convair 880 jetliner) and Hound Dog II (a Lockheed JetStar business jet). The jets are owned by Graceland and are on permanent static display.
In early August 2005, Lisa Marie Presley sold 85% of the business side of her father's estate. She kept the Graceland property itself, as well as the bulk of the possessions found therein, and she turned over the management of Graceland to CKX, Inc., an entertainment company (on whose board of directors Priscilla Presley sat) that also owns 19 Entertainment, creator of the American Idol TV show.
Graceland Holdings LLC, led by managing partner Joel Weinshanker, is the majority owner of EPE. Lisa Marie Presley's estate retains a 15% ownership in the company.
In August 2018, Gladys Presley's headstone, which contained the Jewish star of David on one side and a cross on the other and was designed by Elvis himself, which become publicly displayed when it placed in Graceland's Mediation Garden after being stored for many years in the Graceland Archive.
Lisa Marie Presley's estate, which is being held in trust for her daughters Riley Keough and Harper and Finley Lockwood, retain 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds as well as Elvis Presley's personal effects – including costumes, wardrobe, awards, furniture, cars, etc. Prior to her death in 2023, Lisa Marie Presley had made the mansion property and her father's personal effects permanently available for tours of Graceland and for use in all of EPE's operations.
According to Elvis Presley's Enterprises, staff at Graceland informally kept a list of celebrities who had visited in the first years following Elvis's death. This practice was not formalized for a decade. Muhammad Ali was an early celebrity visitor in 1978, as was singer Paul Simon. He toured Graceland in the early 80s and afterward wrote a song of the same name; it was the title track of his Grammy-winning album Graceland.
During the Joshua Tree Tour in 1987, U2 toured Graceland. The footage was filmed for the film Rattle & Hum. During the visit, drummer, Larry Mullen Jr., sat on Elvis Presley's motorcycle -- against the rules for Graceland visitors.
On June 30, 2006, then US President George W. Bush hosted Japanese Prime Minister Junichiro Koizumi for a tour of the mansion. It was one of the few private residences on United States soil to have been the site of an official joint-visit by a sitting US president and a serving head of a foreign government. On August 6, 2010, Prince Albert II, Head of State of the Principality of Monaco, and his fiancée (now Princess of Monaco) Charlene Wittstock, toured Graceland while vacationing in the US. On May 26, 2013, Paul McCartney of The Beatles visited Graceland. Prince William and Prince Harry, while in Memphis for a friend's wedding, visited Graceland on May 2, 2014.
The home has also been visited by former US President Jimmy Carter; the late Duchess of Devonshire, the sitting ambassadors of India, France, China, Korea and Israel to the United States; as well as several US governors, members of the US Congress, and at least two Nobel Prize winners, namely singer-songwriter Bob Dylan, a Literature Prize laureate, and the former President of Costa Rica, Oscar Arias, a Peace Prize honoree, who visited it on October 10, 2001.
In May 2016, Graceland welcomed a newlywed couple as its 20 millionth visitor.
In June 2022, actors Austin Butler and Tom Hanks visited the mansion and were interviewed virtually by the Good Morning America news program from the Jungle Room to talk about their biographical film Elvis.
In popular culture
Paul Simon named an album Graceland, as well as its title track. The song won the Grammy Award for Record of the Year in 1987.
The song "Walking in Memphis" by Marc Cohn mentions Graceland; in the second verse, he refers to the mansion and the Jungle Room. This song was later covered by Cher and Lonestar, among others.
The film 3000 Miles to Graceland is about a group of criminals who plan to rob a casino during an international Elvis week, disguised as Elvis impersonators. No scenes take place at or near the estate.
The film Finding Graceland stars Harvey Keitel with Johnathon Schaech. Keitel is an impersonator who claims to be the real Elvis after Schaech picks him up as a hitch-hiker.
In the rock music "mockumentary" This Is Spinal Tap, band members gather around Presley's grave at Graceland and attempt to sing a verse of "Heartbreak Hotel".
Pop punk group Groovie Ghoulies have a song called "Graceland" on their 1997 album Re-Animation Festival.
In the movie Zombieland: Double Tap, the protagonists venture to Graceland in hopes of shelter during a zombie apocalypse, but are distressed to find it in a ruined state.
During the credits of Lilo & Stitch, there's a photograph of Lilo, Nani, David and Stitch visiting the front gates of Graceland. Almost 20 years later, the original painting of that shot was put on display as part of the traveling Walt Disney Archives exhibition at Graceland.
In the season three episode of American Dad “The Vacation Goo”, Steve Smith asks Stan Smith if they can go to Graceland for their next vacation and Stan says “Steve, if you want to pay your respects to a fat man who died on the toilet, we can visit your Aunt Mary’s grave.”
Phoebe Bridgers has a song "Graceland Too" on her second studio album Punisher.
In the third episode of National Treasure: Edge of History, "Graceland Gambit," the main protagonist, Jess (portrayed by Lisette Olivera) is on a treasure hunt that leads her and her friends to Graceland.
Florence + The Machine reference Graceland and Elvis in their song "Morning Elvis" on their 2022 album Dance Fever.