Here's a side view of the Eclipse. One of my priorities for this model was maintaining the sleek appearance typical of the Executor-class line of Super Star Destroyer. This meant limiting the side plating to two studs tall. You'll notice the lower hull has buckled slightly in the center-I'm modifying the frame slightly to correct for this flaw.

 

The flat section at the front of the ship is where the axial superlaser is mounted-this is literally a miniature version of the Death Star superlaser. Of course, you have to be pointed straight at your target, but still...superlaser!

"Here lyeth Sir George Vernon knight deceased ye 31st day of August Anno 1565 and Dame Margaret his wife daughter of Sir Gilbert Taylesboys deceased ye ....daye of ....156 and also Dame Maude his wyffe daughter of Sir Ralph Langford, deceased the ....daye of ....Anno ....whose souls God pardon"

 

Sir George "King of the peak" Vernon 1503 -1561 son of Richard Vernon of Haddon and Margaret Dymoke www.flickr.com/photos/52219527@N00/2219918945/ (He is on their tomb www.flickr.com/photos/52219527@N00/2220719220/ ) His mother Margaret was the daughter of Sir Robert Dymoke of Scrivelsby and Anne Sparrow www.flickr.com/photos/52219527@N00/8125490008/ - she m2 William Coffin; m3 Sir Richard Manners son of George Manners, 11th Baron Ros of Helmsley 1513) & Anne St. Leger flic.kr/p/ebUaDY

 

The Vernon family was established at Haddon by the 14c and its members were to attain prominence both locally and at court during the 15c. Following the early death of his father George Vernon's wardship, and the custody of his lands in Westmorland, were granted in April 1522 to Cardinal Wolsey, Sir William Tyrwhitt, Lady Elizabeth Tailboys and her son Gilbert, and he was married to one of the Tailboys daughters Margaret; but it was his uncle Sir John Vernon who administered the bulk of his inheritance and advised him during his early years ‘in all his causes and his great affairs’. After Oxford and a spell at Grays Inn, George followed his uncle, then serving as a councillor in the Marches, and remained in the elder man's service until his death early in 1545. It was during these years that Vernon had his only experience of the Commons. In possession since 1536 of wide lands centred on Nether Haddon and Bakewell in the hundred of High Peak, and a justice of the peace of more than 3 years’ standing, he could expect to follow those of his forbears who had sat for the shire; Made a knight at Edward VI's coronation, George was one of those claimed by Sir William Paget to have been included in the first, but not the second, list of those whom Henry VIII had intended to create barons. In the event he was never even raised to the quorum of the commission or pricked sheriff; the fact that he was nominated for the office nine times between 1543 and 1552 implies that he was 'persona non grata', although on what ground it is impossible to say. He was one of the 3 Derbyshire gentlemen who refused to comply with Mary Tudor's demand for a forced loan of £100 in 1557, and although the receiver, Sir John Porte, solicited Francis Talbot, Earl of Shrewsbury's help, it is unknown whether or not they ultimately contributed. In 1564 Bishop Bentham, an ardent reformer, rated George ‘a great justice [in] religion as in all other things’, but he died before he could be transferred to the quorum. Renowned ‘for his magnificence ... for his kind reception of all good men, and his hospitality’, he was dubbed the ‘King of the Peak’.

He was, however, heavy-handed in discipline (he is known to have had local men hanged without trial). Another that he ordered a toll-bar keeper to be hanged in a field near Ashford Bar for murder. The place is known to this day as Galley or Gallows Acre field. It was Sir George who secured the transfer of the manor at Haddon from his family to the Manners.

 

He m1 Margaret daughter of Sir Gilbert Tailboys and Margaret Gascoigne, widow of Philip Bullock

Children

1. Margaret www.flickr.com/photos/52219527@N00/2220628830/ m Sir Thomas Stanley flic.kr/p/4oeizU of Tong

2. Dorothy m Sir John Manners www.flickr.com/gp/52219527@N00/3528KA

 

He m2 Maud daughter of Ralph Longford 1544 of Longford Derbys & Dorothy flic.kr/p/6xfByq daughter of Anthony FitzHerbert of Norbury by 2nd wife Matilda Cotton flic.kr/p/2kyiD2m who m2 Sir John Porte of Etwall flic.kr/p/6xfzyQ

(Her sister Elizabeth m Sir Humphrey Dethick at Hartshorne www.flickr.com/gp/52219527@N00/jHF9XQ

Her only brother was Sir Nicholas Longford 1610 www.flickr.com/gp/52219527@N00/Bx0y53 the last male of their family branch.

 

Sir George died without male heirs and his estates were divided between his 2 daughters Margaret having Tong, Dorothy having Haddon

 

By his will of 18 Aug. 1565 he bequeathed six Derbyshire manors and two in Staffordshire to his wife for life. His executors were to take the profits of his manor of Kibblestone, in Staffordshire, and two Cheshire manors for 16 years after his decease to pay his debts, funeral expenses and the fulfilment of his will, which included among numerous bequests the provision of one gold chain worth £20 to his godson, Gilbert Talbot†, the future Earl of Shrewsbury, ‘as a remembrance of my good will towards him’. His wife, his son-in-law John Manners, his brother-in-law Nicholas Longford and his ‘loving neighbours and faithful friends’ Thomas Sutton and Richard Wennesley† were each to receive £20 for their services as executors, while his ‘right worshipful friends’ (Sir) John Zouche II and (Sir) Francis Leke were each to have a horse.

 

His widow Maud m2 Francis Hastings 1610 flic.kr/p/2k8CAXM youngest son of Sir Francis Hastings 2nd. Earl of Huntingdon and Catherine Pole of Ashby de la Zouch flic.kr/p/2k8Rd75

 

There are 3 female figures on the side of the tomb supporting coats of arms: One is definitely Dorothy Vernon Manners: The others could represent her son (Manners) & daughter in law (Pierrepont) who may have erected the tomb www.flickr.com/gp/52219527@N00/63cy7w

- Church of All Saints, Bakewell, Derbyshire

 

www.tudorplace.com.ar/Bios/RichardManners.htm

My take on Vader's flagship from The Empire Strikes Back: the Star Destroyer Executor. Nineteen kilometers from stem to stern, Executor is over 11 times the length of a typical Imperial Star Destroyer.

 

The Lego Group sells an Executor set, but at $400 and four feet in length, it's a bit impractical. Though this 22-inch version has taken me weeks and countless revisions, I'm pretty happy with the result. I'll take better pictures when time permits.

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.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

  

The moat of Ightham Mote

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] 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 loggia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.[14] wikipedia

 

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] 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.[4] 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.[5] 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.[6] 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.[6]

 

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] 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.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

 

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.[8]

 

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.[8]

 

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.[1]

The French River…chapter two… The Hawks Head an Omen

 

The following summer Alex and I got a hankering to go to The French River to fish for big Bass and giant Muskies. We may have been aware of the fact that mom had received a small sum of $3,500. Dollars as fathers insurance money. I don’t recall how we hatched this scheme or how we come to choose the French River as our destination. Our pitch to mom was simple, if she gave us just $350. Dollars Alex and I would catch a bus to the French River and camp there for three weeks. Like I said, I was thirteen, Alex fourteen. We didn’t own a tent. When I think back on that I really don’t believe it was wise for us to go without an adult. So many different things could happen to two young boys away from home. Parents and grand parents were always saying weird evasive things like, ‘when you are at the Runnymede show matinee, don’t go to the bathroom, don’t talk to strangers’, that was weird telling us not to go to the bathroom, I mean, everyone has to go to the bathroom. The words sex, or dick or penis or womans areas such as breast or vagina could never be said specifically, or diddler or molester, that’s how it was back then, at least for us.

I had been to cub scout camp so I had some experience at camping out, I was all for it. We would look at fishing magazines to pump us up on this exotic location. The French River is quite an unspoiled body of big water located south east of Sudbury by thirty or so miles from which it winds its way south to Georgian Bay. We gathered all the equipment we could, we had one sleeping bag, one heavy tartan blanket, two scotch pins to keep the blanket closed while sleeping, I had used it the previous year while camping with the cubs. We had water jugs, and frying pans, a pot to heat soup in, a green two burner coleman stove, a couple of coat hangers to use as toasters, we had two flashlights, there was some strong bug spray, matches of course, a few changes of clothes, a jacket to wear at night. Everything was packed in a pair of old army duffle bags, left overs from the war.

We got to the bus station at Bay and Dundas and took the first bus to the French River. Except we didn’t get out at the French River, we were asleep when the bus passed there and the next stop was downtown Sudbury, we got there around five in the afternoon. We had no choice but to rent a room at the Nickel Range Hotel right in the downtown core. Neither of us had been alone in any other city before, we stuck together, we went for a meal and then went up to the room, the bus back the next day left around eleven in the morning. I remember waking up and the two of us looked in all the shop windows, this was terribly exciting. There was a fishing tackle shop attached to an Army Surplus store right near the hotel. Al and I filled our tackle boxes with new lures, Rapalas and Flatfish and Lazy Ikes and Williams Warblers, Hula Poppers and Worm Harnesses, Jitterbugs in two different sizes, more weights for sinkers and bobbers and packs of snelled hooks in various sizes, we were ready. Lures and tackle in general were never cheap, ever, we also each bought new skinning knives with leather sheaths that attached to your belt and weigh scales to weigh the fish we were going to catch with. By the time we were finished we had spent about $50 each on stuff and it was time to catch the bus back to the French River. The driver let us on for nothing because it was the other driver the day before who actually had forgotten to let us out.

The driver waved goodbye to us as we departed the southbound bus. There was a general store called the French River Outpost that we took a quick look in before we walked across the bridge that spanned the famous French River that Samuel de Champlain had once travelled, we were at an historic place. Coincidentally this year marks the 400th year of his travels here. On the other side of the bridge we walked in a bit towards the river and found a suitable place to put our stuff. Then we marched back to the Outpost store and bought about four six packs of Pure Spring pop in a variety of flavours, I especially liked the black cherry flavour. We also bought two quarts of chocolate milk, bags of chips and some more canned provisions, like Heinz spaghetti in a tin for Al, I didn’t eat sphagetti, Liptons soup, two packs of hot dogs, Blue Bonnet white bread to eat the wieners on, remember that blonde girl on the wrapper, whatever we needed for a week or so of camping. We got back to our site and took out our neatly organized tackle boxes and climbed down the somewhat precarious side of the embankment to the waters edge. The water was deep and black under the span of steel bridge above us, in the mid day sun we failed to get so much as a nibble. On one cast a smallmouth bass did follow my orange flatfish in but it did not strike. We walked down river towards the rapids a few hundred yards away from the bridge. It looked like a promising spot, again we threw everything we had at them, still not much action, a few sunfish, that was all. We walked back to our campsite and cooked some beans and wieners in the pot on our small Coleman stove. At least we had brought a stove! After rinsing the pot out in some dirty water we went to bed, exhausted. As the oldest, Alex of course got to use the sleeping bag. I had the tartan blanket with the two scotch pins. Up to that time there was little sign of mosquitoes. That changed at night as I spent most of the time chasing them away from the openings in the blanket that they uncannily could find. It may have been my worst night of sleep ever. In the morning I counted 64 mosquito bites, they were all over my face, behind my ears, my legs especially the ankles my arms, everywhere, while Alex had just a few. It was rather unbearable. We fished for a while the next morning and I must admit it was lovely and peaceful, when we didn’t catch anything again we decided to go rent a canoe and travel up the river, we’d have to find the fish.

There was another commercial place down a road across from the Outpost it was a marina on the river that had a big Shell gas sign that lit up at night in a yellow hazy way, sort of a beacon at night for river travelers. This mom and pop establishment was called The French River Camp, we knew it was there as at the roadside a white official highways sign pointed in that direction stating, French River Marina ½ mile, this was long before metric. Besides selling provisions they also sold gas, tackle, live bait and rented boats and motors as well as fiberglass canoes for the princely sum of $1.50 per day. We paid for a fourteen day rental in advance and stocked up on soda pop and other luxury items. Our hopes were buoyed by the sudden intelligence in renting a boat to get us to where the fish were. We probably did not have a map of the river other than the highway maps we got at the Toronto Exhibition in the Ontario Building. That was a cool place back in them days, they had exhibits of live fish swimming in tanks, all our favourite sport fishes, bass, muskie, pike, pickerel and the trout family as well, in other parts of the building they had a one quarter size display of how ores were mined using mini cars on tracks to shift the material from one part of the mine to another as well as an actual miniature shaft with an elevator, it was so neat. Maybe seeing those fish at the Ex was part of the catalyst that created our lust for fishing, that and the fact our father had instilled fishing in us from a young age. I’m sure we looked at the big map of the area, not only at the highway 69 location where one was displayed in a glass case but also in the two stores we were in, the Outpost and the Marina who both had large four foot maps on their walls for the tourists to look at. Our logic was that a river goes up, and a river goes down.

We paddled the canoe now full with our gear about a half mile upstream through a narrow rock lined channel, after about fifty yards the river opened up and on our right there was a large private fishing lodge where there were a dozen professional boats parked for the well heeled clientele. About a hundred yards up form that camp to the left we found a very nice one acre island camping spot with a gravel landing area for the canoe, a prebuilt rock campfire pit and plenty of dry wood lying around to burn. The French River is still preserved in this fashion, there is very little development, as an historic site the government preserves it as a natural wilderness, they build campsites for visitors to use, but you would be hard pressed to find any permanent cottages. The word Pristine comes to mind, today, fifty odd years later it is a strong testament to thoughtful thinking about a treasure.

Again we were excited to cast our new lures into the water that held promise. We had some luck, small fish that we would catch and release, nothing really to write home about, perhaps we had set our sights to high. Night fall was coming, I was casting like a madman, working my lure at various speeds and depths trying my hardest to catch the first big fish, then all of a sudden on a back cast my lure, a small Mepps #3 spinner ricocheted of f Alex’s head and he instinctively reached up to protect his face and as I tossed my arm forward not knowing what I had hit behind me the lure submerged into his right hand palm, so much so that the hook was not visible. He let out a huge shout calling me every name in the book, not realizing that it was his fault for walking behind me as I cast. In a few moments the shouting subsided, it was getting dark, we already had a fire going for warmth and had been snacking all day long on wieners and chips and sodas. Calmly Al stated, “I’ll get in the canoe and go to that fishing camp a ways back, there’s sure to be a doctor there”. He paddled away, a black flashlight tied to the bow of the canoe, the hundred or so yards back to the camp where the big boats were docked. I tended the fire and worried, and also thought how brave he was to paddle there as night settled in. Within an hour he was back, there had been a doctor and the doctor removed the hook easily by pushing it through the other side of the meaty palm, giving him a small injection for the pain and some pills to take to ward off infection and some antibiotic cream to put on the area. We sat around the campfire, the mosquitoes must have had enough of my blood as they were not nearly as bad that night. Sleep came easy.

The pair of us got up before the sun. We had planned this, we loaded the canoe with our rods, some peanut butter sandwiches and drinks that we placed in the small hard sided cooler in the bottom of the canoe. We paddled upstream away from our camp, as we paddled the boats from the lodge went flying by, one after another ten in all, huge boats with immense motors, more like small yachts. The wake they made almost tipped us, we hung onto the shore until they passed, we waved to each boat, after that it was completely silent, the birds were chirping quietly in the trees above the cliff, a soft chiffon mist rose from the waters and hung in the pine tree branches like a Japanese painting. We began casting towards the rocky shoreline and the ten to twenty foot high cliffs. We tossed each lure softly to the edge of the rock face, let it sit a moment, then gave the surface lure a twitch, a jerk, another twitch, another jerk then we would slowly move the rod from left to right, having the lure imitate a wounded baitfish, we did this for ten minutes, then paddled further, still in this rock lined channel, my feet inadvertently hit the bottom of the canoe as I reached for a different lure, Alex told me to keep the noise down a couple of times as I was humming a song that had been popular on the radio, ‘I’m Henry the 8th I am, Henry, Henry’, “ keep quiet,you’re scaring the fish, that’s why we aren’t getting any”. Perturbed at his domineering character I just kept on doing what I was doing quietly singing and eating my sandwich, casting towards shore, he yelled again, “keep the fucking noise down or I’ll kill you” ! I believed him, but it was too late, his face had turned red with anger, his eyes bulged, I’d seen that face before in life, almost always after I had beat him at a sporting thing or something as simple as a monopoly or scrabble game. He was standing in the boat which isn’t smart in a canoe, he held a paddle up in the air and began swinging and swiping it at me, I dived overboard into the deep water and swam the twenty feet to shore for safety where I clung onto the rock face and had difficulty climbing the slippery slimey with green guck sheer rock face, the paddle got me in the back of the head and I could feel my front upper tooth come in contact with the rock face, the same tooth that I had chipped on the tap at the ice rink, I must have yelled and screamed until he stopped hitting me. After a cooling out period, he let me back in the canoe and we paddled back to the campsite at my request. By this time, the magic hour had passed, it was close to nine AM the sun was higher. We fell asleep for a few hours by the dying fire. Shade was provided by a large pine tree to our back. When we got up we again went out on the river, this time we paddled quite a distance, the river opened up and appeared now much more like a lake, we came to a spot that looked very promising, there were pencil reeds and some lily pads, sure signs of fish habitat. To no avail we pitched our lures, we landed a few small pike that were feeding close to shore, I love pike, you can always catch them they are so voracious they will eat all day long and are very protective of their area. By days end we were beat and paddled back to the camp. Alex opened up another can of spaghetti for his dinner, I was happy with the hot dogs. Afterwards he insisted again that I do the dishes, including his spaghetti pot that he had not bothered to put water in as a pre rinse. I balked and well that simple not malicious act on my part drove him crazy again, it was all I could do to survive the night without my head being chopped off.

In the morning, we decided to call it quits, we both realized we weren’t getting along, we took the canoe back to the French River Marina where they gave us a refund for the twelve days we had paid for in advance. A local man driving a dusty old white pickup truck gave us a lift up to the highway, me and Alex sat in the back box with our gear, our duffle bags and fishing rods. When we got to the main road we stuck our thumbs out to no avail. We walked and walked in the baking hot sun until we came across a small provincial park that we knew was nearby. We walked in and decided to rent a campsite near the waters edge. The site was quite reasonable, about three dollars a day and it came with a picnic table and one of those steel grate provincial parks bbqs elevated from the ground as well a nicely sanded camping area to place our gear and lay our bags out in.

The small lake was less than fifty feet from the camp site through a tree lined path. We both tried like tigers to catch something, but again we had little luck, we did catch some sunfish but that was not what we were after. It seemed the only thing we were good at was fighting with each other. Once again, the issue of doing the dishes came up, I would not clean his dirty pot again at which he went into the typical rage, we decided by mid afternoon that day that we would break camp and hitch hike to the nearest town and take a bus to Toronto. It took us forever to catch a lift then finally this guy a soldier dressed in Army clothes stopped, he was going as far as Bracebridge, he was talkative, he said, ‘there’s a Greyhound bus station in town’ and he dropped us off there around five in the afternoon, we were so pleased to get out of the blazing sun, we rolled the windows down in the car, let the breeze chill us out. We were too late for the afternoon bus and would have to wait until 9 that night for the next one. The depot closed at five, so we had to leave our bags and stuff out front and stand guard for almost five hours until the next bus came. The stairs up to the depot were made of poured concrete, an adult passed us by and said to us, and it amazes me that I recall this, they said, ‘better not sit there too long or you’ll get piles’, now what the heck are piles my kid self thought. We purchased two tickets to Toronto at about $7 dollars each, we counted up our money, after each of us having Banquet Burgers with fries and gravy, chocolate sundaes and milkshakes for dinner at a small diner which was part of the bus depot, we had the whopping sum of $26 dollars left. We slept on the bus ride home, I don’t think we spoke to each other the entire way the bus was nearly empty. It pulled into the Toronto bus station around eleven o’clock, we tossed a dime into one of those black rotary pay phones and called home. Mom answered, I recall Alex saying, ‘we’ll be home in an hour, we just got off the bus, we couldn’t get along’. At home, mom was devastated, when we told her we only had $26 dollars left she might as well of wept for the look on her exasperated face, poor woman.

Throughout life Alex and I continued to rival each other, especially in sport as we both played a good game of football, and we rivaled each other with friends as well. He was good at bullying people into being his friend, often they would find me through him, which I am sure he carried to his grave. We tried to go to the French River one more time, I have wrote about this before in a story towards the beginning of my writings, it is called Last Chance Fishing and it can be viewed on my blog by going to Wordpress Selrahc Yrogerg. Julia, my better half and I spent a couple of weekends fishing at the French River. One time we took our big cedar strip boat with the brown and white 18 Horse power Johnson motor. We travelled well up the river to a wide expanse and camped on an island. One morning we were just up, hadn’t even had our coffee when we both saw this enormous fourty or so pound Muskellunge jump into the air, the image remains. We hopped in the old boat and began pitching our biggest lures in the area we thought the fish was hunting in, we pitched for over an hour, with no luck. It was our last day on the river as we had planned to go to another area north of Sault St. Marie, Lake Michipicoten. to give it a try, as we drove towards the French River Marina we watched as two Americans played an almost ten pound pickerel to their boat, they were fishing not far from the marina. Though I have never had much luck with big fish at the French I have seen others catch them.

The last time I was at the French was in the year 2006, the year Alex died from ‘the drink’ at his apartment in Valemount British Columbia. It may just be a coincidence but I am writing these words on his birthday, April the 1st, 2015. My sister Suzanne reminded me of that fact today, Al’s birthday, he would have been 68. My cell phone rang as I was working at one of the properties I managed for a group of entrepreneurs, I was repairing some holes in the siding that a colony of bats were using to enter the wood sided structure, I was on a ladder. The call was from the coroner in Valemount British Columbia, I don’t recall how she got my number. She gave me the news that Al was dead and thought I should get out there to settle up his affairs. I found myself on a plane the next day, landing in Vancouver then taking a second flight to Prince George where I rented a Jeep (Peej) to drive across country eastwards towards the town of Valemount. I stayed a night in Prince George as I waited for Alex’s daughter Maxine and her husband to arrive from their home in the Calgary area. The next day they showed up driving a luxury small Mercedes sports car. They were tired and wanted to post pone the events a day till they caught up on sleep, I refused as I had already wasted half a day waiting for them to show up. We went to the hospital first to see Al in the morgue, it was a gruesome sight as he had turned blue and yellow from not being kept refrigerated for a few days after he passed. I believed he was dead but his daughter insisted on seeing him. The moment was not dissimilar to those you see on television wherein the family visit the morgue to identify a relation. I snapped a photograph, the image did not appear on the screen of the digital camera, only later on the computer did it come out after working with it in a phtotoshop type program. You don’t want to see that photo. Afterwards we went to a funeral home and made arrangements to have him cremated, when I came back to Prince George I would come and pick up the ashes and take them with me to Toronto. In typical funeral home employee fashion the attendant tried to persuade us to buy expensive decorative urns to place his ashes in and to spend a bunch of money on notices in the paper. I do recall telling the guy we weren’t interested. Maxine and her man took a room at a motel. The nasty work being done I chose to drive on to Valemount as there was lots of sunlight time. It is a four hour trip to Valemount on a very quiet paved road. I didn’t quite make it to Valemount but stopped one town before there in a town called McBride where I took a room at a motel. A small jug of scotch whiskey helped me sleep, I was very emotional.

The next morning I pulled into Valemount a picturesque town on the other side of the mountain range from Banff and Jasper. There were tall mountains in all directions. On the Jeep stereo I played a new Eric Clapton CD Me and Mr.Johnson that I had bought in an interesting truck stop all purpose supply store on the edge of town that appeared to be the place to be. The record was in one of those sales bins priced at just $6, The music was comprised of old blues tunes, the song When The Train Pulls Into the Station was particularly sad as Valemount is a railroad town and Alex had been working for CN rail for over twenty years. It was difficult to hold back the tears, I had some time to put in before the scheduled meeting with the coroner, I found a quiet lake on the outskirts of town to say a few inner prayers. I met the coroner at the apartment complex Alex lived in as scheduled at eleven AM, it was a modern four floor structure on the outskirts of town with young jack pines growing around it, there was a bike rack and the bike Al road was there. The coroner told me about the circumstances of his death, they aren’t pretty, in a drunken stupor he just sort of fell on his face and died in the hallway outside of his apartment, a young twenty something neighbor who knew Al felt bad as he had passed him in the hallway early on the morning in question and just ignored him as he had seen Al in worse shape numerous times. The cause of death we later found out via an autopsy was alcohol, he drank himself to death.

We went into the apartment, I wasn’t ready for what I saw. When I say there was a carpet of beer bottles on the floor mixed with small empty vodka bottles, I mean there was a carpet of empties, mostly Heineken. A trail, a foot path led through the empties to a TV set a newish 32” inch flatscreen, I believe there was a couch and little else except the remote, the curtains were closed, no light came in, to my knowledge, no one had ever been in the apartment, it was quite a hovel, with dishes piled high in the sink, the bathroom was a sight as well, Al was never known for his good housekeeping. The apartment superintendent was also a bartender at the local bar, she had never been in the apartment. I was far beyond embarrassment. The degree of drinking that took place in his life is difficult to fathom. I will include a photograph of the bottle strewn floor.

I had been made the executor of his will when he had it drawn up twenty or so called years prior at a law office in a town south of Valemount called Clearwater. It was my duty by law to look after things, regardless of what his son in law said was the law or accepted rule in Vietnam. We did not get along to say the least. There was one specific request in the will, ‘please sprinkle my ashes in the French River’. No piles of gold or otherwise were found at the apartment, no matter how many times they ripped his VCR apart it did not pour out a pot of gold. What was salvageable would fill a black garbage bag, a talking Billy the Bass still in the box, two fishing reels, a pair of fishing rods, some tackle, the TV, a handful of books, a note that said “The Truth is a Very Long Drink Indeed”, and that’s about it, as well as a key for a safety deposit box in Clearwater, British Columbia where the lawyers office was located that had drawn up the will. After his family and I finished our look through the mess I wanted to inspect the contents of the safety deposit box as it was my responsibility to look after the affairs. The key was gone. Neither of his kin would own up to taking it, I reported this to the RCMP in town when I left the apartment. A while later the son in law returned the key to me at a cabin I had rented for a few days by a mountain, we had a heated argument.

There was a railroad employee organized send off for Alex at the Valemount Tavern, the same tavern that sold him the drinks that killed him, I did not attend as I was repulsed by his family. The next day I ran into some of his fellow employees as well as his supervisor when I visited the CP offices to get information about his pension plan, from that exchange there was the story we call The Lunch.

For a time Al worked as a trackman on a crew with a few other guys, the routine was that they would get driven to a site, usually in a remote part of the track system to maintain the line, to repair the tracks where necessary. At this one particular area there was a bear hanging around making a nuisance of itself. One day, while the workers were up track fixing something or another the bear took Alex’s lunch which along with some drinks was kept in a hard topped cooler, when the men came back for their break, there was the bear a hundred or so yards down the track eating the food within the containers. Al picked up a tool, a steel pole over an inch thick, over six feet long with a hard metal welded piece on the end, they used it to raise the track while gravel was placed under the creosoted boards. He never said a thing, the other two workers with Al watched as he approached that thief of a bear, Al beat the bear to death with that steel pole. That’s the kind of man he was, fearless.

It was necessary for me to visit the bank Al dealt with in town, that took some time and certain protocols are in place for next of kin to access the account information. A kindly gentleman eventually informed me that there was just $600 dollars in Al’s account..this did not come as a surprise as there were signs and verbal innuendo that he was just scraping by in life with the benefits he received from the railroad sick plan that he had been on and off of for several years. At the doctors office, I thanked the doctor who had been providing him with care for his addictions. At the Valemount Hotel I met the servers who were devastated by his death. I went for a long drive inland from the town to explore, to see what the area was all about, a road led me to a grand lake where there was a family fishing and camping in a Beverly Hillbillies way, I gave Mr.Blanchett one of the fishing rods for his grand son, I had a feeling he knew I was giving something special away. At a motel a few guys who worked with Al were having a beer, I gave one of them Als ornamental belt buckle and the other a guy named Red I gave one of Als fishing rods and a reel. There was little left to do. As I drove to the lawyers office in Clearwater a pleasant two or three hour drive south through a mountain range, I passed a town called Avola with a red neck bar that Al once hung around when he first went to BC many years back, that’s about all there was in that town, a red neck bar, I was hesitant to go in as there were some rough looking characters in the bar and some Harleys parked out front, I went in anyways, a bit timid. I said hello to the barkeep and asked if he knew Alex, he did know him and he had heard Al had passed, I shook his hand, the bikers actually melted with the sad news of Als death. A ways further up, my heart beating quickly I saw a large dead hawk on the road, I pulled over and with a knife I had scavenged from Alex’s stuff, I portioned the fresh, still warm magnificent bird into sections, the head, the tail feathers, the wings, the sacred feet, the body I tossed into the woods and said a Shamans prayer of thanks for this wonderful omen.

The safety deposit box was located in a bank beside the lawyers office. We went in together, the lawyer and I, a bank person took us to where the safety deposit boxes were, we opened the box that was assigned to Alex Gregory, it was empty. The lawyer agreed afterwards to help me sort Als affairs out, there would be damage payments due to the apartment owner and several other matters needed sorting out before the pension funds could be released to his daughter Maxine. It took a year or so to get everything in order for her, I just like to say that she did well, there were enough funds for someone to have a fresh start in life. I headed back to gather my things at the cabin, I took a walk towards the mountains behind the assembly of rental cottages, it was Mt.Trudeau and in an opening in the green plateau I saw two black animals grazing, at first I thought they were horses, I turned back to look again and the pair of regal moose were slowly trotting away. I said goodbye to the landlady who made rugs out of worn blue jeans, I drove back to Prince George. On the drive back I saw a coyote running in a field with hay bales, I like to think that that was Alex playing in the sun, a few miles on there was a bear cub, picking away at something in the ground. I picked the ashes up at the funeral home. I took them on the plane with me in my personal luggage, the airline seeing my remorse let me sit alone, the ashes were placed in the bin above, wrapped with a wing from that dead hawk omen. The rest of the bird was sent via mail to our address at the farm above Rice Lake in Ontario. The head, now remiss of all signs of life except a few wilted feathers sits in a glass jar on the stereo shelf, a reminder of those times.

Late that summer, my son Cassidy, my brother Kevin and I took the ashes to the French River. I had my own style shaman ceremony, I poured the ashes into the river at the spot we first camped at. I lit a fire for some sacred purpose as well as to burn the box the ashes were in. The other fishing reel of Als, I attached one of the feet from the hawk omen and tossed it far out into the river as I bluttered out some sacred incantation. Kevin, who had been abused by Alex witnessed the ceremony but understandably would not participate. I had sent half the ashes to Maxine via her mother Glenda’s house in Thunder Bay, Ontario. Those ashes I understand were placed in the grave with his deceased partner who had died years earlier.

Some lives are sad, very sad. From time to time I will come across a man who reminds me of my brother Alex in a physical way and it sends a ripple through me. In all the places for this to take place it did once in the early seventies at the auditorium theatre of the Guelph Reformatory as a man sat in the row in front of me who had an uncanny resemblance to Alex, a Neanderthal feeling. Just this week, as I gave the street person Bob a hug at his motel on the outskirts of town, there was a slight, ever so slight similarity to that love I shared with Alex. I doubt that I will ever go back to the French River. Om Sai Ram

 

Written on front, "Hon. Mrs. Ludlow." On Reverse: "Judge Ludlow's wife, Phil. Penn"

 

Henrietta Frances Lorett, born in about 1827 in New York, was the daughter of Harriet L. Draper and Javez Lorett. ("The Drapers in America: being a history and genealogy of those of that name" By Thomas Waln-Morgan Draper, page 88). She was the wife of James Reilly Ludlow, a noted Philadelphia judge, and mother of Anna Cathleen, Clarissa Draper (married Charles Gibbons, Jr., of Philadelphia), Harriet Louisa (married Dr. Joseph S. Neff), Elizabeth Fisher (married Jacob L. van Dewenter of Netherwood, NJ), Amy, and William Henry Ludlow. Henrietta is not in mourning for her husband in this picture, as he did not die until some 20 years after this image was taken. Her daughter, Anna, died on 19 January 1871 at age 20, but that is also too late a date to square with her fashions here.

 

Ludlow's professional biography, included in the 1887 "Proceedings of the American Philosophical Society held at Philadelphia for promoting useful knowledge":

 

"On the 3rd of May, 1825, in the City of Albany, in the State of New York, James R. Ludlow was born. His father, the Rev. Dr. John Ludlow, was a minister of the Old Dutch Reformed Church. This venerable Society had an historical character. Its influence in the earlier days of New York was marked, and much yet remains. The Dutch settlers of that Province were earnest, sincere, sluggish, but patriotic people. The Patroons were noted men in their time. The Van Rensselaer Manor was historical. The Patroons, Van Rensselaer, even to a late period were esteemed and respected in social circles.

 

"The anti-rent excitement half a century ago, was evolved out of the relations between these manors and the tenants.

 

"The Rev. Dr. Ludlow was an educated, cultivated gentleman. He was professor of languages in the Theological Department of the New Brunswick, New Jersey, School of the Dutch Reformed Church. In the year 1834 Dr. Ludlow came to Philadelphia and was elected Provost of the University of Pennsylvania, in which post he served for nearly twenty years.

 

"When Dr. Ludlow came to this city, his son James entered the University of Pennsylvania and graduated with distinction in July, 1843. He then became a student of law with the Hon. Wm. M. Meredith. It may not be out of place to say of Mr. Meredith that he was one of the ablest lawyers of this country. On the admission of James R. Ludlow to the bar on July 34, 1846, he entered on the practice of his profession in this city. Earnest, faithful, industrious, he began to establish a professional character that promised success.

 

"In 1850 he was appointed Assistant District Attorney of the United States and earned high repute for his conduct of some of the Government cases. He learned rapidly the science of the law, and mastered its practical details. In 1856 he was named as a candidate for the District Attorneyship of Philadelphia. His reputation had grown, his professional standing was assured.

 

"In 1857 he was nominated for Judge of the Court of Common Pleas, Philadelphia County, and elected, and in November, 1857, took his seat on the Bench. His term of ten years expired in 1867, and he was reelected.

 

"By the Constitution of the State of Pennsylvania, which was amended in the year 1873, the Courts of the County of Philadelphia were reorganized. By this organic law, four Courts of Common Pleas were established. Each had a President Judge and two Associates. Judge Ludlow became President Judge of Court of Common Pleas, No. 3.

 

"In 1877 Judge Ludlow was again elected without opposition. He held that position until his death. His judicial life began in 1857, and ended, by his death, in 1886. Thirty years of judicial labor was the training he received. He gained the respect and confidence of his fellow-citizens. They appreciated his honesty, impartiality, his courage and his learning.

 

"As a judge, his reputation was substantial. In the law and equity sides of the Court he was admittedly a safe and conservative administrator of the high trust conferred on him. His conscientiousness was proverbial. He possessed and developed the highest courage in the impartiality with which he adjudged the questions he was called upon to determine. It may be said he died the victim of continuous, conscientious labors. He investigated and examined, and came to his conclusions after patient study of the law involved in the decisions of those cases, the importance of which made severe demands on his time. He took nothing for granted. He believed his duty required his best efforts, and was not satisfied that errors inconsiderately made might be possibly corrected in a court of review.

 

"It may be said of Judge Ludlow, that in dealing with the science of the criminal law he became an authority in this country. His tastes led him to study physiology and psychology. To facilitate his labor he attended the lectures in the medical school of the University of Pennsylvania. He therefore became well informed in medical science. In administering the criminal law, his opinions were regarded as a settlement of those principles in which a knowledge of these sciences was necessarily involved....

 

"This enlightened and learned Judge, worn out by judicial labor, ended his days on the 20th day of September, 1886, in the 62d year of his age, with a high reputation, gained and earned in the thirty years of devotion to the conscientious discharge of his high trust."

 

Part of Ludlow's will, which mentions Henrietta, can be found in "The Albany Law Journal, Volume 34: "...A singular Will, written January 18, 1867, admitted to probate on Monday in Philadelphia. It is short, cover but half a page of foolscap, and is in the handwriting of the decedent, Judge James R. Ludlow, one of the foremost jurists in Pennsylvania. He wrote: 'I request my executors to incur at my funeral no expense not absolutely required. My estate is small, and my wife and children ought to have every dollar for their support. Let no false pride dictate ostentatious display, for after the soul departs from the body, it matters little what becomes of that body, so that it is decently buried. God will protect the dust and on resurrection day gather all together and reconstruct it according to his sovereign rite.' He then devises his entire estate to his wife, Henrietta F. Ludlow, and appoints her guardian of their children and executrix."

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

 

Credits inside the building instructions. Enjoy!

 

Minor design changes may occur during the life of the MOC. When implemented, I make a new post in the album as soon as the building instructions are updated and available (the .zip file will indicate the date of the revision)

Artist: Bruce Hecksel

Acrylic

 

Photographed at the 2025 Poet Artist Collaboration

Red Wing Arts

Red Wing Minnesota

Friday April 18th, 2025

 

Artist comments: On this frozen pond, wrestling with grief and keeping upright in the face of duality, I zoomed out on this ice walker, glowing in the setting sun, surrounded in natural beauty, filled with grace due to nothing other than being in the moment.

 

Nature itself lovingly provides this transparent sheet that we can look down into the darkness and also bask in the sunlight. The landscape endlessly refreshes and inspires the spirit.

  

Poem: The Pond

Poet: Mary Kelly

 

I.

There is the pond.

It's frozen surface rippled.

Undulated dripped glass

framed with dry grass

 

I have been walking fast

trying to get my pace

to match my heartbeat,

trying to calm myself.

To make sense

of the forces unleashed

when my brother died.

 

But not that really--

trying to keep a steady stride

in the faces of those forces

 

Here at the pond,

it's gray to white surface,

the way light moves unevenly--

is shut out, then reappears

on another section--

it is clear to me

that no one could possibly

skate across it the first time.

 

II.

And I am wondering tonight what keeps us upright.

What lets the chaff fall down around us,

disarms words meant for harm,

binds the unbreakable human spirit.

It is not morality, but closer to the ground,

deeper in the core. The thing that gives morality.

 

To choose to contain this world.

All of its raw screaming, and its calm, drifting beauty:

every child, clump of dirt, bird, building, stream, tree.

Every joy and celebration, every pain, consternation,

point of view, agenda, evil action.

 

Every person lost,

every person on their feet.

 

Poet Comments: While serving as the executor of my brother's estate, I was introduced to an unexpected level of disappointing behavior.

 

I was trying to transverse all the human dynamics and get the job done, while running between Minneapolis and Milwaukee. In despair, I went for a winter walk where I realized I could not win, but that something higher in life is always available to me and I choose that

  

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 .

 

Tomb of William Wroughton 1509-1559 who built the original Broad Hinton manor house in 1540 with stones from the dissolved Bradenstoke Priory although he is not known to have bought any monastic or chantry lands

(The Wroughtons had held the manor since 1365 when Nicholas Wase sold it to William Wroughton d1392 )

He was the only son of William Wroughton of Broad Hinton by Anne daughter of Sir William Norris / Norreys of Yattendon & Anne Horne, widow of Sir William Harcourt and Sir John Stanley

He was the grandson of Sir Christopher Wroughton 1515 & Jane daughter of Sir Richard Choke 1483 of Long Ashton

 

He m1 Elizabeth dsp daughter of George Twyneho of Keyford by Frome

 

He m2 Eleanor 1590 daughter of Edward Lewknor of Kingston and Sibella Ellingham (Eleanor m2 Sir Giles Poole +++)

Children - 4 sons and 3 daughters

1. Thomas b1540-1597 m Anne flic.kr/p/j5QVPx co-heiress daughter of John Berwick / Barwick 1572 of Wilcot & Dorothy daughter of Sir Thomas Goddard:

2. George

3. William

4 James / Jacob

1. Dorothy m1 John Thynne the builder of Longleat 1580 widower of Christian Gresham m2 Cary/ Carew Rawly / Ralleigh of Downton Wilts 1623 son of Walteer Rawley of Farndell & Catherine Champernowne

2. Anne m Henry Poole 1616 of Sapperton www.flickr.com/gp/52219527@N00/1356EN son of Sir Giles Poole +++

3. daughter died young

 

His father’s early death left William the minor heir of his grandfather, Sir Christopher Wroughton 1515 , who had numerous estates in Gloucestershire, Somerset and Wiltshire. In 1516 Sir John Seymour paid £500 for his wardship until he came of age in 1531. His mother's 2nd husband Sir John Baldwin died in 1545 whereupon Seymour’s son the Earl of Hertford tried to have her placed in her son's care since she had for long been ‘abstracted of her wits’.

 

He was among the esquires appointed to welcome Anne of Cleeves to England in 1540. In 1544 he joined Hertford on his Scottish campaign and was paid for conducting 100 men from York to Newcastle before being knighted by the earl at Leith.

 

For many years he suffered from ill-health: in 1548 absenting himself from Parliament with an attack of his ‘old disease of the colic and stone’.

 

On 22 July 1553 he joined other gentry in support of the accession of Queen Mary Tudor, but after interfering in defence of some retainers who had been implicated in a robbery, he was committed to close custody in the Fleet on 4 Nov. 1556 and forced to enter into a bond of 2,000 marks for his good behavior:, the warden being ordered to allow him the freedom of the prison on account of his sickness.

 

In his will of 10 Sept. 1558, committing his soul to "Jesus Christ, my Redeemer" and asking for burial wherever it should please his executors. His widow Eleanor was to have all his lands in Broad Hinton, Hinton Columbine, Medbourne and Woodhill for life as her agreed jointure, although the rectories of Broad Hinton and Wroughton were to pass respectively to their first and second sons, Thomas and George, when they should come of age. Thomas also received livestock and some specified jewellery, and shared plate and household goods with his mother; George and a third son William were each to have 20 marks pa from the rectory of Wroughton or, if the title should be held invalid, from lands at Beversbrook. Further lands and £100 were left to the youngest son James, and £200 apiece to 2 daughters, Dorothy and Anne; (a third daughter had died young) Eleanor who was left £100 and the residue, was appointed an executrix, with Thomas Wroughton as co-executor and ‘my brother Hassett’, that is, John Blennerhasset (he and Wroughton had married half-sisters), John Erneley, Richard Kingsmill† and John St. John, as overseers.

His eldest son Thomas then aged 19, whose wardship was granted to John Berwick, later married John Berwick's daughter Anne

 

His widow Eleanor m2 (2nd wife) Sir Giles Poole of Sapperton ++ 1589 eldest son of Leonard Poole & Catherine daughter of Sir Giles Brydges of Coberley: Widower of Elizabeth 1543 daughter of Sir Thomas Whittington of Pauntley

 

Although the monument frieze has the words ""Elizabeth by the Grace of God Quene of England and France", hidden underneath the canopy are the barely discernible 5 wounds of Christ's crucifixion to mark William's catholic faith. -

 

- Church of St Peter ad Vincula, Broad Hinton Wiltshire

 

Picture with thanks - copyright Mike Searle CCL www.geograph.org.uk/photo/2824891

The building at the end of the square is the grade I listed Mansion House. The buildings to the right in the photo are grade II listed financial buildings.

 

"The Mansion House in York, England is the home of the Lord Mayors of York during their term in office. It is situated in St Helen's Square, where York's Coney Street and Lendal intersect in the city centre. It is built in an early Georgian style. The Mansion House is the earliest purpose built house for a Lord Mayor still in existence and predates the Mansion House in London by at least twenty years.

 

The foundation stone for the Mansion House was laid in 1725, with the building being completed seven years later in 1732. The architect who designed the Mansion House is unknown, although the frontage may be by William Etty.

 

In 1998 the house was restored by the York Civic Trust. In October 2015 the Mansion House was closed for refurbishment as part of the "Opening Doors" Heritage Lottery Fund refurbishment and reopened in 2017. The four main areas of the "Opening Doors" project involve restoring the original kitchens; improving displays; conservation and access to the civic collection of gold and silverware; developing an integrated environmental and conservation plan for the structure: and conducting and oral History project.

 

The Mansion House is built on the site of the old "Common Hall Gates" which provided an entrance to the Guildhall. A chapel and other property and tenements which were once owned by the Guild of St. Christopher and St. George including the Cross Keys Public House also lay on this site. These buildings were demolished to build the current Mansion House in 1724. The fifteenth century York Guildhall is situated behind the Mansion House, where the medieval city council held their meetings. In May of each year the Mayor Making ceremony is still held in the Guildhall before the Lord Mayor takes up residence in the Mansion House. These two buildings, therefore, represent a continuity of civic democracy for over six hundred years in the City of York.

 

The Mansion House holds one of the largest civic silver collections in England. These collections will be displayed in a new Silver Gallery enabling visitors to view the collections from January 2017. Two of the earliest pieces are a seventeenth century silver chamber pot and gold cup which were bought for the City of York with monies bequeathed by Marmaduke Rawdon in 1669. Marmaduke left "one drinking cup of pure gold of the vallew of one hundred pounds, which I desire my executor to have handsomely made, and the cittie arms and my arms graven upon it, "This is the guift of Marmaduke Rawdon, son of Laurence Rawdon, late of this cittie alderman"; alsoe, I give unto the said cittie a silver chamber pott of the value of ten pounds, booth are to goe from Lord Maior to lord Maior, and if these two bee converted to any other use the vallew thereof to return to my executor or his heirs".

 

The collection of civic regalia also includes a seventeenth century mace and two city swords. The Bowes Sword was donated to the City of York by Sir Martin Bowes, Lord Mayor of London 1545. Bowes was born in York and was christened in St. Cuthbert's, York, where many of his family were also buried. In the sixteenth century there was a move to reduce the number of parish churches in York and Bowes pleaded to the council to save St. Cuthbert's. In thanks for saving St. Cuthbert's Bowes wrote to York on 20 September 1549 saying that he was sending "a fayre sworde within a sheathe of crymesyn velvet garnysyshyd with perle and stone sett upon sylver and gylte". In 1603 when James VI of Scotland visited York the Bowes sword travelled with one of his entourage to London. When the sword was returned the original precious stones had disappeared and the sword was repaired with semi-precious stones.

 

The Sigismund sword was once owned by the Holy Roman Emperor Sigismund. In 1416 Sigismund was installed as a Knight of the Order of the Garter of the Knights of St. George as part of Henry V's alliance against France. He sent a sword to be hung over his stall in St. George's Chapel, Windsor, and this sword was still in the chapel when he died in 1437. The sword was then acquired by Henry Hanslapp, dean of Windsor, who was also a canon of Howden and native of York. On 5 May 1439 Henry Hanslapp presented the sword to the City of York. The Sigismund sword blade is blued and inscribed with the Royal Arms of Elizabeth I. The scabbard is covered in crimson velvet which is decorated with "scorpions" or dragons which are similar to the emblem of the knightly Order of the Dragon founded by Sigismund in 1408.

 

The Mansion House also has a collection of oil paintings of previous Lord Mayors of York which include, George IV as Prince Regent, Charles Watson-Wentworth, Marquis of Rockingham and George Hudson.

 

York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017 and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.

 

The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.

 

The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon.

Located in Bergenfield, Bergen County, New Jersey, the Cooper Mill Lot encompasses 5.17 acres of ground extending across the outlet of Cooper’s Pond including (a) the Mill Lot, 1.7 acres, (b) the Dwelling-House Lot, 2.02 acres and (c) part of the Barn Lot, 1.45 acres. The Mill Pond (commonly called Cooper’s Pond), having a surface area of 3.80 acres, is formed by impoundment of Long Swamp Brook where it descends Teaneck Ridge onto a river plain (8-foot fall) on its northerly descent towards the Hackensack River. The premises and improvements comprise four associated, two–story, frame buildings on sandstone foundations situated northeast of the outlet of the pond: (1) a Dwelling–House (c1802) of Late Federal style with Greek Revival improvements (c1840/50) and Craftsman alterations (c1910/40; (2) a board–and–batten Gothic Revival farm barn; (3) a stable or carriage–house; and (4) a frame mill from the turn of the Twentieth–Century occupying the foundation of the Demarest Gristmill (1783), subsequently the Cooper Chair Factory (1840/95), Martin Toy Factory (1897-1908) and Bergman Piano Factory (1908/48). After destruction by fire about 1900, the extant mill building was erected and successively used as a toy and piano factory. The Marchbanks, owners since 1949, restored part of the mill building damaged by fire in 1965. The four buildings, occupying the grassy slope of a hollow, well-shaded in summer by deciduous trees, are connected by a narrow lane that descends from the barnyard past a rectangular garden plot and well-house to the dwelling house and mill. The remainder of the Barn Lot to the east is a post-1908 suburban subdivision. A suburban subdivision on the former Christie Farm abuts the north boundary of the Mill Lot.

 

The Mill House is still a private residence while two outbuildings (mill and barn) are occupied by an art studio, by the shop of a furniture-maker and repairer and by storage. The Mill House furnishings include a significant collection of Cooper chairs manufactured at the site.

 

SIGNIFICANCE OF THE DEMAREST-COOPER MILL LOT

by Kevin Wright Copyright 1994

 

The Demarest-Cooper Mill Lot was a small industrial plantation that provided residence, sustenance and employment to a succession of owner/managers and laborers who operated a mill advantageously situated upon Long Swamp Brook with a sufficient flow, pondage and fall of water for manufacturing purposes. The farm maintained draught animals necessary for carting raw materials and finished products. While such mill farms were formerly a feature of the agrarian landscape of Bergen County, they largely vanished under the intensive suburbanization of the past century. From 1783 to 1840, during the heyday of cereal farming in the Hackensack Valley, water power at this location processed feed and flour, the principal products of an agricultural community known as the Bergen Dutch. The Demarest-Cooper Mill Lot, however, possesses singular significance as the site where Richard Cooper and his son, Tunis R. Cooper, introduced a prototypical “factory system” of relatively high-volume production and wholesale/retail merchandising, conducted largely by wage-earners for an interregional market, to what had previously been a folk craft suited to the tastes and demands of a localized rural clientele.

Originally, Bergen Dutch chairmakers had used traditional skills, a folk knowledge of materials and forms, and hand-methods to craft wood and reeds into matted, turned chairs. By operating their own lathes, chairmakers elaborated upon traditional patterns of wood turning so as to create a measure of individual style and artistic expression while generally conforming to basic folk forms. The industry was able to expand beyond local market demands through the proximity of city markets, convenient by water and land carriage, and through the naturally renewing resource of extensive cattail marshes, seasonally cut for matting seats. Beginning about 1820, however, water-driven lathes were added to several local sawmills which began to mechanically mass-produce several grades of chair stuff according to patterns. Certain local farmers then specialized in assembling chair stuff and matting seats in the fallow season, purchasing specific quantities of various grades to fill orders. Beginning about 1840, Richard Cooper and his son, Tunis R. Cooper, brought these seasonal chairmakers into the “factory” and paid them a wage to manufacture and assemble chair stuff and to mat or cane the seats. The production was sold wholesale and retail through local “furniture dealers” and through the company’s own showroom on Pearl Street in New York City. Thus, the Coopers controlled the quantity and quality of the product from purchasing raw materials in bulk through manufacturing and marketing their productions at competative prices in interregional markets to suit general standards of “taste” and quality. To stimulate demand for their output, the Coopers employed professional designers, painters, carvers and salesmen to mold and market Cottage chairs that cultivated changing popular tastes during a sequence of pseudohistorical Romantic Revivals of Greek, Gothic, Renaissance and Chinoiserie (principally a bamboo-turned ballroom chair) styles. Their success endured until railroads greatly extended their reach beyond Atlantic tidewater, creating a national market and feeding the growth of the industrial city through cheap, reliable transport of fuel, materials and products among an ever-widening network of producers and consumers.

Alec Marchbank and his wife, the late Catherine Leiby Marchbank, have been generous over many years in making the site available for archaeological and historical studies and have contributed to historical exhibits, tours and publications regarding the Cooper Chair Factory. Their participation has increased knowledge and public appreciation of a significant historic site and era as a vital component of the community.

 

THE DEMAREST-COOPER MILL LOT occupies the western part of Lot #21, originally belonging to Benjamin D. Demarest, in the Second Allotment of the French Patent. The Second Allotment covered that portion of the French Patent extending between the Patent Line (now Prospect Avenue) and Chesche Brook (Tienekill). Benjamin Demarest may have occupied his lot about the time of his marriage to Elizabeth DeGroot in November 1713. In 1717, a four-rod road (now West Church Street) was laid out along the southern boundary of Benjamin Demarest’s lot, where it abutted Lot #22 (then belonging to Abraham Brower).

Benjamin D. Demarest, born about 1691, married Elizabeth DeGroot at Hackensack on November 7, 1713. They produced nine children between 1715 and 1737. David B. Demarest,their second son, was baptized December 4, 1720. On January 22, 1743, he married Marrityn Ackerman, daughter of Johannes D. and Jannetje (Lozier) Ackerman. The couple had twelve children, six boys and six girls, born between 1743 and 1778, all baptized at Schraalenburgh. Tory Refugees burned David B. Demarest’s house, barn and cow-house at Schraalenburgh on June 24, 1789.

On May 21, 1785, Benjamin P. Demarest, weaver, Peter P. Demarest, mason, David P. Demarest, farmer, John P. Demarest, carpenter, and Jacob P. Demarest, mason, all of Hackensack Township, released two tracts of land at Schraalenburgh to David B. Demarest, Esq., for 10 shillings. These grantors (sons of David’s older brother, Peter B. Demarest) were Loyalists during the Revolution; most departed Schraalenburgh soon after signing this quit-claim, relinquishing any interest they held in their grandfather Benjamin’s lands. The first tract, comprising 47.75 acres, commenced by the road at the southwest corner of John W. Christie’s farm and was further bounded by the Schraalenburgh Main Road (Washington Avenue), by the road (West Church Street) leading to Schraalenburgh South Church and by the road from South Church to Colonel Nicoll’s Mill (North Prospect Avenue). A second tract, comprising 69.50 acres, lay along the east side of the road from Schraalenburgh to Teaneck (i. e., Washington Avenue) and bounded on the farm of Thomas Campbell. Excepted from the conveyance, however, were 15-acre parcels of land reserved by prior contract between David B. Demarest, Peter B. Demarest and their father, Benjamin Demarest, dated September 14, 1784, whereby Peter B. Demarest was to have 15 acres in the two lots or farm of David B. Demarest and David B. Demarest was to have 15 acres in the farm of Peter B. Demarest.

The last will and testament of David Demarest of Hackensack Precinct was written July 12, 1784 and probated November 19, 1795. Therein, he devised 15 acres off the northwest corner of a lot of land at Schraalenburgh near the church, including the grist mill, to his son Benjamin. The remainder of his real estate was divided equally among his sons, Johannes, Abraham, Jacob, David and Petrus. He also bequeathed legacies to his daughters, Elizabeth, wife of Cornelius Van Zaan; Jannetje; Leah, wife of Jacobus Quackenbos; and Maria. Jannetje and Maria were to receive an out-set upon their marriages. His wife, Maria, was entitled to the use of his personal property during her widowhood.

Benjamin Demarest was born March 31, 1749. He married Catrina Van Orden, daughter of Peter and Geertje (Snyder) Van Orden, at Schraalenburgh on December 24, 1768. The couple had nine children between 1770 and 1793, all baptized at Schraalenburgh. He served in the Bergen Militia during the Revolution. His father’s last will and testament, written in July 1784, provided him with 15 acres near the Church, including a gristmill. He was first listed as owner of a gristmill on the tax assessment records of Hackensack Township in July 1785. Upon his father’s death in 1795, Benjamin inherited the mill lot. His name appears on the tax lists as a mill owner until July–August 1802, when his son, Peter B. Demarest, is listed as proprietor of a gristmill and 10 acres. Peter B. Demarest, then 30 years old, married Hannah Volk at South Schraalenburgh church on September 4, 1802. It is probable the dwelling house near the mill was constructed for Peter at the time of his marriage. He and his family removed to New York City at sometime between 1807 and 1813, where he became a milk dealer.

On January 3, 1804, Benjamin and Catherine Demarest of Hackensack Township received a mortgage from Peter Dey of Cayuga County, New York, for 250 acres along Singack Brook in Saddle River Township. He settled upon this tract, where he died March 30, 1817. Benjamin D. Demarest of Saddle River Township, farmer, composed his last will and testament on August 7, 1816. He provided Catrina, his wife, with the use, comfort and benefit of his estate during her widowhood, including two milch cows and her choice of whatever household and kitchen furniture she needed. His three sons were to provide her maintenance. His real estate was to be equally divided among his three sons, Peter, David and Benjamin. His son Benjamin’s share was to included the dwelling house and other buildings where Benjamin, Senior, then lived. He also provided a legacy of $250 to be equally divided among his six daughters: Maria, wife of Richard Banta; Elizabeth, wife of William Bogert; Geertje, wife of Cornelius Doremus; Anna, wife of Cornelius Van Saun; Jane, wife of Hessel Doremus; and Leah, wife of Adrian Onderdonk. Benjamin’s widow died February 13, 1839. Both were buried in the Dey Burying Ground at Preakness.

There is no recorded conveyance, either by will or by deed, whereby Benjamin or Peter Demarest disposed of the 15-acre Mill Lot near the Church after their relocation to Preakness about 1804. The tax assessment list of Hackensack Township for July-August 1813, lists John W. Christie, a neighbor, as owner of a grist and saw mill and 150 acres. He was again listed as a mill owner in July-August 1814. On February 27, 1804, John Quackenbush and his wife, Sally, conveyed seven acres to John W. Christie, bounded west by the road leading to John W. Christie’s Mills, south by the road leading to Old Bridge and north and east by the Mill Pond. The boundary survey for this lot began “near the Saw Mill of James W. Christie.” These mills, therefore, were located in present-day New Milford, downstream of Benjamin Demarest’s gristmill. Consequently, there is no listing for the Demarest mill in this interval of time. It is probable, however, that Peter B. Demarest remained upon the mill lot at Schraalenburgh until his removal to New York about 1813. The gristmill may have been idled by Thomas Jefferson’s Embargo Act (1807-1809) or possibly incapacitated by fire.

Frederick Mabie first appears as owner of a gristmill in the Hackensack Township tax records in 1814, corresponding with Peter B. Demarest’s departure for New York. In June-August 1817, Frederick Mabie is listed as owner of a gristmill and 40 acres. Benjamin Demarest’s last will and testament, probated after his death March 1817, divided his real estate equally among his three sons, Peter, David and Benjamin, with Benjamin receiving his father’s homestead at Preakness. No mention is made of the Mill Lot at Schraalenburgh. In June-August 1820, Frederick Mabie is listed as owner of a gristmill and 15 acres. His neighbors included Dr. George Chapman, Reverend Solomon Froeligh and Ralph Christie, leaving no doubt that Mabie owned and operated the mill on Cooper’s Pond. He was listed as mill owner in the assessment of June-August 1822.

Frederick Mabie and his wife, Bailey, mortgaged the mill lot at Schraalenburgh to Jaspar Demarest of Old Bridge (now River Edge) for $1,000 on May 5, 1825. The mortgage was taken on “all that tract or parcel of land and premises...beginning on the east side of the road leading from Schraalenburgh Church to Nicholas Kipp’s Mill and at the northwest corner of the Parsonage Lot, thence running easterly along the Parsonage Lot as far as the same may go, thence southerly along the Parsonage Lot to land of Doctor Chapman, then easterly along Chapman’s land to land of Roelof Christie, thence westerly along Christie’s lot of land as far as it may go, thence easterly along Christie’s land to land of Peter Christie, thence westerly along same to the aforesaid road, thence southerly along the same to point of beginning, containing about 15 acres.” Frederick Mabie paid off this mortgage on April 21, 1828. On May 2, 1831, Frederick and Bailey Mabie took another mortgage of $500 from Peter Westervelt. They mortgaged two tracts, the first being “a certain Mill lot, House, piece or parcel of land...containing about 15 acres, and the second being a parcel of woodland on the east side of the road to Simon Demarest’s Mill containing 5.78 acres. This woodland was bounded west by the road, north by land of John Quackenbush, east by land of David Kipp and south by land of James Kipp. Frederick Mabie paid off this mortgage on May 8, 1839. On April 12, 1838, Frederick Mabie again mortgaged the 15-acre Mill Lot, this time to Maria Bogert for $220. He paid this mortgage on May 8, 1839. Finally, on April 5, 1839, Mabie mortgaged his two tracts to Jaspar Demarest for $2,400. This mortgage was canceled on May 13, 1840.

Jaspar Demarest’s mortgages to Frederick Mabie, the first in 1825 for $1,000 and the second in 1839 for $2,400, are probably indicative of some business relationship between these men. On December 12, 1823, Jaspar Demarest of Hackensack Township purchased a lot of one acre fronting on the Hackensack River, abutting a road and land of Abraham Van Buskirk, from James O’Conner, chair maker, of New York City for $280. When he sold this same lot to James Pearsell on June 10, 1831, Jaspar Demarest described himself as a “Merchant.” His store and dwelling were situated on the west bank of the Hackensack River at Old Bridge (now River Edge).

On May 2, 1840, Frederick Mabie and his wife, Bailey, of Hackensack Township conveyed the 15-acre mill lot to Richard T. Cooper for $4,050. Again, Jaspar Demarest issued a mortgage. According to the deed description, the property began on the east side of the road leading from Schraalenburgh South Church to Samuel Demarest’s Mill and at the northwest corner of the Parsonage Lot, running from thence east along the Parsonage Lot, thence southerly along the same to Dr. Chapman’s land, thence easterly along the Chapman lot to land of Ralph Christie, thence west along Ralph Christie’s land as far it runs, thence east along the same to the land of David Kipp, thence north along David Kipp’s land to land of Peter Christie, thence west along the same to the beginning, containing about 15 acres. Subsequent deed transactions indicate that Richard Cooper remained a resident of New Barbadoes Township. Richard Cooper, eldest son of Tunis and Margaret (Banta) Cooper, married Effme Huyler and had the following children: Tunis, born August 9, 1809; William, born April 20, 1812; Margaretta, born March 30, 1814; Tyne, born November 7, 1816; George, born August 19, 1814; and John, born June 19, 1827. Richard Cooper resided at New Milford (now Oradell) upon part of the Cooper farm included in the purchase by his great-grandfather, Cornelius Claes Cooper, from John Demarest, Sr., and John Demarest, Jr., on October 31, 1716. According to a biographical sketch written in 1889, Richard Cooper was “a carpenter by occupation and eventually manufactured chairs for the New York market.” When he wrote his last will and testament on May 11, 1842, he mentioned his farm “on which I now live” at New Milford (now Oradell) in New Barbadoes Township. An inventory of his possessions, made on September 13, 1854, included $86.50 worth of “Carpenter and chair maker’s tools” and $178.54 worth of “Chairs and chair stuff.” He died August 28, 1854, aged 67 years, 10 months and 19 days. By his last will and testament, Richard devised $1,000 to his son, Tunis. Effe (Huyler) Cooper died June 14, 1862, aged 76 years and 7 months.

On January 2, 1849, Richard T. Cooper and his wife, Eve, conveyed the 15-acre mill lot and 5.78-acre wood lot to their son, Tunis R. Cooper, for $4,050. The mill lot was bounded north by land Peter Christie, south by the Parsonage Lot and lands of Dr. Chapman and Ralph Christie, east by lands of Ralph Christie and Cornelius L. Blauvelt, and west by the road leading from Schraalenburgh South Church to Samuel Demarest’s Mill. The deed included provision for raising the waters of the mill pond at any future period to their usual height. The lot of woodland included in the sale was situated on the east side of the public road leading from South Church to Demarest’s Mill. It was bounded north by land lately belonging to John Quackenbush, south and east by land of James Kipp and west by the public road.

The 1850 Census for Hackensack Township lists Tunis R. Cooper, aged 40 years, as a “Chair manufacturer.” His eldest son, Richard, aged 16 years, was listed as a chair maker. Three chair makers also resided at the Cooper Millhouse: Gregory Leatherman, aged 25 years, a German; and two Irishmen, John Thisan, aged 13 years, and Daniel O’Connel, aged 20 years. Two other chair makers resided in the immediate neighborhood, namely, Daniel Terhune, aged 27 years, and Jacob Earle, aged 28 years.

On June 6, 1852, James W. Christie of Hackensack Township conveyed an undivided half interest in a lot of Brackish Meadow on the east side of Teaneck Creek to Tunis R. Cooper for $60. On June 26, 1852, James W. Christie and David W. Christie, executors of John W. Christie, conveyed the other half-interest in this meadow lot to Tunis R. Cooper for $60. Cattail rushes were harvested annually from this meadow lot for matting chair seats.

Tunis Richard Cooper married Sarah Vanderbeck at the South Church, Schraalenburgh, on August 20, 1829. Their six children were named: Anna, born 1830, Richard, born 1834; Henry, born 1837; Euphemia, born 1839; Rachel, born 1849; and Margaretta, born 1853. Anna Cooper married Peter W. Banta at North Church (Dumont) on December 20, 1849 and had two children: Sarah Ann and Hellena. Richard Cooper died October 11, 1867, aged 33 years. Henry Cooper married Margaret Milk of Englewood and had children: John W., Ira, Joseph, Amelia and Anna. Euphemia Cooper married William T. Bogert and had children: Anna, Tunis and Emma. Rachel Cooper married James D. Christie of River Edge and died July 5, 1881, aged 32 years, 2 months and 13 days.

Tunis Cooper became a successful chair manufacturer. According to advertisement placed in the Bergen Journal in 1858, he not only manufactured chairs, but was a wholesale and retail dealer in “Cottage, Office, Dining & Rocking Chairs.” Workmen in his enterprise resided in a neighborhood along Prospect Avenue known as Coopertown. In 1860, the Cooper Chair Factory utilized a six-horsepower overshot waterwheel to produce 100 dozen rush-bottom or cane-seated chairs with an estimated value of $7,500. The factory operated for nine months out of the year. In 1870, Tunis Cooper employed about 25 workers in producing $20,000 worth of furniture. Woods used included: maple (12,000 feet), walnut (3,00 feet), oak (1,000 feet) and all others (25 feet).

Tunis Cooper operated a sales room on Pearl Street, New York, between 1859 and 1862. He financed this expansion in production and sales by heavily mortgaging various properties: (1) 15.81 acres in New Barbadoes Township mortgaged to Albert J. Voorhis on May 1, 1859, for $800, paid June 15, 1862; (2) the 15-acre mill property and woodland at Schraalenburgh mortgaged to John D. Demarest for $700 (according to conditions of a bond or obligation for $1,400), paid January 1, 1870; (3) the 5-acre mill property and woodland at Schraalenburgh mortgaged to Thomas J. Gildersleve on May 1, 1861, for $7,947 (according to conditions of a bond or obligation for $15,894), canceled by satisfaction on May 6, 1874; (4) a lot in Hackensack Township mortgaged to Cornelius Quackenbush on July 2, 1861 for $350 plus interest, paid May 30, 1866; (5) a tract in New Barbadoes along road from Kinderkamack to New Milford mortgaged to his brothers and sisters, William R. Cooper, John R. Cooper, George R. Cooper, Margaret Christie and Caroline Bogert, wife of Albert Bogert, on July 1, 1862, for $800 (according to conditions of a bond or obligation for $1,600), paid April 22, 1863; (6) 22 acres on the Hackensack River in New Barbadoes Township and 5 acres of woodland mortgaged to John R. Cooper for $1,250 (according to conditions of a bond or obligation for $2,500).

In the 1860 Census for Hackensack Township, Tunis R. Cooper listed his occupation as “Farmer.” Three daughters, Euphemia, Rachel and Margaret, lived at home. Tunis’ son, Richard, aged 25 years, who also resided in his parents’ household, listed his occupation as “Chair maker.” Two apprentices, namely, Philip Lynn, aged 14 years, and John Woods, aged 13 years, both born in New York, also resided in the Cooper household. Eleven other chair makers resided in the immediate neighborhood of the Cooper Chair Factory, occupying dwellings at Coopertown: Michael Ryan, aged 30 years; David Guildersleve, aged 20 years; Gilbert Demarest, aged 51 years; John W. Voorhis, aged 22 years; Daniel Terhune, aged 37 years; Peter Terhune, aged 42 years; David Pearsall, aged 36 years; Garret F. Hillyer, aged 44 years; Nelson Palmer, aged 21 years; John Lee, aged 21 years; and Henry Stallion, aged 20 years. John Dubois, aged 30 years, is listed as a “Turner.” Richard T. Cooper died of pneumonia at Schraalenburgh on October 11, 1867, aged 33 years, 2 months and 22 days. Since he was listed as a chair maker in the 1860 Census, the business may have declined as a consequence of his death.

Tunis R. Cooper died May 18, 1887, aged 76 years. His widow, Sarah, died January 6, 1890. In February 1893, Richard W. Cooper leased the house of the late Henry Van Buskirk at Oradell while plans were made to demolish the old Cooper residence at New Milford (Oradell) and to build a fine new mansion in its place. He also proposed to erect a large edifice to accommodate a carpentry shop for himself and chair factory to be conducted by Teunis Bogert of Schraalenburgh. The foundation was built on the banks of the Hackensack River by the middle of April 1893 and carpenters then raised the superstructure for a large building. Upon completion of the building, chair-making at Schraalenburgh ceased and operations shifted to the new factory at Oradell. On Saturday, September 23, 1893, auctioneer William E. Taylor offered to sell, by order of the executors, Henry Cooper and William S. Bogert, the following properties in order to settle the estate of the late Teunis R. Cooper:

 

FIRST: 4 NICE, COMFORTABLE COTTAGES,

Each with a large plot of ground.

 

SECOND: THE MILL PROPERTY

Formerly used as chair factory, large mill buildings, in good order, with one acre and seven-tenths of high land, and three acres and nine-tenths of water. A fortune for some one.

 

THIRD: THE HOMESTEAD DWELLING

Large house and about two acres of land.

 

FOURTH: ABOUT EIGHT ACRES,

Suitable for cutting up in Building Lots, adjoining the railroad and near Bergenfield depot.

 

ALSO, SIXTEEN ACRES ON PUBLIC ROAD

leading from South Church to Madison avenue in Schraalenburgh, suitable for small farm or for cutting up.

 

The purchasers and purchase prices were as follows:

 

Henry Cooper, 7 84 -100 acres $1,999.20

“ mill property 1,000.00

“ 4 acres meadow land 600.00

Mrs. Ann Banta, dwelling house, 2 acres 1,500.00

“ double house 500.00

“ cottage 635.00

“ cottage 500.00

Mrs. W. S. Bogert, dwelling house 550.00

“ 10 07 - 100 acres 1,650.00

“ 5 3 10 acres 622.75

James A. O’Gorman 15 acres woodland 64.42

Total $9,612.45

 

On January 3, 1894, Henry Cooper and William Schuyler Bogert, executors of Tunis R. Cooper’s estate, conveyed Cooper Lot #7 (Dwelling House and 2.02 acres), Cooper Lot #2 (on Prospect Avenue), and Cooper Lot #1 (on Prospect Avenue) to Ann Cooper Banta for $2,500. On January 3, 1894, Henry Cooper and William Schuyler Bogert, executors of Tunis R. Cooper’s estate, conveyed several tracts to John W. Cooper. On the following day, January 4, 1894, John W. Cooper, single, of Englewood Township conveyed these several tracts to Henry Cooper of Englewood Township for $3,000. The sale comprised: Cooper Lot #8 (Barn and 7.84 acres); Cooper Lot # 6 (Mill and 1.7 acres); Cooper Lot #9 (Mill Pond Lot, 3.8 acres), and a four-acre lot of Brackish Meadow in Ridgefield Township, lying between Teaneck Creek and the Overpeck Creek.

On January 1, 1897, Henry Cooper and his wife, Margaret, residents of the City of Englewood, deeded Cooper Lots #6 (Mill Lot) and #9 (Mill Pond Lot) to Helen Otillie Martin, wife of Oskar Martin, for $1,750. On January 8, 1897, Ann Cooper Banta of Bergenfield conveyed Lot #7 (Dwelling House) to Helene Otillie Martin, wife of Oskar Martin, for $1,750. Oskar Martin was a toy manufacturer.

By several deeds dated July 6, 1903, Helene O. Martin and her husband, Oskar Martin, conveyed Cooper Lots #7, #6, and #9 to Walter Christie. On the same date, Walter Christie and his wife, Maria, conveyed the same lots to Oskar Martin. The purpose of these transactions was to transfer title from Helene Martin to her husband, Martin.

On October 28, 1905, Henry Cooper and his wife, Margaret, of Englewood Township deeded Cooper Lot #8 (Barn Lot) to Oskar Martin of Bergenfield.

On February 5, 1908, Oskar Martin and his wife, Helene O. Martin, conveyed the property to Amos C. Bergman of Manhattan. The sale comprised Cooper Lot #7 (Dwelling House), Cooper Lot #6 (Mill Lot), Cooper Lot #9 (Mill Pond Lot), and part of Cooper Lot #8 (Barn Lot). The Atlas of Bergen County, New Jersey, published in 1912 by G. W. Bromley & Co., identifies the mill property as the “Bergman Piano Factory.” Reportedly, the Bergmans produced “Soundless Pianos” for professional practice.

On March 19, 1931, Amos Bergman and his wife, Antha Minerva Virgil Bergman, conveyed four tracts of land in Bergenfield to Anna E. Friedlander, single. These tracts comprised: Cooper Lot #7 (Dwelling House), Cooper Lot # 6 (Mill Lot), Cooper Lot #9 (Mill Pond Lot), Part of Cooper Lot #8 (Barn Lot), Cooper Lot #27, and Lot #3 (on south side of lane leading to Mill Pond from Prospect Avenue) in the subdivision of Euphemia Bogert’s property. On the same date, Anna E. Friedlander conveyed the same lots to Amos C. Bergman.

Amos C. Bergman died July 16, 1948. His resident housekeeper, Daisy Coringrato, was appointed executrix of his estate. Daisy Coringrato of Bergenfield, executrix of the Last Will and Testament of Amos C. Bergman, sold the property to Alec C. and Catherine (Leiby) Marchbank on April 18, 1949 for $13,000. The sale comprised Lots #7 (Dwelling House), #6 (Mill Lot), #9 (Mill Pond Lot), and part of Lot #8 (Barn Lot).

 

The historic South Church and Grave Yard stand southwest of Cooper’s Pond and northeast of the intersection of Prospect Avenue and West Church Street in Bergenfield.

  

I'm blue da ba dee da ba daa

Da ba dee da ba daa, da ba dee da ba daa, da ba dee da ba daa

Da ba dee da ba daa, da ba dee da ba daa, da ba dee da ba daa

 

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

 

Credits inside the building instructions. Enjoy!

 

Minor design changes may occur during the life of the MOC. When implemented, I make a new post in the album as soon as the building instructions are updated and available (the .zip file will indicate the date of the revision)

One of the big issues plaguing the Imperial Admiralty was their cruiser fleet. Modern technology and advances in tactics had rendered the armoured cruiser obsolete, and the Empire possessed the largest force of armoured cruisers in the world. Although the Cervantes class were a successful design, they were odd ships in comparison to other heavy cruisers, and not as large as some foreign ships. The only thing that saved them was their very specific combat doctrine...

 

The much larger Esecutore (Executor, in English) was designed to resolve this issue. Featuring seven 9.2in guns in a bordering ridiculous new arrangement they could match most other heavy cruiser designs in more ordinary engagement,s unlike the Cervantes which was thoroughly dependent on strategy.

 

As it happened the first five of the planned seven ships were transferred for construction in Lorraine, leaving just Draco and Chimaera to construction in Thesselos at a later date.

 

Displacement: 11,500 tons standard, 15,200 tons full load

 

Propulsion: 24 oil boilers, geared steam turbines, 4 shafts

 

Top Speed: 35 knots

 

Range: 16,150 kilometers, at 14 knots

 

Armament: 7 x 9.2in guns, 6 x 5.5in guns, 6 x dual 37mm turrets, 20 x 25mm autocannons,

 

Armour: 4-5in belt, 2in main deck, 2in barbettes, 1in on turrets, 3-4in bulkheads

 

Aircraft: 2

 

-

 

Ok, next game I've got to do my nation's backstory to facilitate so many different styles of names. In this class of ships I've got a Spanish poet, the Italian word for executor, a fictional dragon, a dark fortress from Tolkien lore and a queen from Irish legend.

08/12/1898, Hipódromo de Matosinhos, de tarde -

Teve lugar o 1.º desafio de foot ball 'a sério' no Norte de Portugal, e possivelmente também o 1.º desafio entre grupos de 2 cidades, entre os grupos do “Gymnásio Aveirense” e do “Real Velo Club do Porto”.»

(ainda não havia nenhum campo de foot ball na Cidade do Porto).

«O Hipódromo de Matosinhos tinha a sua pista no areal do Prado e abrangia parte do perímetro onde ao tempo vegetavam largamente as juncíneas ou juncais, ocupada hoje pelas Ruas de Brito e Cunha, Mouzinho de Albuquerque e Avenida Meneres:

o recinto era dominado por uma Tribuna e circundado por alta vedação de madeira e em outubro de 1886 ainda se anunciavam corridas de cavalos em Matosinhos, tendo algumas despertado vivo interesse;

pertencia ao Jockey Club Portuense que se liquidou em 1885 dando à Câmara de Bouças os terrenos necessários para os arruamentos constantes de uma planta para o alargamento a sul da freguesia de Matosinhos.

HISTÓRIA DOS PRIMEIROS MESES DO LEIXÕES SPORT CLUB

28/11/1907, quinta-feira, pelas 21:00 -

Concorrida REUNIÃO na vila de Matosinhos, presidida pelo Sr. José da Fonseca Meneres e secretariada pelos Srs. Dr. Eduardo da Silva Torres e Henrique Carneiro de Mello, a fim de se arranjar o melhor meio de por em execução a ideia já há tempos sugerida por alguns dos nossos principais sportmen, consistindo em reunir num único club bem organizado, não só os 2 grupos de lawn tennis e o de foot ball já existentes na vila, como ainda todos os elementos novos que, pelo seu valor, possam concorrer para o engrandecimento do novo club no qual se pretende principalmente cultivar o sport nas suas múltiplas formas, procurando-se também promover as distrações e divertimentos que, pela sua natureza, mais ou menos se relacionem com o sport e possam dar gozo e utilidade para os sócios que conduzem à prosperidade da nossa terra, que tão admiravelmente se presta a melhoramentos dessa espécie. A educação física, na altura já tão preconizada como um elemento essencial para a boa higiene e robustez do indivíduo, encontrará assim no nosso meio onde realizar-se e expandir se.

Foi eleita, para tratar com urgência dos trabalhos preliminares e dar conta deles numa próxima assembleia geral, uma COMISSÃO INSTALADORA do novo club composta pelos seguintes cavalheiros:

José da Fonseca Meneres, Jayme Antonio Lopes e Guilherme Joaquim Felgueiras, pelo GRUPO LAWN TENNIS PRADO já existente a 05/11/1903 com o seu court de jogos situado num extremo da Av. Meneres num sitio bem abrigado e bem agradável desta terra (um espaço para a prática de um novo sport mais higiênico sem lutas, sem contacto físico e mais leal) e sendo seus Diretores os Srs. José da Fonseca Meneres, Licínio Marinho e Guilherme Joaquim Felgueiras;

Dr. Eduardo da Silva Torres, Arthur Nugent (falecido a 11/09/1932) e José Barbosa, pelo GRUPO LAWN TENNIS DE MATTOSINHOS existente desde 17/07/1904 com o seu court de jogos situado num local pitoresco da R. do Conde de Alto Mearim e sendo seu Diretor o Dr. Pedro Alexandrino de Souza ajudado por Alfredo Eduatdo Afflalo Carneiro Giraldes, pelo Dr.Eduardo da Silva Torres e por Achilles Alves de Britto (falecido em 1949);

os Srs. Dr. Pedro Alexandrino de Souza, Durval Martins, Eurico Felgueiras e Henrique Carneiro de Mello, pelo LEIXÕES FOOT BALLERS existente desde fevereiro de 1907 com o seu campo maninho, sem vedação e com as balizas desmontáveis (jogava-se sem redes e, quando havia golo, este era aceite desportivamente por todos) situado na zona do atual cruzamento da Brito Capelo com a então inexistente Av. da República.

Esta comissão reuniu de imediato a seguir à assembleia geral, discutindo até cerca da meia noite a maneira mais prática e rápida de realizar tão útil pensamento, ficando lançadas as principais bases que depois teriam de ser aplicadas e discutidas até à organização dos estatutos (os Grupos Lawn Tennis Prado e Mattosinhos achavam-se representados em maioria, mas outro tanto não sucedeu com o Leixões Foot Ballers que, apesar de fundado à poucas semanas, contava já avultado numero de sócios, pelo que ficaram os membros da comissão instaladora que representavam este grupo de convocar uma reunião geral do Leixões Foot Ballers que ficaria marcada para já daí a 2 dias.

30/11/1907, sábado -

Efectuou-se a reunião da assembleia geral do Leixões Foot Ballers, sob a presidência dos Srs. Dr. Pedro Alexandrino de Souza, Durval Martins, Eurico Felgueiras e Henrique Carneiro de Mello, foram apresentadas as propostas do Grupo Lawn Tennis Prado e do Grupo Lawn Tennis de Mattosinhos, para se fazer a fusão dos 3 grupos e com eles novos sócios que entrarem constituir se um único grupo;

Depois dalguma discussão, em que se demonstrou as vantagens da junção, foi resolvido por unanimidade aceitarem se as aludidas propostas, em seguida foi aprovado um voto de plena confiança, dado à comissão especial encarregada da fundação do novo club e ficaria marcado que esta se voltaria a reunir no próximo dia 2 de Dezembro, para ser dado conhecimento das deliberações tomadas nesta assembleia geral do Leixões Foot Ballers, mas não se sabendo como se iria denominar.

01/12/1907, domingo - CRIAÇÃO do LEIXÕES SPORT CLUB

Como o novo club ainda não tinha nome, neste dia saiu no jornal 'O Monitor' o seguinte:

consta-nos que o novo club se denominará Leixões Sport Club, e que há já grande número de adesões algumas muito valiosas, estando os fundadores no irrevogável e muito louvável intento, de incluírem com disposição fundamental dos seus estatutos, a mais absoluta isenção de assuntos políticos tratados dentro das dependências do club, fala-se já na realização de diferentes festas distintas na nossa vila promovidas pelo novo club, e que deverão chamar aqui grande concorrência de forasteiros com vantagem para todos. Eis a notícia que com todo o entusiasmo bem natural, de quem tem sempre pugnando pelos verdadeiros interesses da nossa terra.

02/12/1907, segunda-feira -

A comissão instaladora reuniu-se nesta noite, para dar conhecimento das deliberações que foram tomadas na assembleia geral do Leixões Foot Ballers e para se considerar, desde essa data a fusão dos 3 clubs e em definitivo a constituição do novo club. Foi dado conhecimento que nas 2 assembleias que se realizaram, foram tratados diferentes assuntos que se relacionavam com a instalação do club, tomando se conhecimento de grande numero de novas adesões, algumas das quais de subido valor e da entrada de novos sócios, que mesmo sem serem solicitados se tem querido inscrever e sendo escolhida a denominação de Leixões Sport Club, no qual e concluindo-se que a criação deste novo club que há de fortificar, pois está merecendo, o apoio, os louvores e o auxilio de todos os que se interessam pelo futuro da nossa bela terra. Terminou esta assembleia com uma forte e ruidosa aclamação, considerando se por isso desde então, feita definitivamente a fusão e constituído o novo club.

05/12/1907, quinta-feira -

A comissão instaladora reuniu-se nesta noite, para dar conhecimento das deliberações que foram tomadas na assembleia geral do Leixões Foot Ballers e para se considerar, desde essa data a fusão dos 3 clubs e em definitivo a constituição do novo club. Foi dado conhecimento que nas 2 assembleias que se realizaram, foram tratados diferentes assuntos que se relacionavam com a instalação do club, tomando se conhecimento de grande numero de novas adesões, algumas das quais de subido valor e da entrada de novos sócios, que mesmo sem serem solicitados se tem querido inscrever e sendo escolhida a denominação de Leixões Sport Club, no qual e concluindo-se que a criação deste novo club que há de fortificar, pois está merecendo, o apoio, os louvores e o auxilio de todos os que se interessam pelo futuro da nossa bela terra. Terminou esta assembleia com uma forte e ruidosa aclamação, considerando se por isso desde então, feita definitivamente a fusão e constituído o novo club.

08/12/1907, domingo -

Aumenta todos os dias o entusiasmo pela instalação em Matosinhos deste novo club ao qual têm afluído a inscrever-se novos sócios, tendo sido muito felicitados e louvados os seus principais fundadores pelas pessoas de maior consideração da nossa vila, que vêem assim realizado um notável empreendimento que muito há de concorrer para a animação, o progresso e o bom nome de Matosinhos e Leça da Palmeira.

Nesta sessão que a comissão especial de fundadores realizou, discutiram se vários assuntos, tendo sido apresentado pelo Dr. Guilherme Joaquim Felgueiras o projeto de estatutos, que em seguida será publicado e do qual vai ser feita uma tiragem especial, para distribuição por todos os sócios a fim de poder ser devidamente estudado e discutido na reunião da assembleia geral de todos os associados, que deve ter lugar brevemente e na qual serão também eleitos os corpos gerentes que hão de funcionar no 1.º biénio.

12/12/1907, quinta-feira -

A comissão instaladora reuniu.se nesta noite, tendo-se tratado da escolha do edifício destinado à sede do Leixões Sport Club, e resolvendo-se continuar provisoriamente com o campo de Foot Ball na R. do Conde de Alto Mearim e com os courts de Lawn Tennis que pertenciam aos grupos do Prado e de Matosinhos, ficou estabelecido que funcionem essas secções logo que o tempo o permita, sendo nomeados interinamente diretores da secção de Foot Ball os Srs. Arthur Nugent e José Barbosa, e da secção de Lawn Tennis, o Sr. Guilherme Felgueiras para o court do Prado e o Sr. Hermann Fürbringer para o court de Matosinhos, e que esta comissão estará em funcionamento até à eleição dos corpos gerentes e aprovação dos estatutos.

18/12/1907, quarta-feira -

A comissão instaladora do Leixões Sport Club reuniu-se mais uma vez nesta noite, prosseguindo os seus trabalhos que têm tomado grande incremento.

Foi resolvido lançar em ata um voto de louvor ao Sr.João Alves Fraga Lamares que residiu até 1911 na sua Quinta Seca no lugar da Azenha de Cima em Matosinhos (Vitória, Poro, 25/12/1873 - Largo do Bom Sucesso, n.º 238, Massarelos, Porto, 01/12/1935) pela oferta que fez ao novo club da impressão e papel na sua 'Tipografia Fraga Lamares' (no Campo dos Mártires da Pátria, n.º 132, no Porto) de 200 exemplares do projeto dos estatutos que tem de ser distribuídos por todos os sócios, para ficarem habilitados à discussão que há de ser feita na assembleia geral que se realizará para esse efeito e na qual dará conta dos seus trabalhos e deporá o seu mandato, elegendo-se em seguida os corpos gerentes que hão de servir no 1.º biénio.

22/12/1907, domingo -

A pedido da comissão instaladora deste distinto club Leixões Sport Club, realizou-se uma Conferência com a direção do Centro Regenerador Liberal Dr. Domingues D' Oliveira, tendo a referida comissão feito uma proposta para tomar de subarrendamento o edifício sito na R. Brito Capelo onde se acha instalado o Centro Regenerador Liberal.

A direção deste centro, não se julgando com poderes para resolver um assunto de tal importância, disse que ia convocar uma assembleia geral extraordinária (que só se realizou a 01/01/1908) para nela ser apreciada a proposta do Leixões Sport Club e tomar as deliberações que se julgarem mais convenientes, ficando marcada essa mesma reunião para o mesmo dia pela noite.

28/12/1907, sábado -

Nesta noite, a comissão instaladora reuniu-se com carácter urgente, uma vez que o Centro Regenerador Liberal não se reuniu na noite do de 22/12/1907 por falta de número de sócios presentes e este mesmo centro iria se reunir no dia a seguir, 29/12/1907, resolveu a comissão instaladora redigir um oficio por escrito, à data de 16 de dezembro em que ficou decidido por esta comissão fazer tal proposta ao Centro Regenerador Liberal, para melhor ser apreciado na assembleia geral extraordinária que se iria realizar no Centro Regenerador no dia a seguir, apesar de já o ter manifestado por conferência:

'EX.mos. Srs. Directores do Centro Regenerador Liberal DR. Domingos D'Oliveira, em satisfação do que ficou resolvido na conferencia que tivemos com V. EX.as, cabenos a honra de, por escripto lhes virmos fazer a mesma exposição que verbalmente lhe apresentamos na alludida conferencia, habilitando os assim como de-sejam a submetterem a nossa proposta à assembléa geral extraordinária que tencionam convocar, para ser ouvida sobre a mesma proposta.

Os signatários d'este officio constituem a commissão installadora do Leixões Sport Club, em que se acham reunidos por fusão combinada recentemente de differentes grupos de sport da nossa villa, pretendendo os fundadores do novo club augmentar consideravelmente, o numero de sócios que presentemente é já quasi de 100 e não só cultivarem n'elle quasquer género de sport como cuidarem de tudo quanto seja condu-cente ao desenvolvimento, physico e intellectual dos seus associados, proporcionando lhes recreios, distracções e cuidando por todos os meios legaes, do engrandecimento d'esta terra de sua natureza tão bella e que reúne excepcionais condições de rápida prosperidade.

Forçoso é confessar que a villa de Mattosinhos e Leça da Palmeira, apresenta lamentáveis condições de inferioridade, comparada mesmo com terras de menor importância no que diz respeito ao aproveitamento, não só das suas bellezas naturaes, como no augmento da sua população, da illustração dos seus habitantes e de tantos outros factores de importância para a realisação de festas, reuniões e passatempos, que sirvam de goso, commodidade e distracção ás principaes famílias aqui residentes, as quaes não poucas vezes se vêem forçadas, a ir procurar na Foz ou no Porto, essas regalias que aqui não logram encontrar.

Obedece pois a tentativa dos fundadores do Leixões Sport Club, a um fim altamente sympathico e civilisador a esta commissão, que é sua interprete e executora, tem procurado a melhor forma de acertadamente dar contas do seu mandato.

A maior difficuldade com que nos temos encontrado é a aquisição de casa que reúna as condições necessárias, para n'ella se estabellecer a sede do Leixões Sport Club, possuindo também acomodações indispensáveis para bailes, sories, jogos e exercícios, que somente em salas apropriadas se podem realisar. Perdidas as esperanças de encontrarmos em toda a villa, de Mattosinhos e Leça da Palmeira, outra casa que satisfaça os fins desejados, tivemos de recorrer a V. EX.as, porque o edifício que ocupam e onde tem installado o Centro Regenerador Liberal Dr. Domingues D'Oliveira, é o único que se presta para o que pretendemos, ao passo que para o Centro de que V. EX.as, são digníssimos directores, e facílimo se torna encontrar casa, talvez ainda mais apropriada do que essa, n'estas circunstancias não hesitamos em solicitar por fim as boas graças de V. EX.as, para que se dignem obter em assembléa geral, a indispensável autorisação para que o Centro Regenerador Liberal Dr. Domingues D'Oliveira, subarrende ao Leixões Sport Club, o edifício da Rua Brito Capello n°. 60, com o mobiliário que lhe pretence vigorando esse contracto desde o pricipio do anno de 1908.

Tratando se d'uma medida de tão alto interesse para a terra e em que todos directa ou indirectamente lucram, quando menos tendo a satisfação intima e a vaidade justificada, de verem progredir a povoação em que habitam, não pomos duvidas em acreditar que V. EX.as, secundarão os nossos esforços e medirão bem com o seu sabido critério, com a sua clara intelligencia e com o seu entranhado amor por esta villa, o alcance legitimo das nossas aspirações, annuindo ao nosso pedido e ao nosso desejo, que é por sem duvida também, o pedido e o desejo da maioria da população pensante, de Mattosinhos e Leça da Palmeira, deus guarde V.EX. as.

A commissão installadora do Leixões Sport Club.

Arthur Nugent,....Durval Martins,....Eduardo Torres,....Eurico Felgueiras, Guilherme Joaquim Felgueiras,....Henrique Carneiro de Mello,....Jayme Lopes, José Barbosa,....José Meneres,....Pedro Alexandrino de Souza.

Mattosinhos 16 de Dezembro de 1907.'.

01/01/1908, quarta-feira -

Realizou.se finalmente a assembleia geral extraordinária do Centro Regenerador Liberal Dr. Domingos D' Oliveira, depois de não se ter realizado as assembleias convocadas para os dias 22 e 29 de dezembro de 1907 por falta de número de sócios presentes.

Esta sessão foi exclusivamente marcada para se resolver o procedimento a tomar relativamente ao pedido feito, quer por conferência verbal quer por oficio escrito, à direção deste Centro pela comissão instaladora do Leixões Sport Club.

Quase por unanimidade, resolveu a assembleia geral do Centro Regenerador Liberal rejeitar a proposta do Leixões Sport Club.

Sem comentários de nenhuma espécie, as pessoas cultas, independentes, que tenham amor a este torrão de terra e que alguma vez tenham sonhado, no seu progresso, apreciem e comentem como quiserem, este era o sentimento na vila de Matosinhos, logo a seguir ao resultado da assembleia geral do Centro Regenerador Liberal Dr. Domingos D' Oliveira.

02/01/1908, quinta-feira -

Reuniu se a comissão instaladora em que foram discutidos vários assuntos e marcou-se para 08/01/1908 a assembleia geral do Sport Leixões Club, para dar por fim os trabalhos desta comissão, para a votação dos estatutos e para a eleição dos corpos gerentes para o 1.º biénio 1908/1909.

05/01/1908, domingo, 11:00, campo do Foot Ball Club do Porto (R. da Rainha) -

Match de foot ball entre os primeiros teams do Foot Ball Club do Porto e do Leixões Sport Club, ganho pelo Foot Ball Club do Porto por 7 - 1 e no qual a equipa do Leixões Sport Club jogou pela 1.ª vez.

Equipa do Leixões Sport Club (muito provavelmente, a da foto):

Goal keeper - Aloysio Paiva;

Backs - Carlos Roque e Rui Teixeira

Halfbacks - José Teixeira, José Lemos Pacheco e A.Teixeira;

Forwards - Francisco de Faria da Veiga Cabral, Américo de Lemos Pacheco, Adolpho Gesta, António Claro e Durval Martins.

08/01/1908, quarta-feira, numa sala da Associação Comercial de Bouças-

Nesta noite, teve lugar a anunciada assembleia geral do Leixões Sport Club, com farta concorrência de sócios atraídos pelos assuntos importantes a tratar nessa reunião.

Presidiu a mesa o Sr. José da Fonseca Meneres, e serviram de secretários os Srs. Dr. Eduardo da Silva Torres e Durval Martins, sendo a 1.ª parte da ordem da noite destinada à comissão instaladora para dar conta dos seus trabalhos e, com isso, depor o seu mandato:

usou da palavra o Sr. José da Fonseca Meneres, que era também o presidente da mesma comissão, para expor os desenvolvimento dos trabalhos realizados por ela, tendo havido 8 reuniões, a 28/11/1907, nos dias 2, 5, 8, 12, 18 e 28/12/1907 e a 02/01/1908, tratando-se sempre de dar o maior incremento à fundação do Leixões Sport Club nas condições indicadas na 1.ª assembleia geral realizada a 28/11/1907 e tendo-se iniciado os trabalhos pela fusão dos 3 grupos Lawn Tennis Prado, Lawn Tennis de Mattosinhos e Leixões Foot Ballers;

acrescentou o Sr. José da Fonseca Meneres que uma das mais árduas tarefas da comissão instaladora tinha sido a aquisição da casa onde estabelecer a sede do Leixões Sport Club, porquanto, tendo sido visitadas diferentes casas de Matosinhos, se chegou à conclusão de que a única nas condições requeridas para o club alcançar o pretendido desenvolvimento era a da R. Brito Capelo onde em tempos funcionou o grémio da assembleia e o club de Matosinhos e onde presentemente se acha estabelecido o Centro Regenerador Liberal Dr. José Domingues de D' Oliveira;

referiu então que resolveu esta comissão instaladora solicitar à direção do centro uma conferência que se realizou e em que a comissão expôs a sua pretensão de adquirir por subarrendamento a referida casa;

a pedido da direção do Centro Regenerador Liberal, a comissão instaladora do Leixões Sport Club oficiou em seguida justificando os seus desejos e esse ofício foi lido em assembleia geral do Centro Regenerador Liberal na noite de 01/01/1908 tendo se resolvido quase por unanimidade não ceder a casa;

disse ainda o Sr. José da Fonseca Meneres que esse facto não devia ser motivo para desânimo, porque um próspero futuro estava reservado ao Leixões Sport Club, a julgar pelo entusiasmo que se continuava a notar em todos e sendo bastante animador o numero de 84 sócios fundadores com que se instala o club;

pediu, pois, o concurso, a energia e a vontade de todas as pessoas que se interessam pelo futuro desta terra, afim de completar a obra que a comissão instaladora, ao depor o seu mandato, deixa já bastante adiantada.

O Sr. Guilherme Joaquim Felgueiras defendeu e mandou para a mesa a seguinte moção:

'O Leixões Sport Club, reunido hoje em assembleia geral, tendo tomado conhecimento da recusa do Centro Regenerador Liberal, ao pedido da cedência por subocupação da casa que ocupa nesta vila à R. Brito Capelo n.º 60, lastima profundamente o facto:

a) Porque não foi tomada na verdadeira e merecida consideração, a natureza e fins do pedido nem a qualidade das pessoas, que compunham a comissão instaladora e que firmaram e fundamentaram largamente a proposta;

b) Porque estando evidentemente demonstrado, que não há na vila de Matosinhos e Leça da Palmeira, outra casa que se preste aos fins desejados, muito naturalmente tiveram de ser lançadas para aquela, as vis-tas da comissão instaladora;

c) Porque inversamente seria muito fácil, ao Centro Regenerador Liberal encontrar outra casa, que satisfizesse de igual modo, ou melhor ainda, aos fins da instituição do centro, tanto mais que aquela que ocupa não é por ela utilizada por completo em todas as suas dependências;

d) Porque finalmente perdeu o Centro Regenerador Liberal excelente ensejo de prestar um verdadeiro e levantado serviço à terra onde tem a sua sede, ação e à qual necessariamente adquiriam grandes prosperidades, com a completa realização do pensamento do Leixões Sport Club.

Depois do Sr. Dr. Eduardo da Silva Torres ter proferido algumas palavras em sentido contrário da moção e de lhe ter respondido o Sr. Guilherme Felgueiras, foi ela submetida a votação tendo sido aprovada por una-unanimidade.

De seguida, o Sr. José da Fonseca Meneres explicou que se tinha abstido de votar por um ato de coerência, visto que era ao mesmo tempo sócio do Centro Regenerador Liberal e do Leixões Sport Club, e o Sr. Dr. Eduardo da Silva Torres requereu para ficar exarada na ata a declaração de que tinha reprovado a moção.

Passou-se de seguida à 2.ª parte da ordem da noite, que consistia na discussão do projeto de estatutos que foi aprovado por unanimidade:

35 artigos repartidos por 7 Capítulos.

Por último, e já em conformidade com os estatutos que acabavam de ser aprovados, procedeu-se à eleição dos corpos gerentes que hão de funcionar no 1.º biénio 1908/1910:

o Sr. Presidente nomeou para escrutinadores os Srs. Arthur Nugent e Francisco Faria e convidou os associados a formularem as suas listas, tendo sido eleitos os órgãos do Leixões Sport Club para o 1.º biénio:

Direção presidida por Hermann Fürbringer (alemão ou austríaco que, entre 1916 e 1920, viu os seus bens apreendidos pela Ciaxa Geral de Depósitos por causa da 1.ª Guerra Mundial) auxiliado por um secretário, um tesoureiro e 4 vogais efetivos (com 4 vogais substitutos);

Conselho Fiscal com 3 elementos;

Assembleia Geral presidida pelo Comendador Emydio José de Ló Ferreira.

O 1.º campo, o CAMPO DAS TAIPAS, foi arrendado na R. Conde de Alto Mearim por 60 mil réis anuais pagos em 2 prestações adiantadas, tendo sido autorizadas pelo senhorio apenas as obras necessárias para a prática do futebol, do ténis, do cricket e do croquet não admitindo o senhorio a colocação de saibro para não alterar a qualidade do terreno que era de plantação de couves e batatas.

A sede social não existia e então as reuniões eram em casa dos dirigentes, pois o barraco existente no campo só servia para arrecadação, e mal.

As camisolas também ainda não eram listadas e 84 foi o n.º de sócios fundadores:

O n.º 1 foi José da Fonseca Menéres, o n.º 2 foi o Dr. Eduardo da Silva Torres, o n.º 3 foi o conselheiro Alfredo Menéres e o n.º 4 foi Guilherme Joaquim Felgueiras;

a 31/12/1909, eram já 176 os sócios do Leixões Sport Club.

Como o campo das Taipas já não chegava, foi abandonado e, a 29/09/1909, foram arrendados uns terrenos com cerca de 11 mil metros quadrados por 150 mil réis:

a entrada principal era pela R. Tomás Ribeiro e ladeavam-no as ruas de Afonso Faria, de Azevedo Coutinho e de António Augusto de Aguiar, actuais R. Mousinho de Albuquerque, Av. da República e R. de D. João I.

Mas a febre de mais e mais continuava a subir, construindo-se a 1.ª sede social do clube, com bons vestiários:

em pouco tempo, a subscrição para as obras rendeu 743$00 e a sede custou 395$00, ficando concluída a 03/03/1910.

Estavam, finalmente, pouco mais de 2 anos depois, lançadas as bases para o que viria a ser o glorioso Leixões Sport Club.

A 10/12/1912, por ação do Futebol Clube do Porto e do Leixões Sport Club, foi fundada oficialmente a Associação de Futebol do Porto (ASO) que teve de imediato a adesão de muitos outros clubes do distrito do Porto, inclusive até de clubes de outros distritos e é ´hoje uma Instituição Desportiva de Utilidade Pública que coordena e fomenta a propaganda e o desenvolvimento do futebol, em todas as suas variantes, no Distrito do Porto:

 

imediatamente teve a filiação .

Os anos passaram-se e veio o Campo de Santana inaugurado na R. Silva Pinheiro em 1939 com uma lotação de 10 0000 lugares.e, com ele, décadas e décadas de saborosos êxitos alicerçando-se ali o Leixões Sport Club da atualidade:

mais tarde, por imposição judicial motivada pelo senhorio Fernando Ferreira Antunes já falecido, o Leixões Sport Club teve de procurar de novo casa.: o atual Etádio do Mar.

O Leixões Sport Club participou com ciclistas nas primeiras Voltas a Portugal em Bicicleta:

em 1927, Manuel Nunes de Abreu ficou em 2.º lugar na I Volta a Portugal em Bicicleta (atrás 9' 31'' de António Augusto Carvalho, do Carcavelos) e ganhou a 15.ª etapa entre Braga e Porto (113,7 Km) envergando a camisola amarela até ao fim da etapa seguinte;

em 1935, 3 ciclistas do Leixões Sport Club participaram na 6.ª Volta a Portugal em Bicicleta que foi ganha por César Luís do 'Velo Clube–Leões Ferreira do Alentejo'.

Mediaeval monuments in north transept (De Wyck Chapel)

Effigies in recesses with broad cusped ogee gables, a knight and lady c.1325, possibly Egelina de Wyck www.flickr.com/gp/52219527@N00/gncu0q & 2nd husband Sir Robert de Gyene www.flickr.com/gp/52219527@N00/X4F7DM

Egelina de Hautville born c1305 in Chew Magna, heiress of Geoffrey de Hautville 1332 of Norton

She m1 c1328 Sir John de Wyck of Ninehead-Flory & Wyck manors who died c 1346 at the Siege of Calais, born c1300 son of Philip de Wyke & Maud Wengham

Children

1. John bc1335 m Alice .........

2. Agnes c1330-1400 m Tibaud / Theobald Gorges son of Sir Theobald Russell & Eleanor Gorges heiress to Kingston-Gorges (his father took the name of Gorges)

 

A rich widow she held in dower for life the manors of Norton Hautville near Wiveliscombe and the de Wyck manor Yatton / Claverham. Norton, Chew, Dondray, Prikeswyk and Staunton Dru "from the whole free tenement of John de Wycke her first husband, of the Bishop of Bath by knight's service"

 

She m2 c1346/7 Robert Gyen d1353 www.flickr.com/gp/52219527@N00/X4F7DM , son of Maud & Robert Gyene c1325 of North Curry who was a merchant exporting cloth & importing wine. He was Mayor of Bristol 3 times- his first wife had died in the bubonic plague

Robert was commissioned to fit out 13 ships of 80 tons each with gangways and the means of transporting horses and men to Normany for the Battle of Crecy. Queen Isabella granted him her interest in the Bailiwick of the seashore of Bristol for services rendered to her husband Edward ll ( he was responsible for escorting vessels into port and watch for evasions of tax. A writ in 1330 allowed Robert to collect 2 shillings in the tun on wines imported into Chepstow, Gloucester & Bristol (later Bristol only). He also became Commissioner to levy subsidies on wools and hides into Gloucester. becoming a chief tax collector for the crown. Collecting import taxes on the lucrative wine trade and relending it made Robert a wealthy man.

Robert & his mother Maud also in 1337 held land jointly in Long Sutton acquired for life from the Abbot of Athelney. In 1340 Robert gave land in the suburbs of Bristol to the master and brethren of the House of St Mark. In 1344 the Prior and Convent of Bath are giving him the manor of Olveston.

By his death he held in fee a shop and vacant plot of land worth 13s. 4d pa in Oxford together with 2 acres of meadow. He became MP for Bristol. He also held land in Wolverton Hants in1346. He also had a house in Bristol, a Norman hall house which backed onto the Guildhall in Braod Street.

In 1337 now at war with France, one of Robert's ships the Labonan had to be escorted by the royal navy to combat the treat to shipping.

Mayor of Bristol 3 times - 1345-6, 1347-48 and 1349-50. He was mayor when the plague came and Bristol was "suddenly overwhelmed by death, almost the whole strength of the town, for few were sick mor than 3 days, or 2 days or even half a day"

By the time of his 2nd marriage Robert was a man of much property, he was also knighted.

Robert was so rich when Edward lll needed money in 1351 for building work, Robert lent him the largest sum by a single person in England. It amounted to 500 marks.

The king must have wondered where Robert had got all the money and in 1352 orders were issued to "John de Codyngton, Kings Clerk at Bristol and to the kings's Serjeant at arms in Gloucester to survey the goods of Robert de Gyene which for certain causes have been taken into the king's hands" Robert was accused of embezzlement, of withholding money that belonged to the king amounting to £20,000 and found guilty. The money that had been withheld had belonged to "enemies of the king" (Edward ll) - Hugh Despenser & Robert de Baldock, chancellor of England & Prebendary of Yatton. It is possible the former mayor of Bristol Robert Turtle d1347 had been given permission to hold the money as an investment which the kings treasury had later forgotten. Robert was Robert Turtle's good friend and executor.

All Robert's possessions were seized for the king. His gold, silver and other jewels were confiscated. Robert was found guilty

.

Robert died in 1353 in Fulham on the Thursday before the conversion of St Paul ie 23rd January.

The papal registers show permission had been given to Egelina for her to choose a confessor who would at the hour of her death, give her plenary remission of her sins. She renewed this request in November 1352 with Robert's death imminent.

The manor of Court de Wyck reverted to Egelina, but her son had to go to London to give his agreement because she had sold it off to a John of Egerton, no doubt to raise funds. For a fee she later recovered the manor it being released to her with security for her payment of £50.

"Grant to Egelina, wife of Robert de Gyene, who has been taken and arrested by process in the Kings Court of the Manors of Wyck and Norton Hautville which she holds in dower and which are taken into the king's hand by reason of the said process, to hold in aid of her sustenance for the life of the said Robert, or until the king make order otherwise for her estate during the life of the said Robert"

The order went on to note the sale of goods in the 2 manors taken into the king's hands were valued at £76. 12s 6d. The king agreed that £20 13s 4d be allowed to her for sustenance. She could also have 119 shillings 4d for petty expenses. Roberts goods were sold by John de Haddon the king's Serjeant at arms.

Subsequently in 1355 after Robert's death John Spicer, mayor of Bristol 1351/2 was indicted before the justices of having conspired with others that Robert Gyene should be accused of embezzling the king's money.

Pre 3/10/1356 Egelina died and the manor of Wyck was sold in the same year to the brother of the bishop of Winchester. After 1405 it came into the possession of the Cheddar family, and through Isabel Cheddar by marriage to the Newton family www.flickr.com/gp/52219527@N00/b64545books.google.co.uk/books?id=ax0ed_OEzvwC&pg=PA77&...

www.teachergenealogist007.com/2014_06_01_archive.html

www.teachergenealogist007.com/2014/07/bond-8389010-wyke-h...

Sir Humphrey Bradbourne 1513-1581 and wife Elizabeth Turville.

"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...

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.

  

After Darth Vader summoning, the Bounty Hunter left the Executor to start the search for the MIllenium Falcon. This photo portrays Dengar and Bossk as they walk through one of the dark corridors of the Super Star Destroyer.

GRONINGER MUSEUM

Groningen

the Netherlands

 

The realisation of the present-day Groninger Museum had a lengthy and intensive history before a start was actually made on the spectacular design that still evokes much discussion on modern museum architecture. After years of formulating plans and drawing up sketches, after endless discussions and consultations, the ultimate design by the Italian Alessandro Mendini and the three guest architects Philippe Starck, Michele de Lucchi, and Coop Himmelb[l]au was completed in 1994.

 

HISTORY IMPULSE

The direct opportunity for this large-scale building project arrived on 28 September 1987 when the N.V. Nederlandse Gas Unie donated 25 million guilders (approx. 11.5 million Euro) for the construction of a new Groninger Museum. This was a godsend to the Museum. The old premises on the Praediniussingel, which had accommodated the Groningen Museum for exactly 100 years, had become far too small. The donation, to celebrate the 25th anniversary of the Gas Company (in 1988), was greeted with delight. This was the beginning of a project that would last 7 years and would finally be rounded off with the opening of the new Groningen Museum by Queen Beatrix on 29 October 1994.

 

LOCATION

Having examined all kinds of possible locations, a preparatory committee finally decided in favour of the ‘Zwaaikom’, a broader part of the Verbindings Canal on the southern edge of the inner city. It is a historical location, adjoining the stately 19th-century avenues with the mansions that were built on the site of the old city fortifications. The Verbindings Canal, linking other waterways as the name suggests, occupies the place where the city moat once lay. The main railway station and a ribbon of office blocks dating from the last few decades line the other side of the water. It is a unique location, connecting the station area to the inner city.

Mendini

The decision to appoint Alessandro Mendini, an Italian designer/architect whose work also appears in the Groningen Museum collection, was taken almost immediately. The spirit of the 1980s, a period that is strongly represented in the collection of Modern Art, radiates from his work. With regard to the new building, his vision and working method found a perfect match in the ideas of Frans Haks, the erstwhile Director of the Museum. There was one element in particular that was certain: it had to be an extraordinary building, both inviting and accessible – the Museum’s visiting card.

Mendini, born in 1931, is a versatile man. Besides being an architect, he is also a designer, artist, theorist, and poet. In 1988, the Groninger Museum presented a large-scale retrospective of his activities in which his multifaceted artistry was expressed. Mendini also publishes a great deal, writing columns in international magazines, thus reinforcing his reputation as a theorist of new design.

 

STARTING POINTS

In 1987, the point of departure for the new Museum was the nature and the character of the various collections that constitute the Groninger Museum: Archaeology and History of Groningen; Applied Art, with the collection of Chinese and Japanese porcelain as an important subcollection; Traditional Painting (from approx. 1500 to 1950); and Modern Art (from 1950 until the present). These four completely different collections form the identity of the Museum and, as such, should all be visible in the building, each in its own domain. At the same time, the new building had to be a archetype of developments in art and architecture in the 1980s. As a result, initiating a co-operative effort by various architects and/or designers seemed to be a logical step, so that diverse perspectives could be combined and the separate collections could be appropriately expressed.

 

DEMANDS AND DESIRES

Mendini was bound by a number of demands from the Municipality. A direct link between the station and the inner city (a bridge for pedestrians and cyclists) had to be included in the design, inland shipping had to be able to pass through the canal, and one had to be able to see the one shore from the other (the so-called ‘transparency’ of the design). Taking these requirements into account, there followed a lengthy planning process in which all kinds of ideas and designs were investigated. The definitive design was approved in November 1990. However, due to an appeal to the Council of State lodged by opponents of the Groninger Museum, it took until April 1992 before construction could actually begin.

 

MENDINI’S PHILOSOPHY

 

DESIGN

To what principles does Mendini adhere in this kind of design? He believes that the use of decoration is deeply rooted in humankind and, accordingly, decoration must be the starting point of design. Functionalists dismiss decoration because it draws attention away from the true issue, the function of the building. Their work is sober, with full attention being given to the efficiency of the design. This leads to impersonal mass production, according to opponents. In Mendini’s opinion, people no longer want mass products. People are individuals and need something personal rather than the anonymity of the functional environment. ‘Everyone is different,’ says Mendini, ‘so why shouldn’t an object also be different?’

 

NO ESTABLISHED NORM

Mendini’s work has a number of striking features. Mendini rejects traditional hierarchies (such as painting being on a higher level than applied art, for example) and a historical division into time and place. In his view, art-historical styles, exotic cultures and kitsch are all equally important.

 

INTERACTION OF DISCIPLINES

This standpoint gives rise to a second characteristic feature of his work, the interweaving of disciplines. Mendini holds the opinion that there are no boundaries between the various activities in which he is engaged. Theatre, painting, sculpture, architecture, and science can all be used freely and interchangeably. He thinks that any distinction between these disciplines is nonsense. He also believes that everything has already been conceived and applied. As a result, the only way of acting is to employ things in new combinations – it is merely a matter of redesign. Existing designs are subsequently given a new decoration, often originating in a different discipline. Painting is a particularly important source of decoration.

 

CO-OPERATION

A third distinctive feature of Mendini’s work consists of co-operation with others. He works with contemporary artists, architects and designers in creating furniture, objects, clothes, décors, paintings, theatre performances, ceramics, and jewellery. The yearning to transgress the boundaries of the traditional disciplines tends to mean that Mendini is more engaged as a director and deviser of ideas than as an executor.

 

DIRECTOR

One of the joint efforts in which Mendini acted as a supervisor was the creation of the series of tea and coffee services for Alessi. In 1980-83, eleven silver tea services were created by the Italian firm Alessi in a very limited edition. Mendini commissioned ten of the most important modern architects, each of whom designed one of the sets. They included Hans Hollein (who also designed the Abteiberg Museum in Mönchengladbach) and Aldo Rossi (the architect of the new Bonnefanten Museum in Maastricht). The assignment was to design a service in which the teapot, milk jug and sugar pot were small buildings on a plaza. Thus arose a series of eleven tea services that belong to

both the history of tea and coffee sets and also to modern design and architecture. In fact, the service project can be regarded as a precursor of the Groninger Museum. Since the beginning of 2002, the Groninger Museum has owned a complete series of these currently famous sets.

A later project by Alessi encompassed 100 porcelain vases. Mendini designed the basic shape and 99 artists and designers from all over the world added decoration. The Groninger Museum has work by many of these artists in its collection. In another project, 33 mirrors for the Glas Company, Mendini supplied the decoration and different designers repeatedly determined the form. The decoration here is a Signac motif, borrowed from a pointillist painting by Paul Signac (end 19th century). This motif, first applied to Proust’s chair (1979) recurs in all kinds of variations in the Interno di un Interno installation, and again in a Swatch watch (Lots of Dots, 1991), the staircase of the Groninger Museum, and on the exterior of the east pavilions. All the above-mentioned designs by Mendini and the guest designers are part of the Groninger Museum collection.

 

GUEST ARCHITECTS

A number of guest architects were invited to design sections, pavilions, of the new Museum: the Italian designer Michele de Lucchi, Philippe Starck from Paris, and, at a rather late date, the Coop Himmelb(l)au group which has offices in Vienna and Los Angeles. There was also co-operation with Dutch architects and designers, such as the Groningen architects’ office Team 4 (project architect), Albert Geertjes and Geert Koster.

 

THE BUILDING

Mendini’s basic design consists of three separate, simple and austere building units lying longitudinally in the Verbindings Canal, connected by passageways. These passageways also serve as bridges. A sky-blue lift bridge for cyclists and pedestrians traverses the complex. It not only links the two shores, it is also a section of the route between the station and the inner city. Thus, the Museum has become an entrance gate to the centre.

Each building block has several sections: pavilions that are superposed or juxtaposed. Each pavilion has its own special function and, consistent with this, its own shape, colour and material.

 

RELATIONSHIP BETWEEN OUTSIDE AND IN

The exterior gives a direct indication that this is a building presenting various forms of art and design. The bridge, marked by a blue, arched gate, also conceals a surprise. When the bridge has been lifted to allow ships to pass, a work of art by Wim Delvoye can be seen on the underside. Magnified Delftware tiles, with apparently 17th-century emblems, refer to the collections of applied art and traditional painting. In contrast, the form is completely modern. The games depicted are not genuine representations but are cartoons thought up by Delvoye and the tiles are actually large stickers.

A sculpture by Mendini graces the centre of the piazza, in front of the entrance. It is an autonomous work, a sofa and also a guide: the ground plan of the Museum is expressed in a vertical form, thus producing a hominoid figure. Looking from the doorway, the red neon ceiling by François Morellet can be seen in the entrance hall. The oval lines of this artwork, specially created for this location, continue the lines of the exterior architecture.

 

THE CENTRAL PAVILION

The first eye-catcher is, of course, the gold-coloured central tower, which is over 30 metres tall. This tower accommodates the repositories and also the entrance to the Museum. In Mendini’s opinion, the repository, often muffled away in cellars or inconspicuous auxiliary buildings, is the heart of a museum, the treasure chamber in which the most valuable possession, the Museum collection, is kept. For this reason, it has been given a central position and a gold-coloured laminate coating. The tower dazzles in the sunshine and no longer resembles a ship but evokes notions of a church. Mutually identical blocks flank the tower. One is clad in pink concrete slabs, the other in pastel green. The repetition of the squares emphasises the symmetry: laminate, concrete slabs,

small square mosaic stones, and the office windows on the upper floors.

The green part on the south side has large windows. This section accommodates the café-restaurant with its splendid view of the water and passing ships.

 

THE ENTRANCE HALL

The entrance hall was radically renewed in 2002. On the left-hand side is a large counter with cash registers and a plasma information screen, showing prices and information on current exhibitions. Adjoining this is the entrance to the Museum shop. On the right-hand section of the hall are two smaller counters with screens that provide information on activities in the Museum and cultural-historical information on Groningen, furnished by the Tourist Information Office. The entrance to the café-restaurant lies between these two information points. The hall is open public space and entrance during opening hours is free. The renovation has made the hall more of a meeting place and an information area.

 

THE CENTRAL STAIRWAY

The spiral stairway is the actual entrance to the Museum and its treasures and is also the central point of orientation. Furthermore, it is also an autonomous work of art. The characteristics of Mendini’s work are again expressed here. The visitor must descend rather than climb the staircase as in almost all other museums (to the ‘higher’ arts). The mosaic stones, applied by Italian craftsmen, are reminiscent of Byzantine mosaics from Ravenna, while the form of the spiral stairway recalls Moorish structures.

Via the stairway, the visitor enters the passages to the exhibition pavilions. Oval exhibition areas, supporting small plazas on the outside, lie between the central section and the exhibition pavilions.

The semicircular windows in the passageways evoke the ambience of a cloister. The dominant colour of the windows, light blue, refers to the water outside and is reflected in the exterior coating where capricious water channels have been applied to the material.

 

WEST SECTION

West of the central section are two pavilions, one above the other. The lower one, a square slightly tapering towards the top, was originally constructed to house the Archaeology and History of the Town and Province of Groningen collection. This is clearly evident on the exterior of the building: it is clad in red brick, traditionally the most common building material in Groningen. Furthermore, it gives the impression of a fort and calls to mind the roundels of the strongholds that were constructed on this site in the middle of the 17th century. Two lions from the collection, which originated from the Farnsum estate house, guard the fort.

This layout has been consigned to the annals of Groningen history since 1998. The historical layout could no longer satisfy expectations. The recently renovated pavilion currently bears the name ‘Beringer-Hazewinkel Ploeg pavilion’, referring to its new content: a safe home for the Groningen artists’ association De Ploeg and other North European Expressionists. The pavilion was also called after the family Beringer-Hazewinkel that funded the pavilion. The new layout was also made by the Italian Michele de Lucchi (1951), who designed the original pavilion.

 

BERINGER-HAZEWINKEL PLOEG PAVILION

The Beringer-Hazewinkel Ploeg pavilion consists of a central part, presenting objects from Groningen cultural history, and six rooms for temporary exhibitions of De Ploeg and other expressionists, three on either side, with a connecting zone behind the central area. Through a window, the visitor can gain a glimpse of the Villa Heymans, now a part of Groningen’s architectural history, designed by Berlage and built in the same red brick as the De Ploeg pavilion. Berlage was also the first to formulate a plan to connect the central station with the inner city and, as such, anticipated the function of the present Museum. A striking feature is the vividly coloured walls of the exhibition areas, whose intensity is reinforced by the application of coloured light.

 

STARCK PAVILION

Above the brick section lies a circular pavilion displaying objects in the Applied Art category. The exterior is clad with aluminium plates upon which vase shapes can be seen in the embossment. Thus, here is also a direct reference to the contents. The building was designed by the French designer Philippe Starck (1949), in close conjunction with Albert Geertjes.

Starck created an illuminated circular showcase for this area, entirely girdling the diagonal interior wall. This showcase presents the internationally renowned collection of porcelain from the Far East, in which the emphasis lies on East-West relations. With the Rijks Museum in Amsterdam, the Princessehof in Leeuwarden and the Gemeente Museum in The Hague, the Groninger Museum has one of the richest collections of Asian ceramics.

The round hall is divided by means of winding curtains. Exceptional arrangements are presented in the spaces that are thus created, where the visitor can concentrate on the porcelain or on other user items such as furniture and Japanese lacquer ware.

The method of presentation is attuned to the nature and special features of the objects. Large artificial fissures have been applied to the concrete floors and walls, resembling the craquelé of porcelain. The lift is bell-shaped and thus refers to applied art and also to Starck’s own designs, such as the cheese rasp/container Mister MeuMeu, dating from 1992, which is a stylised cow’s head. Starck combines form and content in a light-hearted and humorous way. On opening, one of the horns of Mister MeuMeu turns out to be a spoon. A playful element in the applied art pavilion is the aquarium filled with porcelain. It contains some of the famous collection of 'Geldermalsen porcelain', Chinese porcelain from the middle of the 18th century which lay at the bottom of the South China Sea for centuries after the wreck of the VOC ship ‘De Geldermalsen’. Many important pieces were donated to the Groninger Museum after the porcelain had been recovered by Captain Michael Hatcher in 1986. These pieces have again ‘put to sea’ in this pavilion.

The curtains, the splendidly designed showcases, and the remarkable lighting effects collectively produce elegant and alluring spaces that do full justice to the objects. In addition, the curtains have a useful soundproofing effect. A visit to this pavilion resembles a voyage of discovery with all kinds of surprising effects.

The theatrical layout by Philippe Starck is exceptional and original, and commands the attention of the visitor. It is an excellent example of the latest ideas on exhibition layout, where traditional methods of display in a neutral area alternate with exciting arrangements that fire the imagination.

 

EAST SECTION

MENDINI PAVILIONS

‘Classical’ museum architecture is also represented in the Museum, on the east side of the complex. The lower pavilion (Mendini 0), which is trapeziform, consists of two storeys and was designed entirely – both the interior and the exterior – by Mendini. The pointillist Signac motif on the exterior refers to the interior containing the visual arts. The seven consecutive halls on the ground floor are devoted to temporary exhibitions. Expositions of all kinds and composition are presented here, as long as they fit in with the policy and collection of the Groninger Museum. Recent exhibitions have included Jozef Israëls (1999), Anton Corbijn (2000), ‘Hell and Heaven, the Middle Ages in the North’ by Peter Greenaway (2001), and Ilja Repin (2002).

The spaces on the first floor (Mendini 1) display ever-changing selections from the Museum’s own collection, including objects at the interface of art, architecture and design (Pattern and Decoration, Memphis, Mendini) and, since the end of the 1990s, a sizeable collection of fashion and of staged and documentary photographs. Art from the Museums abundant historical collection is also regularly shown.

 

CLASSICAL LAYOUT

The largest rectangular area is situated in the middle of the square ground plan, with smaller areas

surrounding it. These, too, are rectangular and differ in size. The various dimensions are necessary because all kinds of art, large and small, must be able to be shown here. The areas are austere and simple and, as a result, have a rather classical appearance. The broad portals, whose metal framing becomes wider towards the bottom, accentuate this. Mendini did not apply the enfilade system, frequently deployed in many museums in the 19th century, in which the portals of consecutive areas lie in line. The further décor of the areas on the ground floor, used for the temporary exhibitions, is dependent on the type of exhibition organised. The colours of the walls, and even of the floors and ceilings, are repeatedly altered.

On the first floor, used for the presentation of Modern Visual Art, each space has its own particular colour, following a colour scheme developed by the Dutch artist Peter Struycken.

Just as in the west pavilions, where ‘traditional’ art objects are displayed in a renewed environment, the classical areas here on the first floor contrast with the modern, often innovative art presented. In Mendini 0, a refuge has been installed where the visitor can relax and look out of the window. As with the other pavilions, there is no daylight here. Mendini 1 accommodates a print gallery, constructed with financial support from the Beringer-Hazewinkel Foundation.

 

COOP HIMMELB(L)AU PAVILION

The vide with the broad staircase connects the two floors of the Mendini pavilion. The staircase also takes the visitor to the top pavilion, the much-discussed section of the Museum. It was designed by the architects Wolfgang Prix (Vienna, 1942) and the Pole Helmut Swiczinsky (1944), jointly known as Coop Himmelb(l)au. ‘It was as if a bomb had exploded’, said one city resident when the design was published. The capricious pavilion contrasts markedly with the rest of the building, designed by Mendini, with its austere and simple forms.

The first impression of the Coop Himmelb(l)au pavilion is one of randomness and chaos. The structure is comprised of large, double-walled steel plates that alternate with hardened glass at the points where they do not quite meet. The plates, to which the first sketch and a photograph of the design have been applied using tar, are topsy-turvy and even hang over the pavilion underneath at some points.

 

DECONSTRUCTIVISM

The design is a typical example of the most recent architectural movement, Deconstructivism, in which all architectural traditions are thrown overboard. Traditional constructive elements, such as the wall, floor, window or ceiling, have been torn out of their normal coherence. Thus, a wall can also be a ceiling and a window a floor. According to Prix, the spaces that are created in this way are a result of force fields and movement. ‘Many of the techniques that we use originate from art, such as the adherence to the first sketch and automatic drawing,’ he says. ‘We wish to make use of the subconscious and develop new forms from there. We want to try to bring emotion back into architecture.’

He does not take established values and norms as his starting point but prefers to seize the spirit of the times: fragmentation, chaos, contrast, movement. Another example of deconstructivist architecture is the glass pavilion by Bernard Tschumi at the Hereplein, near the Museum, designed in 19.. for the What a Wonderful World exhibition – music videos in architecture.

Three exhibition areas have been created within the pavilion, separated by indentations and recesses. The walls are made of steel and glass so that daylight can enter at unexpected places. This also contrasts with Mendini’s closed realm. Coop Himmelb(l)au aims to generate ’open architecture', an interaction between inside and out, so that the visitor is regularly surprised by sudden glimpses of the outside world. Paths at different levels ensure that the visitor can view the artworks from all sides: at ground level or from the gantry that cuts through the exhibition area a few metres above the floor. The original idea was to display paintings from the 16th-19th centuries here, to emphasise the contrast. Later, the pavilion came to be used primarily for three-dimensional work, such as exhibitions of the work of the British artist Mark Grinnigen and the American Rona Pondick. The areas here are extremely suitable for large receptions. Even dance parties are held here

occasionally at festive openings. The whole Coop Himmelb(l)au pavilion is a three-dimensional artwork, resting on the pedestal formed by the Mendini volume clad in colourful laminate.

 

THE MUSEUM AS A WORK OF ART

The new Groninger Museum is not merely a shell to accommodate art, it is a work of art in itself – a principle that is increasingly being applied in modern (museum) architecture elsewhere. In fact, the Museum itself is the most valuable item in the Groninger Museum collection of art. It is a work of art at the heart of the city, traversed by public areas where passers-by are directly confronted by all kinds of artwork. Could it be more inviting?

 

Source: www.groningermuseum.nl

 

Photo © Eddy Westveer

ALL RIGHTS RESERVED

www.eddywestveer.com

 

EW0_8357

The Shipley Art Gallery is an art gallery in Gateshead, Tyne and Wear, England, located at the south end of Prince Consort Road. It has a Designated Collection of national importance.

 

Origins

The Shipley Art Gallery opened to the public in 1917. This was made possible by a bequest from wealthy local solicitor and art collector, Joseph Ainsley Davidson Shipley (1822–1909).

 

Shipley was a rather enigmatic person about whom little is known. He was born in Gateshead, near High Street. He was a solicitor in the Newcastle firm of Hoyle, Shipley and Hoyle. From 1884 until his death, he leased Saltwell Park House, now known as Saltwell Towers. Shipley's main passion was art and collecting paintings. He bought his first painting when he was sixteen and by the time he died he had amassed a collection of some 2,500 paintings.

 

On his death, Shipley left £30,000 and all his pictures to the City of Newcastle, which was to build a new gallery to house the collection. This was to be known as "The Shipley Bequest". Current belief within local history circles is that Shipley’s will expressly banned Newcastle’s art gallery as a recipient of the bequest, but this assertion must be dismissed: since the foundation stone of the Laing Art Gallery was laid only in August 1901 and the gallery opened in October 1904, the institution did not yet exist in 1900, when Shipley’s will was compiled. Shipley’s will did, in fact, declare that ‘the Art Gallery to be erected in Higham Place will not be and shall not be regarded as an Art Gallery within this trust’, owing to its being ‘too small’, but he conceded that if it ‘shall be capable of being enlarged so as to render it capable of holding all, then I direct my Trustees to raise the sum of £30,000 out of my residuary estate and pay the same to the treasurer of the gallery to be applied in or toward such enlargement as aforesaid’. It was only following a lengthy process that Gateshead Municipal Council was offered the collection. As it was impossible to house all of the paintings, 359 of the pictures recommended by the executors of Shipley's will were selected. A further group was then added by the Gateshead Committee, bringing the total to 504.

 

In 1914, after the sale of the remaining paintings, work began on the new art gallery. The building, which was designed by Arthur Stockwell, M.S.A. of Newcastle, opened on 29 November 1917. The stone entrance portico is distyle in antis – four Corinthian-style stone columns flanked by solid pilasters. These are surmounted by two sculptured figures, one representing the Arts and the other Industry and Learning, by W. Birnie Rhind, RSA. of Edinburgh.

 

Pevsner described the art gallery as a "bold arrangement of a brick central block and lower wings containing galleries". The building was designated as Grade II listed in 1982.

 

Present gallery

The original 504 paintings represented all the main European schools from the sixteenth to the nineteenth centuries. Since 1917, the collection has been added to, and now comprises some 10,000 items.

 

The gallery holds a strong collection of 16th and 17th century Dutch and Flemish paintings, as well as 19th century British works, watercolours, prints, drawings and sculpture. Also featured are items of local interest, which include the popular painting by William C. Irving ((1866–1943) of "Blaydon Races" (1903) and a 1970 street scene of Redheugh Crossroads by Gateshead-born Charlie Rogers.

 

Since 1977 the gallery has become established as a national centre for contemporary craftwork. It has built up one of the best collections outside London, which includes ceramics, wood, metal, glass, textiles and furniture. The Shipley is home to the Henry Rothschild collection of studio ceramics. In 2008, the Shipley opened its Designs for Life gallery which showcases the gallery's collections of contemporary craft and design. The Gallery also hosts a varied programme of temporary exhibitions and has a strong partnership with the V&A Museum in London.

 

The Shipley Art Gallery is managed by Tyne & Wear Archives & Museums on behalf of Gateshead Council.

 

Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.

 

Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.

 

In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.

 

History

Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.

 

A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.

 

Early

There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.

 

The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).

 

During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.

 

Industrial revolution

Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.

 

In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.

 

Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.

 

In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.

 

Regeneration

In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.

 

In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.

 

Governance

In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.

 

In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.

 

Current

In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.

 

Geography

The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.

 

One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.

 

The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.

 

Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.

 

Economy

Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.

 

Arts

The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.

 

Traditional and former

The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.

 

'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.

 

William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.

 

In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.

 

Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.

 

Architecture

JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".

 

Victorian

William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.

 

Post millennium

The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.

 

Former brutalism

The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.

 

The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.

 

Sport

Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.

 

Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.

 

In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.

 

Transport

Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.

 

Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.

 

National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.

 

Road

Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.

 

Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.

 

Cycle routes

Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.

 

Religion

Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.

 

Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.

 

Judaism

The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.

 

Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.

 

Islam

Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).

 

Twinning

Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.

 

Notable people

Eliezer Adler – founder of Jewish Community

Marcus Bentley – narrator of Big Brother

Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army

William Booth – founder of the Salvation Army

Mary Bowes – the Unhappy Countess, author and celebrity

Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)

Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)

Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)

David Clelland – Labour politician and MP

Derek Conway – former Conservative politician and MP

Joseph Cowen – Radical politician

Steve Cram – athlete (middle-distance runner)

Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge

Daniel Defoe – writer and government agent

Ruth Dodds – politician, writer and co-founder of the Little Theatre

Jonathan Edwards – athlete (triple jumper) and television presenter

Sammy Johnson – actor (Spender)

George Elliot – industrialist and MP

Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)

Alex Glasgow – singer/songwriter

Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva

Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva

Jill Halfpenny – actress (Coronation Street and EastEnders)

Chelsea Halfpenny – actress (Emmerdale)

David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)

Sharon Hodgson – Labour politician and MP

Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)

Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)

Brian Johnson – AC/DC frontman

Tommy Johnson – footballer (Aston Villa and Celtic)

Riley Jones - actor

Howard Kendall – footballer and manager (Preston North End and Everton)

J. Thomas Looney – Shakespeare scholar

Gary Madine – footballer (Sheffield Wednesday)

Justin McDonald – actor (Distant Shores)

Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit

Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)

Robert Stirling Newall – industrialist

Bezalel Rakow – communal rabbi

John William Rayner – flying ace and war hero

James Renforth – oarsman

Mariam Rezaei – musician and artist

Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner

William Shield – Master of the King's Musick

Christina Stead – Australian novelist

John Steel – drummer (The Animals)

Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II

Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)

Chris Swailes – footballer (Ipswich Town)

Sir Joseph Swan – inventor of the incandescent light bulb

Nicholas Trainor – cricketer (Gloucestershire)

Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)

William Wailes – stained glass maker

Taylor Wane – adult entertainer

Robert Spence Watson – public benefactor

Sylvia Waugh – author of The Mennyms series for children

Chris Wilkie – guitarist (Dubstar)

John Wilson - orchestral conductor

Peter Wilson – footballer (Gateshead, captain of Australia)

Thomas Wilson – poet/school founder

Robert Wood – Australian politician

  

©Jane Brown2013 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission

 

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Abby is away in Ireland, Rachel is looking after Elsie after school and Peter and I are going to Gloucester to visit my brother tomorrow and the solicitor in Cheltenham on Wednesday so Peter, as one of the executors, can sign off on John's probate. No photos of Elsie after school tomorrow, I've trawled the archives and found this from one of the days in the summer she spent here with us. The biscuits were yummy.

 

My first custom AKs. :D Top one standard version with holo sight and rail covers, bottom one tactical version with fore grip, flashlight, supressor and scope. Thanks to Urban for the side rails, and stirling for the scope. Lots of upload/grouping erros -_-.

 

Hope you like it! :D

A brief visit before the arrival of Flying Scotsman, and the church was open!

 

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There are few churches in Kent that display transepts without a central tower. When in the fifteenth century a tower was built it was added to the west end of the existing nave. Two excellent hagioscopes are cut through either side of the chancel arch, whilst the south transept contains some eighteenth-century monuments by the celebrated sculptor Michael Rysbrack. The most famous memorial at Chartham is the brass to Sir Robert de Septvans (d. 1306), one of the oldest and largest memorial brasses in the country, showing the cross-legged knight with flowing locks. The chancel windows show excellent medieval tracery which has preserved much of its late thirteenth-century glass.

 

www.kentchurches.info/church.asp?p=Chartham

 

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CHARTHAM,

CALLED in Domesday, Certeham, lies the next parish eastward from Chilham. The greatest part of it is in the hundred of Felborough, and some small part of it, viz. the manor of Horton, in the hundred of Bridge and Petham.

 

THE PARISH of Chartham is pleasantly situated, a great part of it in the sertile vale of pastures through which the river Stour takes its course, between a continued series or range of losty hills, over which this parish extends; the high road from Canterbury to Ashford leads through it, mostly on high ground, from which there is a most pleasing view of the vale and river beneath, as well as of the oppo site hills, whose summits are cloathed with the rich foliage of the contiguous woods. Though the soil in the valley is rich pasture, yet the hills are poor and barren, those rising from the vale are chalk, further on they are a cludgy red earth, mixed with slints, much covered with coppice woods, and a great deal of rough land, with broom and heath among it, bordering on a dreary country. The parish is large, and is supposed to be about twelve miles in circumterence. It contains about ninety-seven houses, and five hundred inhabitants. The village of Chartham is situated close on the side of the river Stour, the houses of it are mostly built round a green, called Charthamgreen, having the church and parsonage on the south side of it. On this green was till within these few years, a large mansion house most of which being burnt down, the remains have since been known by the name of Burnt house. It was formerly the residence of the Kingsfords, several of whom lie buried in this church, whose arms were, Two bends, ermine. At length William Kingsford, esq. in 1768, sold it to William Waller, who alienated it in 1786 to Mr. Robert Turner, as he did again to Allen Grebell, esq. who sold it in 1795 to Mr. John Gold, the present owner of it. Near it is a handsome modern-built house, formerly the property and residence of Dr. John-Maximilian Delangle, rector of this parish and prebendary of Canterbury, and from him usually named the Delangle house. He died possessed of it in 1729. It was late the property of John Wotton, esq. who died in August, 1798, and devised it to Mary, the wife of Benjamin Andrews, gent. of Stouting, for her life; and after her decease to Thomas Wotton, gent. of the Tile-lodge farm, in Sturry, and his heirs for ever. On the river Stour here, is a paper-mill, belonging to the dean and chapter of Canterbury. In 1763, William Pearson, the lessee by will, gave this leasehold estate to his wife Sarah for life, remainder to his son Thomas Pearson, his executors, &c. Sarah Pearson renewed the lease in her own name in 1765. In 1766 Thomas Pearson sold the lease to his brother James Pearson absolutely, after the death of their mother, and of the said Thomas pearson, and Elizabeth his wife, or any after-taken wife, without issue of the said Thomas. In 1767 the said Thomas Pearson and Elizabeth, sold all their interest in the premises to David Ogilvy. In the same year the said Thomas and James assigned the premises to the said Ogilvy, by way of mortgage, redeemable by James if Thomas died without issue. In 1768 James became a bankrupt. In 1789, Sarah and James being both dead, Ogilvy renewed the lease in his name. In 1792 Ogilvy, Thomas Pearson, and the surviving assigness, under James Pearson's commission, assigned the premises absolutely, to Edward Pain, paper-maker, of Chartham, (son of Leeds Pain, deceased) who now holds the lease, and occupies the estate.

 

That part of this village on the opposite side of the river Stour, is called Rattington, being in the borough of that name. The northern part of this parish is mostly high ground, and covered with woods, extending almost up to the high Boughton road to London, through which the boundaries of it are very uncertain, from the different growths of the high wood in them; and there have been several contests relating to the bounds in this part of the parish, on account of the payment of tithes to the rector of Chartham; the lands without the bounds of it on the north side being exempt from all tithes whatever, as being within the king's antient forest of Blean, now usually called the ville of Dunkirk. Among them are the two hamlets, called Chartham hatch and Bovehatch, vulgarly Bowhatch; and near the former a large hoath, the soil of which is sand and gravel, and, from the poorness of it, but of little value. This hoath, as well as the lands near it, called Highwood, both claim, as I am informed, an exemption from paying tithes, as part of the manor of Densted.

 

Among the woods at the north-west boundaries of the parish, is a house and grounds called the Fishponds, which, though now gone to ruin, were formerly made and kept at a large expence, by Samuel Parker, gent. the grandson of Dr. Parker, bishop of Oxford, and rector of this church, who resided here. It is now in the joint possession of Mrs. Bridges, of Canterbury, and William Hammond, esq. of St. Alban's, in this county.

 

About a mile west from Densted, in the northwest part of this parish, is a stream of water, called the Cranburne, which is a strong chalybeate. It rises among the woods on the south side of the high London road, running through the fifth-ponds beforementioned, and thence into the river Stour, near Whitehall, a little below Tonford.

 

On the opposite side of the valley, close to the river Stour, is the hamlet of Shalmsford-street, built on the Ashford high road, and the bridge of the same name, of stone, with five arches, repaired at the expence of the hundred of Felborough, over which the abovementioned road leads; and at a small distance above it is a very antient corn-mill, called Shalmsford-mill, formerly belonging to the prior and convent of Christchurch, and now to the dean and chapter of Canterbury. There are two more hamlets on the hills of the southern parts of this parish, one at Mystole, and the other at Upperdowne, near it, behing which this parish reaches some distance among the woods, till it joins Godmersham and Petham.

 

There is a fair annually held at Chartham on St. Peter's day, June 29.

  

Plan of Chartham Downs

 

On the chalky downs, called Chartham Downs, adjoining the south side of the Ashford road, about four miles from Canterbury, being high and dry ground, with a declivity towards the river Stour; there are a great number of tumuli, or barrows near, one hundred perhaps of different sizes near each other, this spot being described in the antient deeds of the adjoining estates by the name of Danes banks. Several of them have at times been opened, and the remains of bodies, both male and female, with various articles of trainkets, &c. have been found in them. Beyond these, on the contiguous plain, called Swadling downs, still more southward, there are three or four lines of intrenchments which cross the whole downs from east to west, at different places, and there is a little intrenchment in the road, under Denge wood, a little eastward above Julliberies grave.

 

Various have been the conjectures of the origin of these barrows, some have supposed them to have been those of the Britons, slain in the decisive battle with Cæsar, under Cassivelawn, others that this place was the spot appropriated for the burial of the Roman garrison at Canterbury, whilst others suppose them to have belonged to the Danes, who might be opposed here in their attempts to pass the river Stour, in their further progress into this island.

 

In the year 1668, in the sinking of a new well at Chartham, there was found, about seventeen feet deep, a parcel of strange and monstrous bones, together with four teeth, perfect and sound, but in a manner petrified and turned into stone, each as big as the first of a man. These are supposed by learned and judicious persons, who have seen and considered them to be the bones of some large marine animal, which had perished there; and it has been by some conjectured, (fn. 1) that the long vale, of twenty miles or more, through which the river Stour runs, was formerly an arm of the sea (the river, as they conceive, being named Stour from astuarium); and lastly, that the sea having by degrees filled up this vale with earth, sand, and coze, and other matter, ceased to discharge itself this way when it broke through the isthmus between Dover and Calais. Others have an opinion, that they were the bones of elephants, abundance of which were brought over into Britain by the emperor Claudius, who landed near Sandwich, who therefore might probably come this way in his march to the Thames, the shape of these teeth agreeing with a late description of the grinders of an elephant, and their depth under ground being probably accounted for by the continual washing down of the earth from the hills.

 

IN THE YEAR 871, duke Elfred gave to archbishop Ethelred, and the monks of Christ-church, the parish of Chartham, towards their cloathing, as appears by his charter then made, or rather codicil; and this gift of it was confirmed to them in the year 1052, by king Edward the Confessor; and it continued in their possession at the time of taking the general survey of Domesday, in the year 1084, in which it is thus entered, under the title of Terra Monachorum Archiepi, i. e. lands of the monks of the archbishop, as all lands belonging to that monastery were.

 

In Feleberg hundred, the archbishop himself holds Certeham. It was taxed at four sulings. The arable land is fourteen carucates. In demesne there are two, and sixty villeins, with fifteen cottagers, having fifteen carucates and an half. There is a church and one servant, and five mills and an half of seventy shillings, and thirty acres of meadow, and wood for the pannage of twenty-five bogs. In the time of king Edward the Confessor, and when he received it, it was worth twelve pounds, now twenty pounds, and yet it pays thirty pounds.

 

The possessions of the priory here were after this augmented by Wibert, who became prior in 1153, who restored to it the great wood of Chartham, con taining forty acres, which the tenants had long withheld. After which, in the reign of king Edward I. THIS MANOR OF CHARTHAM, with its appurtenances, was valued at thirty-four pounds, (fn. 2) at which time there appears to have been a vincyard here, plentifully furnished with vines, belonging to the priory, as there were at several of their other manors; and in the 25th year of the same reign Robert Winchelsea, archbishop of Canterbury, having fallen under the king's displeasure, dismissed most of his family, and lived privately here at Chartham with one or two priests, and went almost every Sunday and holiday to preach in several of the adjoining churches.

 

King Edward II. by his charter in his 10th year, granted and confirmed to the prior of Christ-church, free-warren in all his demesne lands in this manor among others, which he or any of his predecessors had acquired since the time of his grandfather, so that the same were not within the bounds of his forest.

 

The buildings on this manor were much augmented and repaired both by prior Chillenden, about the year 1400, and by prior Goldston, who about the year 1500 rebuilt the prior's stables here and his other apartments with brick. This manor continued part of the possessions of the priory till its dissolution in the 31st year of Henry VIII. when it was surrendered into the king's hands, with whom this manor did not continue long, for the king settled it, among other premises, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose inheritance it still continues.

 

A court leet and court baron are regularly held for this manor by the dean and chapter, but the courtlodge and demesnes of the manor are demised by them on a beneficial lease. At the time of the dissolution, anno 30 Henry VIII. Thomas Thwayts was lessee of it. John Baker, esq. of St. Stephen's, near Canterbury, is the present lessee.

 

THE DEANRY is a large antient seat, situated adjoining to the court-lodge, being part of those possessions belonging to the late priory of Christ-church, in Canterbury, and was formerly the capital mansion of their manor here, being made use of most probably as a place of residence and retirement for the prior himself; and it was most probably to this house that archbishop Winchelsea retired, as has been mentioned before, in king Edward the 1st.'s reign, whilst under that king's displeasure. In which state it remained till the dissolution, when it came, with the adjoining meadows belonging to it, among the rest of the possessions of the priory in this parish, into the hands of the crown, and was next year settled by the king on his new-erected dean and chapter of Canterbury; after which it seems to have been allotted to and made use of in like manner as it was by the priors before, by the deans of Canterbury, for their country residence; in particular dean Bargrave resided much at this mansion, in the windows of which his arms, with the quarterings of his family alliances, in several shields, remained till within these few years. The consusion of the times which immediately followed his death, preventing the residence of any dean here, this mansion seems to have fallen into the hands of the chapter, who soon afterwards leased it out, with a reservation of a part of the yearly rent to the dean and his successors; and it has continued under the like demises to the present time, though there have been several attempts made by succeeding deans to recover the possession of it to themselves. The Whitfields were for some length of time lessees of it, afterwards the Lefroys, then Mr. Lance, and after him Mr. Coast, who greatly augmented and improved this mansion, and resided in it till he sold his interest in it to John Thomson, esq. and he conveyed it in 1797 to William Gilbee, esq. the present lessee of it.

 

There was a large chapel belonging to this mansion, which was taken down in 1572.

 

DENSTED is a manor, situated among the woods in the northern part of this parish, next to Harbledown, in the ville of its own name, part of which extends into that parish likewise. It was antiently part of the estate of the family of Crevequer, and was given in the 47th year of Henry III. by Hamo de Crevequer, to the priory of Leeds, founded by one of his ancestors, which gift was confirmed, together with the tithes of Densted, to the priory at several different times, by the several archbishops, and by the priors and convent of Christ-church, (fn. 3) and the revenue of it was increased here in the 8th year of king Richard II. when Robert Bovehatch being convicted of felony, was found to have held some lands at Densted, which upon forfeiture, were granted by the king to it. The prior and convent continued owners of this manor, with those other lands here, and in king Henry the VIIIth.'s reign, demised it for ninety-nine years to Paul Sidnor, (fn. 4) in which state it remained till their dissolution in the 32d year of that reign, when it came, with the rest of their possessions, into the king's hands, who granted it in his 37th year, with all the tenements called Densted, belonging to this manor, to John Tufton, esq. to hold in capite by knight's service, who, about the 3d year of king Edward VI. alienated his interest in it to Richard Argall, whose descendant John Argall sold it, about the beginning of king James I.'s reign, to Sir John Collimore, of Canterbury, who in 1620, conveyed it to trustees, to be sold for the payment of his debts; and they conveyed it to Thomas Steed, esq. who in the reign of king Charles I. passed it away to Sir Thomas Swan, of Southfleet; in whose descendants it continued, till at length the widow of Sir William Swan, at her death, devised it, among his other estates, alike between his and her own relations, one of whom marrying John Comyns, esq. afterwards knighted, and chief baron of the exchequer, he became in her right possessed of this manor, being descended from the Comyns's, of Dagenham, in Essex, in which county he resided, and bore for his arms, Azure, a chevron, ermine, between three garbs, or. On his death in 1740, he devised it to his eldest nephew and heir John Comyns, esq. of Highlands, in Essex, (son of his brother Richard, serjeant-at law) who died possessed of it in 1760, leaving by his second wife, an only son, Richard-John Comyns, esq. whose heirs conveyed it by sale to Thomas Lane, esq. one of the masters of chancery, who died possessed of it in 1773, on which it descended to his two sons Thomas and William, and the former having purchased the latter's interest in it, died, leaving his widow surviving, who is now in the possession of this estate for her life; but the reversion of it in see, after her death, is vested in the younger brother above-mentioned, Mr. William Lane, gent. of London.

 

A court baron is held for this manor.

 

The lands belonging to this manor consist of about four hundred acres; the whole of which, excepting seven acres in Highwood which are titheable, is subject only to a composition yearly to the rector of Chartham, in lieu of all tithes whatever.

 

HOWFIELD is a manor in this parish, lying in the north-east part of it, adjoining to Toniford. It was formerly spelt in antient records both Haghefelde and Hugeveld, and was part of the possessions of the priory of St. Gregory, most probably at its foundation in 1084. However that be, this manor was confirmed to it, among the rest of its possessions, by the name of Haghefelde, together with the mill of Toniford, by archbishop Hubert, who died in 1206; (fn. 5) and in this state it remained till the reign of Henry VIII. when, by the act passed in the 27th year of it, this priory was suppressed among other religious houses, whose revenues did not amount to the clear yearly value of two hundred pounds, Christopher Hales, esq. afterwards knighted, and attorney-general, being then lessee of this manor, under a lease for ninety-nine years, from the prior and convent; and he had that year a grant from the king of it in see, with all privileges and immunities belonging to it, to hold by fealty only. Sir Christopher Hales was likewise master of the rolls, being the son of Thomas Hales, A.M. second son of Henry Hales, of Hales-place, whose eldest son John was ancestor of the Hales's, of the Dungeon, in Canterbury, Tenterden, and other parts of this county. He left three daughters his coheirs, who became jointly entitled to this manor, with a tenement called Bovehoth, and other lands in Chartham. At length the whole interest of it, on a division of their estates, was assigned to the youngest daughter Mary, who entitled her husband Alexander Colepeper, esq. to it. He left an only daughter by her, Anne, who carried it in marriage to Sir John Culpeper, of Wigsell, and he alienated it to the family of Vane, or Fane, in which it was in the year 1638, and in the year following Mary, countess dowager of Westmoreland, widow of Sir Francis Fane, earl of Westmoreland, joined with her son Mildmay, earl of Westmoreland, in the sale of it to William Man, esq. of Canterbury, afterwards knighted, whose ancestors had been settled there from the beginning of king Henry VIII.'s reign. They bore for their arms, Or, a chevron, ermines, between three lions, rampant guardant, sable; and there were of this name of Man, who were aldermen of the ward of Westgate in that city, as early as king Edward III.'s reign. (fn. 6) He in 1688, with his son William Man, esq. conveyed it to John Denew, gent. of Canterbury, whose ancestors were antiently written De New, and bore for their arms, Or, five chevronels, azure; whose grandson John Denew, esq. dying in 1750, s.p. devised it by will to his wife Elizabeth, and she at her death in 1761, gave it to one of her late husband's sisters and coheirs, Elizabeth, married to Mr. Edward Roberts, of Christ's hospital, London; their eldest son Mr. Edward Roberts died possessed of it in 1779, leaving three sons, Edward, George, and William, when it devolved to his eldest son Edward-William Roberts, who sold it in 1796 to George Gipps, esq. of Harbledown, M.P. for Canterbury, who is the present owner of it.

 

The demesne lands of this manor claimed and enjoyed an exemption from all manner of tithes till almost within memory; but by degrees tithes have been taken from most of them, and at present there are not more than twenty acres from which none are taken.

 

SHALMSFORD-STREET is a hamlet in this parish, built on each side of the Ashford road, near the river Stour, and the bridge which takes its name from it, at the western boundary of this parish. It was antiently called Essamelesford, and in the time of the Saxons was the estate of one Alret, who seems to have lost the possession of it after the battle of Hastings; for the Conqueror gave it, among many other possessions, to Odo, bishop of Baieux, his half brother, under the general title of whose lands it is thus entered in the record of Domesday:

 

In Ferleberg hundred, Herfrid holds of the see of the bishop, Essamelesford. It was taxed at half a suling. The arable land is one carucate. In demesne there is one carucate, and three villeins, with one borderer having one carucate. There are three servants, and eight acres of meadow. In the time of king Edward the Confessor it was valued at sixty shillings, and afterwards forty shillings, now sixty shillings. Alret held it of king Edward.

 

Four years after the taking of the above survey, the bishop of Baieux was disgraced, and all his lands and possessions were confiscated to the king's use. Soon after which this estate seems to have been separated into two manors, one of which was called from its situation.

 

THE MANOR OF SHALMSFORD-STREET, and afterwards, from its possessors, the mansion of Bolles, a family who had large possessions at Chilham and the adjoining parishes. At length, after they were become extinct here, which was not till about the beginning of the reign of queen Elizabeth, this manor came into the name of Cracknal, and from that in the reign of king James I. to Michel, one of whose descendants leaving two daughters and coheirs, one of them married Nicholas Page, and the other Thomas George; and they made a division of this estate, in which some houses and part of the lands were allotted to Thomas George, whose son Edward dying s.p. they came to Mr. John George, of Canterbury, who sold them to Mr. Wm. Baldock, of Canterbury, and he now owns them; but the manor, manor-house, and the rest of the demesne lands were allotted to Mr. Nicholas Page, and devolved to his son Mr. Thomas Page. He died in 1796, and devised them to Mr. Ralph Fox, who now owns them and resides here. The court baron for this manor has been long disused.

 

ON THE OPPOSITE SIDE of the road, about twenty rods from the bridge, stood an antient seat, which was taken down about thirty-five years ago, though there is a malt house remaining on the scite of it, which has evident marks of antiquity, and of its having been once made use of as part of the offices belonging to it. In the windows of the old house were several coats of arms, that most frequent being the coat and crest of Filmer, with a crescent for difference. This seat, with the lands belonging to it, was for a great length of time owned by the Mantles, and continued so till Mary Mantle carried it in marriage to Mr. Stephen Church, of Goodnestone, the present owner of it.

 

THE MANOR OF SHALMSFORD BRIDGE was the other part of the bishop of Baieux's estate here, described as above in Domesday, and was that part of it which was by far of the most eminent account, and was so called not only to distinguish it from that lastmentioned, but from its situation near the bridge of this name over the river Stour, on the opposite or west side of it next to Chilham, in which parish much of the lands belonging to it lie. It was antiently accounted a member of the manor of Throwley in this county, as appears by the inquisition taken after the death of Hamo de Gatton, owner of that manor in the 20th year of king Edward I. when Roger de Shamelesford was found to hold it as such of him by knight's service. His descendant William de Shalmelesford, who possessed it in the beginning of the reign of Edward II. leaving an only daughter and heir Anne, she carried it in marriage to John Petit, who resided here, and died before the 20th year of the next reign of king Edward III. bearing for his arms, Gules, a chevron, between three leopards faces, argent. In his descendants, who resided at Shalmesford, this manor continued down to Thomas Petit, esq. of Canterbury, who died possessed of it in 1625, (fn. 7) leaving his three sisters his coheirs, who became entitled to this manor in undivided thirds. They were married afterwards, Catherine to Michael Belke; Elizabeth to Giles Master, of Woodchurch; and Dorothy first to William Master, secondly to John Merryweather, and thirdly to Parker, of Northfleet. Michael Belke above-mentioned, whose ancestors were originally of Coperham-Sole, in Sheldwich, having purchased another third of this manor, became entitled to two thirds of it, which continued in his descendants down to Dr. Thomas Belke, prebendary of Canterbury, who died in 1712, and his heirs sold them to Mr. Hatch, of that city, who was befor possessed of the other third part of this manor, which he had under his father Mr. John Hatch's will, who had purchased it of one of the descendants of Mr. Thomas Petyt, before-mentioned, and thus became entitled to the whole property of it. He died in 1761, and by will devised it to his great nephew, Mr. John Garling Hatch, of Chartham, who sold it to Mr. Joseph Saddleton. He died in 1795 intestate, leaving Elizabeth his widow, and Joseph their only son, who are the present owners of it.

 

Mystole is a handsome well-built seat, situated on the green of that name, in the south-west part of this parish, about a mile and an half from the church of Chartham. It was built by John Bungey, prebendary of Canterbury, who was rector of this church, and married Margaret Parker, the archbishop's niece, by whom he had several sons and daughters. He bore for his arms, Azure, a lion, passant-guardant, or, between three bezants, (fn. 8) and dying here possessed of it in 1596, was buried in this church. His eldest son Jonas Bungey succeeded him here, and in his descendants it continued till it was at length sold to Sir John Fagge, of Wiston, in Sussex, who was created a baronet on Dec. 11, 1660. But before this purchase, there were those of this name settled in this parish, as appears by their wills, and the marriage register-book in the Prerogative-office, Canterbury, as early as the year 1534, in both which they are stiled gentlemen. He left a numerous family, of whom only three sons survived; Sir Robert, his successor in title; Charles, who will be mentioned hereaster; and Thomas, ancestor of John Meres Fagge, esq. late of Brenset. Sir John Fagge died in 1700, and by will devised this seat of Mystole, with his other estates in this and the adjoining parishes, to his second son Charles Fagge, esq. of Canterbury, before-mentioned, who continued to bear the family arms, being Gules, two bends, vaire. His only surviving son Charles Fagge, esq. resided here, and married Elizabeth, youngest daughter of William Turner, esq. of the White Friars, Canterbury. His son Sir William Fagge, bart. resided at Mystole, and married Elizabeth, daughter of Abraham Le Grand, gent. of Canterbury, who died in 1785. He died in 1791, having had one son John, and two daughters, Helen, married to the Rev. Mr. Williams, prebendary of Canterbury, but since removed to Winchester; and Sarah to Edwin Humphry Sandys, gent. of Canterbury. He was succeeded by his only son the Rev. Sir John Fagge, bart. who married in 1789 Anne, only daughter and heir of Daniel Newman, esq. of Canterbury, barrister-at law, and recorder of Maidstone. He now resides at Mystole, of which he is the present possessor.

 

HORTON MANOR, sometime written Horton Parva, to distinguish it from others of the same name in this county, is a manor in that part of this parish which lies within the hundred of Bridge and Petham. It has by some been supposed to have been once a parish of itself, but without any reason; for it was from the earliest times always esteemed as a part of the parish of Chartham.

 

At the time of taking the survey of Domesday, about the year 1080, this manor was part of the possessions of Odo, bishop of Baieux, the Conqueror's half-brother, under the general title of whose lands it is thus entered in it, being then accounted within the bounds of the adjoining hundred of Felborough:

 

In Ferleberge hundred, Ansfrid holds of the bishop, Hortone. It was taxed at half a suling. The arable land is one carucote. There is in demesne . . . . and thirteen villeins having half a carucate. There is one servant, and two mills of one marc of silver, and eight acres of mea dow, and one hundred acres of coppice wood. In the time of king Edward the Confessor it was worth forty shillings, afterwards thirty shillings, now one hundred shillings, Godric held it of king Edward.

 

On the bishop's disgrace, about four years afterwards, this manor, among the rest of his possessions, was confiscated to the crown, and was granted thence to the family of Crevequer, of whom it was held by that of Northwood, of Northwood, in this county. John de Northwood died possessed of it in the 14th year of Edward II. In whose descendants it continued down to Roger de Northwood, whose widow Agnes entitled her second husband Christopher Shuckborough, esq. of Warwickshire, to the possession of it, and they afterwards resided here. He bore for his arms, A chevron, between three mullets, pierced. She died in the 6th year of king Henry IV. anno 1404, and he alienated it three years afterwards to Gregory Ballard, whose descendant Thomas Ballard, kept his shrievalty here anno 31 Henry VI. and dying in 1465, lies buried in St. Catherine's church, near the Tower. Robert Ballard was found by inquisition anno 14 king Henry VII. to hold at his death this manor of the king, as of his honor of the castle of Dover, by the service of one sparrow-hawk yearly. They bore for their arms, Sable, a griffin rampant segreant, ermine, armed and membered, or. At length it descended down to Nicholas Ballard, who in the 4th year of Philip and Mary, passed it away to Roger Trollop, esq. and he sold it, in the 2d year of queen Elizabeth, to Sir Edward Warner, then lieutenant of the tower, who died possessed of it in the 8th year of that reign, holding it of the king in capite by knight's service. Robert Warner, esq. was his brother and next heir, and sold it, in the 16th year of that reign, to Sir Roger Manwood, (fn. 9) chief baron of the exchequer, whose son Sir Peter Manwood, K.B. in the reign of king James I. alienated it to Christopher Toldervye, esq. who resided here, and dying in 1618, s.p. was buried in Ash church, near Sandwich, bearing for his arms, Azure, a fess, or, in chief, two cross croslets of the second. By his will he devised it to his brother John Toldervye, gent. of London; on whose death likewise s.p. it devolved by the limitations in the above will to Jane his eldest sister, then married to Sir Robert Darell, of Calehill, who in her right became entitled to it, and from him it has at length descended down to Henry Darell, esq. of Calehill, the present owner of this manor.

 

The chapel belonging to this manor is still standing, at a small distance south-west from the house. It had more than ordinary privileges belonging to it, having every one the same as the mother church, excepting that of burial, and its offices. It consists of one isle and a chancel, with a thick wall at the west end, rising above the roof, and shaped like a pointed turret, in which are two apertures for the hanging of two bells. It has been many years disused as a chapel, and made use of as a barn.

 

This chapel, like many others of the same sort, was built for the use of the family residing in the mansion of the manor, which being, as well as the ceremonies of the religion of those times, very numerous, rendered it most inconvenient for them to attend at the parish church, at so great a distance, in all kind of seasons and weather. But after the reformation, when great part of such ceremonies ceased, and the alteration of the times not only lessened the number of domestics, but even the residence of families, by degrees, at these mansions; these chapels became of little use, and being maintained at the sole charge of the owners of the estates on which they were built, they chose rather to relinquish the privilege of them, than continue at the expence of repairs, and finding a priest to officiate in them.

 

In the reign of king Richard II. there was a great contest between John Beckford, rector of Chartham, and Christopher Shuckborough, lord of this manor, concerning the celebration of divine offices in this chapel; which was heard and determined in 1380, before the archbishop's official, that all divine offices might be celebrated in it, exceptis tantum defunctorum sepulturis et exequiis. These were more than ordinary privileges; it being usual, even in chapels which had the right of sepulture granted to them, to oblige the inhabitants to baptize and marry, and the women to have their purifications at the mother church.

 

There is a composition of 6l. 14s. paid by the occupier of this manor, to the rector of Chartham, in lieu of all tithes whatever arising from it.

 

Charities.

THERE are no charitiesor alms houses belonging to this parish, excepting the legacy by the will of Thomas Petit, esq. of Canterbury, in 1626. to this parish, Chilham, and St. George's, Canterbury, jointly for the benefit of young married people for ever; a full account of which has been given before, under Chilham, p. 141.

 

There is a school lately set up in this parish, for the teaching of children reading, writing, and arithmetic.

 

The poor constantly relieved are about forty-five, casually 60.

 

CHARTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Mary, is a large, handsome building, of one isle and a chancel, with a cross isle or transept. It has a tower steeple at the west end, in which are five bells and a clock. Besides other monuments and memorials in this church, there are in the chancel memorials for the Kingsfords; for Margaret, daughter of Sir Samuel Peyton, knight and baronet, wife of Thomas Osbern, esq. obt. 1655; for Jane, daughter of Arthur Barham, esq. wife of Thomas Osbern, esq. obt. 1657; several for the dis ferent rectors, and a monument for Dr. Delangle, 1724; a large grave-stone with the figure of a man in his armour, cross-legged, with his sword and spurs, in full proportion, inlaid in brass, with his surcoat of arms, viz. Three wheat-skreens, or fans, being for one of the Septvans family; and on the north side is an antient tomb, under an arch hollowed in the wall. In the north cross isle is a grave-stone, which has been very lately robbed of its brasses, excepting the impalements of one coat, being the arms of Clifford. It had on it the figure of a woman, with an inscription for Jane Eveas, daughter of Lewys Clifforht Squyre, obt. 1530. The chancel is very handsome, and there has been some good painted glass in the windows of it, of which there are yet some small remains. In the south chancel the family of Fagge lie buried; in it there is a monument for the late Sir William and his lady, and a most superb monument of excellent sculpture and imagery, having the figures, in full proportion of Sir William Young, bart. and his lady; Sarah, sister of Sir William Fagge before-mentioned, who died in 1746, æt. 18, in the same year in which she was married. He died in the West-Indies in 1788, and was brought over and buried beside her, and the above-mentioned monument which had laid by in the church ever since her death was repaired and placed here.

 

The church of Chartham was part of the antient possessions of the see of Canterbury, and continues so at this time, his grace the archbishop being the present patron of it.

 

In a terrier of 1615, it appears there was then here a parsonage-house, barn, gardens, and meadow, in all about two acres; certain closes containing thirty-eight acres, and a little piece of wood-land adjoining to it; some of which glebe-land has since that time been lost, the rector now enjoying nor more than thirty acres of it.

 

Part of the parsonage-house seems very antient, being built of flint, with ashlar-stone windows and door cases, of antient gothic form. It was formerly much larger, part of it having been pulled down, by a faculty, a few years ago.

 

An account of the lands in this parish, which claim an exemption of tithes, has already been given before, under the description of the respective lands, as well as of the chapel of Horton, and the composition for tithes from that manor.

 

¶This rectory is valued in the king's books at 41l. 5s. 10d. and the yearly tenths at 4l. 2s. 7d. In 1640 it was valued at one hundred and twenty pounds. Communicants three hundred. It is now worth about three hundred and fifty pounds per annum.

Artur Biernacki nominated me for a 3-day origami challenge - folda model and designate another person for 3 consecutive days.

Day 2 - Executor Class Super Star Destroyer - Morisue Kei

Nomination - Đorđe Jovanović

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, 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.

I can remember the days before the A143 was driven between the village and the church, you would head out of Gillingham, past the pub, through Geldeston, now stuck at the end of a dead end lane, and into Kirby Cane, where the road dog-legged round the pub and then out towards Bungay.

 

Now the busy road passes between the village and church, and I only happened to be passing by on account of following the sat nav.

 

I had tried to see inside All Saints once before, a short winter day around Christmas, with the light fading, the flint wall then attracted my attention before trying the ancient door inside the porch.

 

Then, as this day, the door was locked and with no details of a key holder.

 

The Norman doorway deserves to be revisited, as some of the shots I took did not come out, as the carving seems especially fine and still clear.

 

But the church was locked, and so will return some other day when I hope to be luckier.

 

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The first time I ever visited Kirby Cane church, it was in the middle of the night. We were driving past, taking the narrow country lanes between Norwich and Bungay. We came over a rise, and the round tower loomed up before us in the moonlight. I remember getting out and wandering up the path under the dark spreading canopy of the magnificent spruce trees. It was like walking into a Gothick horror story.

Kirby Cane parish contains the sizeable village of Kirby Row, but the church and churchyard are some way off on the other side of the Diss to Yarmouth road. In daylight this is a rather charming spot, although the trees are still magnificent. I can't think of any bigger in a Norfolk graveyard than the one near the gate. The graveyard itself is small, and pleasingly random.

 

And All Saints is a small church, the tower to scale. Its age is revealed by the beautiful Norman south doorway, a common feature around here in this area of small parishes with small churches, although Sam Mortlock points out that this one has an outer ring of decoration which is unique in the county. The door is a little fiddly - you have to get the handle of the latch just right - but you step into a well-maintained interior which is full of light. There is a beautiful roodloft stairway set in the splay of the window on the south side.

 

The font is a fine example from the 14th century. It's traceried panels were probably painted once, and the heads peering from beneath the bowl are all different. The font cover remembers the Coronation of Edward VII, the first there had been of a British monarch in 65 years.The royal arms and a pair of hatchments on the west wall have been restored splendidly - they look almost new - and, indeed, one of them is 20th Century, one of the very last in England.

The furnishings are simple and seemly; the chancel, with its Restoration period communion rails. is elegant in its simplicity. It is all thoroughly fitting for modern Anglican worship. The glass in the east window is stretched to create a shimmering effect, with a single panel of heraldic glass in the middle. On the north side of the chancel is a blocked archway, once that to a chapel, with a tombchest set against it. Can it once have been an Easter sepulchre? It seems hard to believe that it is in its original place.

 

A curiosity is the brass plaque on the chancel floor inscribed in an amateur hand. It tells us that Here lieth the body of John Watson Rector of Kirby Cane who died January 5th Ano Do MDMV - presumably it means MDCV, that is to say 1605. It ends with words which I cannot decode.

 

Simon Knott, July 2009

 

www.norfolkchurches.co.uk/kirbycane/kirbycane.htm

 

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The principal manor in this town was in the abbey of St. Edmund of Bury, to which it was given by Algiva Queen of England, mother of Edward the Confessor. It is to be observed here, that Emma is by historians generally called this King's mother, who first married Etheldred King of England, by whom she had King Edward, and afterwards married Canute King of England, &c.; the Saxon Chronicle calls her Ælgiva Ymma; (fn. 1) and it is probable that she gave it about the year 1020, when King Canute, her lord, was a great benefactor to that abbey.

 

The said abbey held it at the grand survey, and Rafrid of the abbot, with 2 carucates of land, a villain and eleven borderers; there were 2 carucates in demean, 5 carucates among the tenants, and 14 acres of meadow, paunage for 6 swine, the moiety of a mill, &c.; a church endowed with 20 acres in free alms, and 2 parts of a church endowed with 14 acres; 4 runci belonged to the lordship, 4 cows, &c. and 100 sheep. There were also 4 freemen with 3 carucates of land, and 4 carucates and an half, and 3 acres of meadow, valued at 40s. but at the survey at 6l. and the 20 acres of the church at 20d.—It was nine furlongs long, and 5 broad, and paid 10½d. gelt. (fn. 2)

 

Rafrid was succeeded by Godebald de Kirkebia, most likely his son, to whom Anselm, abbot of St. Edmund's Bury, granted this lordship with all its appertenances, and to his heirs, to be held by one fee, sans date; witnesses, Gilbert Blound, Robert de Wridwell, Osward de Thuston, Ralph de Lodnes, Richard de Cadomo, and this grant was confirmed by the letters patent of Henry I.

 

HENRICUS REX Anglie, &c. Episco. Norwic. Sciatis ME concessisse Godeboldo de Churchebey terram de Chirebeiam cum soca, et saca, &c: Test. A. Lino. Espico. Galfrido Cancell. Auberio de Vere, Robto. filio Walteri, Gilb. de Blund, &c.

 

It appears that this King's grant was in the singular number Me concessisse, and not Nos.

 

William, son of Godebold held it temp. King Stephen.

 

In the 8th of Richard I. a fine was levied between Sampson, abbot of Bury, and Alexander, son of Gobald, before Hubt. Archbishop of Canterbury, William de Sca. Maria church, Mr. Thomas de Husseborn, Simon de Pateshull, Richard Heriet, Oger, son of Oger, the King's justices; whereby Alexander agrees to pay 20s. when the scutage for one fee was so taxed, and to do full wardship to Norwich castle. This Alexander left a daughter and heir, Mary, married first to Gilbert de Norfolk, and after to Walter de Cam; Robert de Norfolk, her son, released to her, and Walter her husband, in the 3d of Henry III. all his right in his land here, by fine. (fn. 3)

 

After this, the lordship seems to have been divided, and in the 52d of Henry III. Richard de Thwait, and William de Stockton granted by fine their interest in the advowson of this church to Richard de Cadomo, or de Caam, who gave that name (as lord) to this town.

 

This Richard was descended from Richard de Cadomo, who was living, as is above shown, in the time of King Henry I. and was father of Walter de Cam. King Henry II. in his 30 year, granted to—, son of Thomas Fitz-Bernard, the custody of Mary, the daughter of Walter de Cam, with Wabrigg, (she being 5 years old, and in the custody of the wife of the late Thomas Fitz-Bernard; (fn. 4) ) this Walter had a younger brother, Richard, who was living about the same time, and father of Walter de Cam, who married Mary, daughter and heir of Walter aforesaid; and in the reign of King John, this Walter, and Mary his wife, let to Thomas de Longville, a mill in this town, that she had by inheritance; also a lordship here, as appears from her deed, sans date, whereby she confirmed to persons, lands held of her ancestors, not to be aliened by them, without her consent; and they held it by the 3d part of a fee.

 

Sir Richard de Cam was their son, and inherited this lordship, who lived in the 52d of Henry III. and married Maud, sister of Adam de Mendham; and died about the year 1286, when he made his last will.

 

Walter de Cam, his son and heir, succeeded, was lord in 1287, and in the 22d of Edward I. he and Constance his wife were living in the 31st, and did homage to the abbot of Bury. This Walter, in the 15th of Edward II. sold this manor to Roger Gavel, a burgess of Great Yarmouth, and Constance, his wife, (probably Walter's daughter;) in the following year, Rich. the second son of Walter de Cam, released ot Roger and his wife, all his right; and in the 19th reciting that whereas the said Roger and his wife were to pay to him an annuity of 20s. and to provide him a new robe every winter, he had released the same to them.

 

John, eldest son and heir of Walter, impleaded Roger Gavel, in the 49th of Edward II.; but it appearing that he had also released his right, Roger kept possession. One John de Cam was summoned to parliament in the 28th, 32d, &c. of Edward II. and was of the King's council.

 

Roger Gavel was son of John Gavel, living at Yarmouth, ao. 10 Edward I. son of Jeffrey Gavel, of the said town, by Alice his wife, daughter of Rich. Fastolf; Roger was also lord of Mettingham in Suffolk, in the 5th of Edward III. and father of Edmund, by Constance his wife. Edmund was lord of Kirby in the 10th of Edward III.; in the 17th of that King, he leased the manor of To-How's marsh in Thurverton, to Anselm de Fordele, and William, his son paying him, 5l. per ann. and finding him and Mary his wife, diet at his table, &c. for 2 years. Witnesses, Barth. de Thorp, John de Jernemouth, Thomas Aleyn, John de Wytton, and Hugh de Kymberly, burgesses of Great Yarmouth. In the next year he was in rebellion against the King, riding about Suffolk with banners displayed, imprisoning, and committing many murders, for which he was indicted befor William de Shareshull, &c. the King's justices, and after had a pardon under the broad seal, dated June 29, in the said year.

 

Nicholas Gavel was his son and heir, by Mary his wife, and in the wardship of Nicholas de Wichingham, in the 25th of the said King: he married Catherine, daughter and heir of — Myniot, and was ord of Myniot's manor in Kirkested, in her right.

 

Robert Gavel was their son. Ellen Myniot, widow, mother of Catharine, wife of Nicholas Gavell, released to him, ao. 18 Richard II. all her right in this manor and advowson, which she had of the gift of Nicholas his father; and Catherine his mother was living in the 2d of Henry IV. then the wife of John Godfrey of Chedeston in Suffolk. Robert, by his will. dated February 19, 1439, was buried in the chapel of St. Mary, on the north side of the chancel of this church; Maud, his wife, survived him; her will was proved February 19, 1454.

 

Thomas succeeded his father Robert, was lord of this manor and of Kirksted; by his will, dated December 17, 1461, he orders his body to be buried at the door of the chapel of St. Mary in this church; appoints Heny, his son, and George, his brother, executors; which was proved January 28, 1462. (fn. 5) Emma his wife was living in 1474.

 

Henry Gavell, Gent. inherited this lordship: by his will, dated August, 30, 1474; he was buried in the chapel aforesaid; he bequeaths to Anne, his wife, the manor of Kirby and Ellingham, as long as she continues sole, but if not, then an annuity of 10 marks per annum, and to his mother, Emma, 4 marks per annum Bartholomew, Robert, and Ellen his children mentioned, and proved January 12, following.

 

Bartholomew, son and heir of Henry, was father of Thomas Gavel, the last heir male of this family, and lord in the 12th of Henry VII. by Anne, his wife, daughter of Henry Everard, of Linstead in Suffolk, he left four daughters and coheirs; first, Thomasine, married to Leonard Copledike, Esq. 2d, Dorothy, to Francis Clopton, of Liston in Essex, Esq. 3d, Eleanor, to John Bury, Esq. of Worlingham in Suffolk; and 4th, Elizabeth, to John Cook, Esq.

 

This Thomas, by his will, dated February 16, 1522, was buried in the church of Kirkeby; (fn. 6) and was proved August 9 following. To Thomasine, his eldest daughter, he gives this lordship, who brought it by marriage to Leonard Copledike, Esq. (fn. 7) 2d son of Sir John Copledike of Frampton in Lincolnshire, and of Horham in Suffolk, by Margaret his wife, daughter of — Heton. On the death of this Leonard, (by whom she had a son and heir, John,) she remarried Edward Calthorp, Esq. in 1525; and in the 22d of Henry VIII. this lordship and advowson with 20 messuages, 400 acres of land, 60 of meadow, 300 of pasture, 12 of wood, and 40s. rent per ann. in this town, Elingham, Stockton, Geldeston, and Hale, were settled on the said Edward and Thomasine, for their lives; remainder to John Copledike, son of the said Thomasine, and his heirs. Thomasine died in 1557.

 

Edward was son of Edward Calthorp, Esq. of Ludham, and Anne his wife: in the 4th and 4th of Philip and Mary, he demised to John Copledike, Esq. the site of this manor, which he held for life by the courtesy of England, after the decease of Thomasine, his wife: John paying to him 20l. per ann. in the hall of the said house; Edward was also to have meat and drink for himself, and one servant, as often as he shall reside there; and 2 chambers, one for his own the other for his servant's lodging; with convenient fewel; the keeping of 3 geldings or mares, in summer-time at grass, in the winter in the stable, with hay, &c. and Edward to pay to John 10l. per ann.; in 1557, he died, and was buried by his wife in the chancel of this church, his will being dated May 5, and proved November 5; gives to Edmund his son, all his goods; and to Mary, Grace, and Prudence, his daughters, legacies.

 

¶John Copledike was lord in the 6 of Elizabeth, and held it in capite of the castle of Norwich; he married, first Ellen, daughter and heir of John Woodhouse, Esq. and his 2d wife was Maud, daughter of John Highfield, Esq. of Calais, who died s. p.; by his first wife he left, a daughter and sole heir, Thomasine, who married Humphrey Copledike, Esq. of Hetherset, 5th son of Sir John Copledike, of Harington in Lincolnshire. By an inquisition taken ao. 36 of Elizabeth, the above said John was found to die possessed of it, held of that Queen, by knight's service.

 

Humphrey had several children by his wife Thomasine; but he sold this lordship to Thomas Catelyn of Lakenham by Norwich.

 

ichard Catelyn, Esq. was sheriff of Norwich, in 1531, and alderman of that city; by his will dated August 28, 1556, he wills his body to be buried by his wife, in St. Peter's church of Norwich, and was buried there on November 3 following; his wife was buried there in August 1555.

 

In 1553, he had a patent to bear these arms; p. chevron, azure and or, three lions passant, guardant, in pale, counterchanged; on a chief argent, as many snakes nowed, sable, stinged gules.

 

Richard Catelyn, Esq. was 5th son of Richard, by Elizabeth: in the 4th of Edward VI. he was autumn-reader of Lincoln's Inn, serjeant at law May 19, ao. 1552; steward of the city of Norwich, and King and Queen's serjeant, October 16, 1555; deputy lieutenant and justice of the peace, and one of the commissioners to try the rebels in the reign of Queen Mary; he died before his father, in August, 1556, and was buried in the chancel of Huningham church in Norfolk, and was lord of Huningham Hall, and of Walsoken Popenhow in Norfolk. Barbara, his widow, erected a monument to his memory, which being after decayed, another was erected by Thomas, his 2d son.—He had three daughters; Ann, married to Thomas Derham, Esq. of West Derham; Elizabeth, to Thomas Townsend, Esq. of Testerton, and Lettice, to William Guybon of Fincham. Esq.

 

Richard Catelyn, Esq. first son of the serjeant, was lord of Wolverston Hall in Suffolk, and died March 11th, ao. 43 Elizabeth; he married Dionysia, daughter of Thomas Marsh, Esq. and was father of Philip, who by Dorothy, daughter of — Lawrence, Esq. of — in Cambridgeshire, and Jane his wife, daughter of Sir John Pagrave, Bart. had Richard his son and heir; Richard had also by Dionysia, a 2d son, Sir Nathaniel Catelyn, Knt. recorder of Dublin in Ireland.

 

Philip, by Dorothy, was father of Richard, who, by—, daughter of — Larke of Lincolnshire, had Philip his son, who died unmarried.

 

Thomas Catelyne, Esq. 2d son of the serjeant, married Judith, daughter of Edward Ellington of Theydon Bois in Essex, was lord of Wingfield Hall in Suffolk; in 1604, was lord of Hastings Hall and Whitfoot Hall in Irmingland, and he purchased of Humphrey Copledike, this lordship of Kirkeby.

 

He died in 1636.

 

Richard Catelyn, Esq. son of Thomas, married first Mary, daughter of Sir Robert Houghton, one of the judges of the King's Bench; she died s. p.; his 2d wife was Dorothy, daughter of Sir Henry Nevil of Billingbere in Berkshire, by whom she had a son and heir, Sir Nevil, and Richard who died s. p. also Anne, who married Thomas Leman, Gent. of Wenhaston in Suffolk. Dorothy, married to Leonard Gouch, Gent. of Ersham in Norfolk. Barbara, to Henry Mordaunt of Congham, Esq. Elizabeth who died single.

 

Sir Nevil Catelyne was knighted by King Charles II. at Somersethouse, London, in 1662, lord of this town, and Wingfield castle in Suffolk; he married, first, Dorothy, daughter of Sir Thomas Bedingfield of Darsham in Suffolk; and his 2d wife was Elizabeth, daughter of Robert Houghton of Ranworth, Esq. and had children by both, who died young; his 3d wife was Mary, daughter of Sir William, and sister of Sir Charles Blois, Bart. of Cockfield Hall in Yoxford, Suffolk, and of Grandesburgh: Sir Nevil was buried in this church, on July —, 1702.

 

She survived Sir Nevil, and married Sir Charles Turner of Warham in Norfolk, and were both living here in 1720; and Sir Charles was lord in 1740, and patron.

 

Rafrid (as has been observed) held, at the survey, this lordship of the abbot of Bury, by one fee, and so did Godebald de Kirkeby, and Alexander his son; but after, this fee was divided and held by three different families; the family of De Cam held one 3d part; the Bigots Earls of Norfolk had also an interest in another 3d part which came to the Bigots Lords of Stockton. In the 14th of Edward I. Sir John Bigot, lord of Stockton, claimed view of frank-pledge, assise, free warren, as his ancestors had held of the abbot of Bury; this came to the Garneys, Delapoles, &c. as in Stockton.

 

Another 3d part was in Richard de Thwayt, who, with William de Stockton, granted by fine, in the 52d of Henry III. their interest in the advowson of this church, to Richard de Cam; and Imania, widow of Richard de Thwayt, claimed an interest herein, in the 15th of Edward I.— William, son of Richard de la Grene of Kirkeby, confirmed to Sir Richard de Cam, and Maud his wife, in the sixth of Edward I. for 8 marks, all his lands in this town, Stockton, Hales, &c. with the services, homages, rents, &c. except the capital messuage in Kirkeby. Witness, John de Waleton, master of the hospital of St. Bartholomew, in London; this 3d part was thus united, and so came to Gavel's manor, &c. as above.

 

Ralph Lord Bainard was lord of a manor in this town. When Domesday book was made, Ulmar, a freeman of King Edward, held it with 30 acres of land; Robert, son of Corbun, laid claim to this land, and had livery; there belonged to it 2 borderers, one servus, 2 carucates, and half a carucate of the tenants, &c. with 3 acres of meadow. There were also 8 freemen belonging to the lord's fold, and under his protection, with 20 acres, and 2 carucates and half an acre of meadow; valued at the survey at 40s. but before at 20s. It came to Bainard by an exchange. (fn. 8)

 

By the forfeiture of the Lord Bainard, this came to the Lords FitzWalter, and was called Loot's or Lowt's fee, being held by John Loot, of the Lord Fitz-Walter, in the 3d of Henry III. Roger de Hales had an interest herein about the same time, and John de Hales in the 2d year of Edward III. this was soon after united to the abovementioned manors.

 

About 1266, William de Wendling had a messuage, &c. with several rents, services, here, in Raveningham, &c. which Philip Loot had conveyed to him, and William gave them to the canon of Langley, and were confirmed by Robert Lord Fitz-Walter. Henry Walpole held this Lowt's fee, and owed to the abbot of Langley, in the 12th of Henry VI. 10l. 4s. 2d. arrears of rent for the land and tenements here and in Stockton, formerly George Felbrigg's.

 

Eustace Earl of Bologne, in France, had also a lordship, of which Osmund, a thane of Archbishop Stigand was deprived; Ralph de Beaufoe had an interest in it after Osmund, but at the survey, Warine held it under Eustace.

 

In King Edward's time there was one carucate of land, and a borderer, with one carucate and 3 acres of meadow, &c. and 4 freemen under commendation, with 15 acres and hall a carucate, valued at 15s. (fn. 9)

 

Warine was ancestor of the family of De Meynwarine of Cheshire.

 

The temporalities of Bury abbey here, in 1428, were valued at 11l. 0s. 6d. of the prioress of Campsey 3s. 5d. ob.

 

The Church is a rectory dedicated to All-Saints, and the patronage belonged to the abbot of Bury's manor.

 

In the 14th of Henry III. Walter de Cam and Mary his wife, could not deny on an assise, but that Roger de Tweyt, and Roger de Stockton, were parceners with them in the advowson of this church, of the inheritance which was Alexander's, son of Godebald de Kirkeby, therefore they all presented at this time, which proves that they had it by inheritance. In 1220, there was a composition between the monks of St. Ildevert of Gurnay in France, and Master Walter, dean of Flegg hundred, of the tithe of some sheafs of corn, out of the abbot's manor, held by Sir R. de Cam.

 

In the 52d of Henry III. Richard de Thwait and William de Stockton granted by fine the advowson to Richard de Cam.

 

Rectors.

 

In 1268, Laurence de Monteforti was instituted rector, presented by Richard de Cam.

 

The rector in the reign of Edward I. had a house and a carucate of land, the valor was 15 marks, Peter-pence 22d. carvage 9d.

 

1311, Walter de Hekungham by Walter de Cam: this Walter aliened to the rector three acres of land in the 7th of Edward II.

 

1326, John de Cam, by Roger Gavel.

 

1328, William de Merche. Ditto.

 

1330, Roger Gavel, occurs rector.

 

1351, Robert de Weston, by William de Wychingham, guardian of Nicholas Gavel.

 

1355, John Foucher, by ditto.

 

1361, Nicholas Batchelor, by ditto.

 

1378, William de Redham, by Nicholas Batchelor of Wychingahm, Sir Wythred of Denton, and John Bole of Wodeton, Thomas Storme of Blakeney, and Elen Myniot, (fn. 10) patrons.

 

1379, Nicholas Jacob, by Thomas Storme, and Elen Myniot, and John Wythred chaplain.

 

1389, Walter Gerard, by ditto.

 

1393, Thomas Busk, by Robert Gavel.

 

1418, John Bassys on, by ditto.

 

1420, John Vernon Ditto.

 

1449, Robert Hare, by Thomas Gavel.

 

1497, Thomas Mortimer, by Thomas Gavel.

 

1511, Thomas Grene, by ditto.

 

1540, Robert Hilton, by Edward Calthorpe, Esq. and Thomasine his wife.

 

1565, Thomas Fell, by John Copledyke, Esq.

 

1570, German Gardiner, by ditto.

 

1571, Robert Hill, by ditto.

 

1579, Richard Davison, by ditto; in 1603, he returned 58 communicants.

 

1619, Thomas Potts, A. M. by Richard Catelyn, Esq.

 

1646, John Watson, by Richard Catelyne, Esq. he wrote a book in octavo, called Memoirs of the Stuarts, printed at London in 1689, after his death; he was ejected during the rebellion.

 

1662, John Hardware, by Richard Catelyne, Esq.

 

1690, William Randall, by Sir Nevil Catelyne.

 

1700, Abraham Baker, by ditto.

 

1733, Samuel Baker, by Sir Charles Turner, Knt.

 

In the chancel by the communion table are several grave-stones; one,

 

In memory of Mary, daughter of Sir Robert Houghton, the first wife of Richard Catelyne of Kirby Cane, Esq. by whom she had 2 sons and 2 daughters; Thomas the eldest, a man of great hopes; at 21 was captain of a troop of horse for king Charles I and slain by the rebels at the 2a Newbury fight 1644.—Mary, the eldest daughter, married Edward Ward of Bixley, in Norfolk, Esq. and died without issue; Robert and Judith died young; she died in 1633, in the 45th year of her age.

 

Another,

 

In memory of Judith, daughter of Edward Elrington of Theydon Boys, in Essex, Esq. and wife of Thomas Catelyne, Esq. who dyed in 1615.

 

Thomas Catelyne, Esq. son of Richard Catelyne of Honyngham, serjeant at law to king Philip and queen Mary: by his wife Judith, daughter of Edward Elrington, Esq. &c. he had Richard Catelyne of Kirby Cane, Esq. and Thomas Catelyne of Blofield, Gent.—Barbara, mother of Robert Bendish, Esq. and Judith, mother of Robert Houghton, Gent.; he died in 1636.

 

Exuviæ viri plene memorabilis, Rici. Catelyn, Armigi. qui vitam exuit A°. Ætatis 79, A°. 1662.

 

Quod mortale fuit reliquum est Dorotheæ, Rici. Catelyn, Armigi. uxoris ex prænobili Nevillorum familiâ, in com. Berc. oriundæ, obt. 29 Sept. A°. Ætatis 67, et A°. 1672.

 

Thomas et Nevillus, filij Nevilli Catelyn, Equitis Aurati, et Dorotheæ conjugis redamatæ ex antiquâ familiâ de Bedingfeld, in agro Suffolc. oriundæ, infantes ambo, bimuli, heic præmaturam posuerunt mortalitatem. Thomas in Anno Dni. 1662, Nevillus A°. 1663.

 

M. S. Elizab. Catelyne, cujus pars melior cum Deo, et semper fuit semperq; est futura, quæ dum mortalibus convixit nobis benignum nuper sydus præluxit. Fratris verè germani Nevilli Catelyne, Equitis Aurati, soror; supra quam dici potest dilecta; cujus res domesticas ad annos non paucos, summâ cum prudentiâ administravit.

 

Quam primæva in Deum pietas, piè profusa in pauperes charitas. Intaminata in se castitas, probataq; in omnes relationes bonitas, opimæ famæ reddidere saturam. Cunctorum passim bonorum cum luctu denatam, puriore ævo vere dignam. Terræ parumper peregrinam, sempiternam cæli piè credimus incolam. Obt. Feb. 5°. 1681. Ætat. suæ 41.

 

Amoris nunquam intermorituri tessellam hanc posuit Nevillus Catelyn, Miles.

 

Radulphus filius natu tertius Richardi Catelyn, Armigi. et Dorotheæ uxoris ejus (ex prænobili Nevillorum familiâ) ætate quinquenni diem clausit Ao. Dni. 1645.

 

Against the north wall of the chancel was erected a little tomb of free-stone, which had an epitaph, many years past, through time obliterated; it was,

 

In memory of John Copledike, Esq. who was here buried, April 12, 1593, who left Thomasine, his daughter and co-heir.

 

On the west end of this tomb were the arms of Gavell, sable, a chevron between three garbs, argent, with an impalement now obscure.

 

On the body of the tomb, the single shield of Copledike, argent, a chevron between three cross crosslets, gules:—also Copledike, with his quarterings; 1st, Gavell—2d, a saltire, but obscure—3d, lozengy ermin and gules, Rockeley,—4th, or, a chief gules, with a bend over all, azure, Harrington—5th, azure, a saltire, between four cross crosslets, or, Friskeny, impaling Woodhouse of Kimberley:—also Copledike, with his quarterings, impaling, azure, a chevron between three acorns slipt, or, Hayfield. Copledike's crest here is a goat's head, argent, issuing out of a coronet.

 

Beatam expectans resurrectionem, sub hoc marmore obdormit Gulielmus Randall, A. M. hujus ecclesiæ quondam rector et benefactor Probitate et amicitiâ clarus, et mirè constans, sinceræ et non fucatæ pietatis exemplar. Matildam filiam Johs. Hawys, M. D. duxit, e quá unicam filiam nomine Mariam reliquit. Obt. 13 cal. Apr. Ætat. 49, Ao. salulis 1699.

 

Johs. Hardwar, rector hujus ecclesiæ, hic jacet in spe resurrectionis, cælebs, obt. 21, die Febr. Ao. ætat. 75, salutis 1689.

 

Here rests Margaret, wife of Abraham Baker, rector, and three of their children; she was daughter of the Rev. Mr. Pycroft, late rector of Ditchingham, and died March 20, 1717, aged 36.

 

Here lies the body of Anne, wife of John Chambers of Kirby Cane, Gent. who died Feb. 3, 1681.

 

Sir Nevill Catelyne is buried in a vault here, which he built several years before his death, which was in July 1702, also Mrs. Elizabeth Catelyne, his daughter, was here interred in 1685, as was Mrs. Philippa Culpeper in 1719.

 

In 1559, Thomas Hare, Gent. was here buried, and in 1557, Mrs. Thomasine Calthorp.—Edmund, son of Edward Calthorp, Esq. in 1567.—Mrs. Maud Copledike, wife of John Copledike, Esq. in 1589.

 

In 1286, Sir Richard de Cam was here buried.

 

The present valor is 10l. and pays first fruits and tenths.

 

¶It is generally said that towns beginning with Kirke, signifies that their site is by some church, (fn. 11) but it rather is a compound word, and wrote, as in Domesday, Ker, Che, or Ke; Kerkstead is wrote Ker-chessstead, Ches, or Che, signifies always water, and Ker, is tbe same as Car; thus Carbroke is wrote Cherebroc, and sets forth a clear water, as Kercheby does a dwelling by clear water.

To John Shirley, knight, best deserving from history and the students of history, most loving to his country and a surviving ornament to his family, destroyed by an untimely death. George Shirley, his first born son, most devoted by nature and by obligations placed this monument of his piety and reverance. He died on the 13th day of September in the year of our Lord 1570 leaving behind four sons and three daughters only surviving, born of Jane his most excellent wife, daughter and heiress of Thomas Lovett knight

(Latin inscription round the edge "Johanni Shirley, armigero, de literis et literarum studiosis optime merito, patriae amantissimo, et familiae suae ornamento, superstite, immatura morte praecepto, Georgius Shirley, primogenitus ejus filius, natura et beneficio devinctissimus, hoc pietatis et observantiae suae monumentum posuit. Obiit vero decimotertio die Septembris anno Dni millesimo quingentissimo septuagesimo quatuor filios et tres filias tantummodo supstites ex Jana lectissima sua conjuge filia et haerede Thomae Lovett armigeri, procreatos, relinquens.)

 

John Shirley 1570 son of Francis Shirley 1533-1571 of Ettington & Staunton Harold by Dorothy www.flickr.com/gp/52219527@N00/008T2m daughter of John Giffard of Chillington and Jane Hoord of Bridgnorth www.flickr.com/photos/52219527@N00/9241228030/

His father Francis bought the former priory lands here from the Crown in 1539

John lies in armour, sword by his side, his head resting on a tilting helmet, his feet on a lion . Around the sides are heraldic shields of arms

John m 1558 Jane heiress daughter of Thomas Lovett 1586 www.flickr.com/photos/52219527@N00/5356352947/ of Astwell by Elizabeth daughter of Sir Richard Fermor of Easton Neston & Anne Browne flic.kr/p/hXBKm5 .

They lived at Ragdale Hall

Jane brought several manors to the Shirleys including Astwell Northants, South Newington (Newton) Oxon , Dorington Gloc; and St. Botolph's Bridge Hunts +++

Children

1. George 1559- 1622 m1 Frances www.flickr.com/gp/52219527@N00/K98cLK daughter of Henry 7th Baron Berkeley and Katherine Howard www.flickr.com/photos/52219527@N00/9496809132/ m2 Dorothy www.flickr.com/photos/52219527@N00/2401560660/ daughter of Sir Thomas Wroughton: widow of Henry Unton

2. John dsp studied law at the Inner Temple & Grays Inn; died of wounds received in Flanders, in the service of the King of Spain.

3. Thomas of Gray's Inn, He released his interest in Brailesford, Warks to his brother George upon the settling of Shirley manor upon him for a term of years

4. Ralph b 1562 of Stretton Staffs, died on a pilgrimage to Rome in 1582 intended for the church as a priest, he died before taking orders. His brother George granted him an annuity.

1. .Anne 1567-1624 m1 Roland Wybenbury 1606 of Adderley m2 William Grosvenor 1641 of The Brand Shrops & Norton in Hales (another source, History & Antq. of Leic. says she was unmarried)

2..Dorothy 1571-1609 m George Dyer

3. Elizabeth 1565- 1641 -a nun at Lovain

 

After John died, Jane m2 William Gray of East Donilands Essex, son of John Graye and Elizabeth Mayhew who in turn m2 Mary f Mary Bode / Boade (Jane & William had 1 son Thomas Graye)

Jane died in August 1582

 

Alabaster effigy made for £22 by Richard and Gabriel Royley, father and son, of Burton-on-Trent, Staffordshire. It wasn't erected until 1585.

The Shirley family bought the manor after it was surrendered to the Crown in 1539 during the Reformation

  

+++ Agreement 1st May 1563 between Francis Shirley of Staunton Harold, esq., and Thomas Lovett of Astwell esq., in consid: of £400 and of a marriage between John Shirley son and heir of Francis and Jane Lovett, dau. and heiress of Thomas Lovett, that:

1. Thomas Lovett, John Shirley and Jane his wife, and John Lovett (brother of Thomas) shall levy a fine unto William Mathew and Edmund Foster of the manors of Astwell and Falcutt with 7 messuages, 7 tofts, 3 mills, 1 dovecot, 14 gardens, 200 acres of land, 140 acres of meadow, 500 acres of pasture, 200 acres of wood, 300 acres of furze and heath, 10 acres of moor and 10 acres of marsh and fishing, and £10 rent in Astwell and Falcutt by which the property shall pass to Mathew & Foster and his heirs.

2. It is to be held to the use of Thomas Lovett during his life. After his death as much as is of the yearly value of £20 is to be to the use of the same Thomas's executors for 12 years towards the execution of his will and after this the whole property is to be to the use of any future wife or wives of Thomas and after their death to his eldest son, then any other sons, then to the use of John and Jane aforesaid and their heirs with reversion to heirs of Thomas.

3. If Thomas Lovett makes any leases of the same property for not more than 99 years at the accustomed (or greater) rents then Mathew and Foster shall be seised of the same and the terms of leases shall stand.

 

The contract with the Royleys for the making of the tomb still survives . agreeing that they would '. . . arttificiallie, conninglie, decentlie, and substantiallie to devise, worke, and perfectlie and fullie set up at Bredon, before the feaste of the Annuciation of Our Lady next ensueinge, at or near the grave of John Shirley, Esquire, deceased the father of George Shirley, a very goode faier, well chosen, and durable allabaster stone. And on the upper part of the said tomb to make a very fair, decente, and well proportioned picture or portraiture of a gentleman, representinge the said John Shirley, with furniture and ornaments in armoure and aboute his necke a double cheyne of gold with creste and helmett under his heade, with sword and dagger by his syde, a lyon at his feete, and as being upon a matte. And on the north side to make three decente, usuall, and well proportioned escutcheons, with comptments aboute every one of them, the first whereof shall contain the very trewe arms of the said John Shirley only; the second, the very trewe arms of the said John and Jane his wife, empannelled together; and the third, the arms of the said Jane only, with one frenche pilaster between everyone of the said escutcheons, and likewise at ye west and east end of ye tomb an escutcheon of the said John and Jane quartered together; the whole to be painted and gilt, with good and convenible oyells, golde, and culloures.'

 

www.shirleyassociation.com/NewShirleySite/NonMembers/Engl...

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effigy monument - Church of St Mary & St Hardulph, Breedon on the Hill, Leicestershire

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, 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.

On the way back from Oxfordshire, I thought about stopping off somewhere to take some church shots.

 

I'm sure Oxfordshire, Buckinghamshire, Surrey and Sussex have fine churches just off the motorway, but one had stuck in my head, back in Kent, and that Hever.

 

What I didn't realise is how hard it was to get too.

 

I followed the sat nav, taking me off the motorway whilst still in Sussex, then along narrow and twisting main roads along the edge of the north downs, through some very fine villages, but were in Sussex.

 

Would I see the sign marking my return to the Garden of England?

 

Yes, yes I would.

 

Edenbridge seemed quite an unexpectedly urban place, despite its name, so I didn't stop to search for an older centre, just pressing un until I was able to turn down Hever Road.

 

It had taken half an hour to get here.

 

St Peter stands by the gate to the famous castle, a place we have yet to visit, and even on a showery Saturday in March, there was a constant stream of visitors arriving.

 

I asked a nice young man who was directing traffic, where I could park to visit the church. He directed me to the staff car park, meaning I was able to get this shot before going in.

 

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Near the grounds of Hever Castle, medieval home of the Bullen family. Sandstone construction with a nice west tower and spire. There is a prominent chimney to the north chapel, although this is not the usual Victorian addition, but a Tudor feature, whose little fireplace may be seen inside! The church contains much of interest including a nineteenth-century painting of Christ before Caiphas by Reuben Sayers and another from the school of Tintoretto. The stained glass is all nineteenth and twentieth century and includes a wonderfully evocative east window (1898) by Burlisson and Grylls with quite the most theatrical sheep! The south chancel window of St Peter is by Hardman and dated 1877. In the north chapel is a fine tomb chest which displays the memorial brass of Sir Thomas Bullen (d. 1538), father of Queen Anne Boleyn. Just around the corner is a typical, though rather insubstantial, seventeenth-century pulpit with sounding board.

 

www.kentchurches.info/church.asp?p=Hever

 

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HEVER.

SOUTH-EASTWARD from Eatonbridge lies Hever, called in the Textus Roffensis, and some antient records, Heure, and in others, Evere.

 

This parish lies below the sand hill, and is consequently in that district of this county called The Weald.

 

There is a small part of it, called the Borough of Linckbill, comprehending a part of this parish, Chidingstone, and Hever, which is within the hundred of Ruxley, and being part of the manor of Great Orpington, the manerial rights of it belong to Sir John Dixon Dyke, bart. the owner of that manor.

 

THE PARISH of Hever is long, and narrow from north to south. It lies wholly below the sand hills, and consequently in the district of the Weald; the soil and face of the country is the same as that of Eatonbridge, last described, the oak trees in it being in great plently, and in general growing to a very large size. The river Eden directs its course across it, towards Penshurst and the Medway, flowing near the walls of Hever castle, about a quarter of a mile southward from which is the village of Hever and the parsonage; near the northern side of the river is the seat of Polebrooke, late Douglass's, now Mrs. Susannah Payne's; and a little farther, the hamlets of Howgreen and Bowbeach; part of Linckhill borough, which is in the hundred of Ruxley, extends into this parish. There is a strange odd saying here, very frequent among the common people, which is this:

 

Jesus Christ never was but once at Hever.

 

And then he fell into the river.

 

Which can only be accounted for, by supposing that it alluded to a priest, who was carrying the bost to a sick person, and passing in his way over a bridge, sell with it into the river.

 

Hever was once the capital seat and manor of a family of the same name, whose still more antient possessions lay at Hever, near Northfleet, in this county, who bore for their arms, Gules, a cross argent. These arms, with a lable of three points azure, still remained in the late Mote-house, in Maidstone, and are quartered in this manner by the earl of Thanet, one of whose ancestors, Nicholas Tuston, esq. of Northiam, married Margaret, daughter and heir of John Hever of this county. (fn. 1)

 

William de Heure. possessed a moiety of this place in the reign of king Edward I. in the 2d of which he was was sheriff of this county, and in the 9th of it obtained a grant of free warren within his demesne lands in Heure, Chidingstone, and Lingefield.

 

Sir Ralph de Heure seems at this time to have possessed the other moiety of this parish, between whose son and heir, Ralph, and Nicholas, abbot of St. Augustine's, there had been, as appears by the register of that abbey, several disputes concerning lands in Hever, which was settled in the 4th year of king Edward I. by the abbot's granting to him and his heirs for ever, the land which he held of him in Hever, to hold by the service of the fourth part of a knight's fee.

 

William de Hever, in the reign of king Edward III. became possessed of the whole of this manor, and new built the mansion here, and had licence to embattle it; soon after which he died, leaving two daughters his coheirs; one of whom, Joane, carried one moiety of this estate in marriage to Reginald Cobham, a younger son of the Cobhams of Cobham, in this county; (fn. 2) whence this part of Hever, to distinguish it from the other, acquired the name of Hever Cobham.

 

His son, Reginald lord Cobham, in the 14th year of that reign, obtained a charter for free warren within his demesne lands in Hever. (fn. 3) He was succeeded in this manor by his son, Reginald lord Cobham, who was of Sterborough castle, in Surry, whence this branch was stiled Cobhams of Sterborough.

 

The other moiety of Hever, by Margaret, the other daughter and coheir, went in marriage to Sir Oliver Brocas, and thence gained the name of Hever Brocas. One of his descendants alienated it to Reginald lord Cobham, of Sterborough, last mentioned, who died possessed of both these manors in the 6th year of king Henry IV.

 

His grandson, Sir Thomas Cobham, sold these manors to Sir Geoffry Bulleyn, a wealthy mercer of London, who had been lord mayor in the 37th year of king Henry VI. He died possessed of both Hever Cobham and Hever Brocas, in the 3d year of king Edward IV. leaving by Anne, his wife, eldest sister of Thomas, lord Hoo and Hastings, Sir William Bulleyn, of Blickling, in Norfolk, who married Margaret, daughter and coheir of Thomas Boteler, earl of Ormond, by whom he had a son and heir, Thomas, who became a man of eminent note in the reign of king Henry VIII. and by reason of the king's great affection to the lady Anne Bulleyn, his daughter, was in the 17th year of that reign, created viscount Rochford; and in the 21st year of it, being then a knight of the Garter, to that of earl of Wiltshire and Ormond; viz. Wiltshire to his heirs male, and Ormond to his heirs general.

 

He resided here, and added greatly to those buildings, which his grandfather, Sir Geoffry Bulleyn, began in his life time, all which he completely finished, and from this time this seat seems to have been constantly called HEVER-CASTLE.

 

He died in the 30th of the same reign, possessed of this castle, with the two manors of Hever Cobham and Brocas, having had by Elizabeth his wife, daughter of Thomas Howard, duke of Norfolk, one sonGeorge, executed in his life time; and two daughters, Anne, wife to king Henry VIII. and Mary, wife of William Carey, esquire of the body, and ancestor of the lords Hunsdon and the earls of Dover and Monmouth.

 

On the death of the earl of Wiltshire, without issue male, who lies buried in this church, under an altar tomb of black marble, on which is his figure, as large as the life, in brass, dressed in the robes of the Garter, the king seised on this castle and these manors, in right of his late wife, the unfortunate Anne Bulleyn, the earl's daughter, who resided at Hever-castle whilst the king courted her, there being letters of both extant, written by them from and to this place, and her chamber in it is still called by her name; and they remained in his hands till the 32d year of his reign, when he granted to the lady Anne of Cleves, his repudiated wife, his manors of Hever, Seale, and Kemsing, among others, and his park of Hever, with its rights, members, and appurtenances, then in the king's hands; and all other estates in Hever, Seale, and Kemsing, lately purchased by him of Sir William Bulleyn and William Bulleyn, clerk, to hold to her during life, so long as she should stay within the realm, and not depart out of it without his licence, at the yearly rent of 931. 13s. 3½d. payable at the court of augmention. She died possessed of the castle, manors, and estates of Hever, in the 4th and 5th year of king Philip and queen Mary, when they reverted again to the crown, where they continued but a short time, for they were sold that year, by commissioners authorised for this purpose, to Sir Edward Waldegrave and dame Frances his wife; soon after which the park seems to have have been disparked.

 

This family of Waldegrave, antiently written Walgrave, is so named from a place, called Walgrave, in the county of Northampton, at which one of them was resident in the reign of king John, whose descendants afterwards settled in Essex, and bore for their arms, Per pale argent and gules. Warine de Walgrave is the first of them mentioned, whose son, John de Walgrave, was sheriff of London, in the 7th year of king John's reign, whose direct descendant was Sir Edward Waldegrave, who purchased this estate, as before mentioned. (fn. 5) He had been a principal officer of the household to the princess Mary; at the latter end of the reign of king Edward VI. he incurred the king's displeasure much by his attachment to her interest, and was closely imprisoned in the Tower; but the king's death happening soon afterwards, queen Mary amply recompensed his sufferings by the continued marks of her favour and bounty, which she conferred on him; and in the 4th and 5th years of that reign, he obtained, as above mentioned, on very easy terms, the castle and manors of Hever Cobham and Brocas; and besides being employed by the queen continually in commissions of trust and importance, had many grants of lands and other favours bestowed on him. But on the death of queen Mary, in 1558, he was divested of all his employments, and committed prisoner to the Tower, (fn. 6) where he died in the 3d year of queen Elizabeth. He left two sons, Charles, his heir; and Nicholas, ancestor to those of Boreley, in Essex; and several daughters.

 

Charles Waldegrave succeeded his father in his estates in this parish; whose son Edward received the honour of knighthood at Greenwich, in 1607, and though upwards of seventy years of age, at the breaking out of the civil wars, yet he nobly took arms in the king's defence, and having the command of a regiment of horse, behaved so bravely, that he had conferred on him the dignity of a baronet, in 1643; after which he continued to act with great courage in the several attacks against the parliamentary forces, in which time he lost two of his sons, and suffered in his estate to the value of fifty thousand pounds.

 

His great grandson, Sir Henry Waldegrave, in 1686, in the 1st year of king James II. was created a peer, by the title of baron Waldegrave of Chewton, in Somersetshire, and had several offices of trust conferred on him; but on the Revolution he retired into France, and died at Paris, in 1689. (fn. 7) He married Henrietta, natural daughter of king James II. by Arabella Churchill, sister of John duke of Marlborough, by whom he had James, created earl of Waldegrave in the 3d year of king George II. who, in the year 1715, conveyed the castle and these manors to Sir William Humfreys, bart. who that year was lord mayor of the city of London. He was of Barking, in Essex, and had been created a baronet in 1714. He was descended from Nathaniel Humfreys, citizen of London, the second son of William ap Humfrey, of Montgomery, in North Wales, and bore for his arms two coats, Quarterly, 1st and 4th, sable, two nags heads erased argent; 2d and 3d, per pale or and gules, two lions rampant endorsed, counterchanged.

 

He died in 1735, leaving by his first wife, Margaret, daughter of William Wintour, of Gloucestershire, an only son and heir, Sir Orlando Humfreys, bart. who died in 1737, having had by Ellen, his wife, only child of colonel Robert Lancashire, three sons and two daughters; two of the sons died young; Robert, the second and only surviving son, had the castle and manors of Hever Cobham and Brocas, and died before his father possessed of them, as appears by his epitaph, in 1736, ætat. 28.

 

On Sir Orlando's death his two daughters became his, as well as their brother's, coheirs, of whom Mary, the eldest, had three husbands; first, William Ball Waring, of Dunston, in Berkshire, who died in 1746, without issue; secondly, John Honywood, esq. second brother of Richard, of Mark's-hall, who likewife died without issue, in 1748; and lastly, Thomas Gore, esq. uncle to Charles Gore, esq. M.P. for Hertfordshire; which latter had married, in 1741, Ellen Wintour, the only daughter of Sir Orlando Humfreys, above mentioned.

 

They, with their husbands, in 1745, joined in the sale of Hever-castle and the manors of Hever Cobham and Hever Brocas, to Timothy Waldo. He was descended from Thomas Waldo, of Lyons, in France, one of the first who publicly opposed the doctrines of the church of Rome, of whom there is a full account in the Atlas Geograph. vol. ii. and in Moreland's History of the Evangelical Churches of Piedmont. One of his descendants, in the reign of queen Elizabeth, to escape the persecution of the duke D'Alva, came over to England, where he and his descendants afterwards settled, who bore for their arms, Argent a bend azure, between three leopards heads of the second; of whom, in king Charles II.'s reign, there were three brothers, the eldest of whom, Edward, was knighted, and died without male issue, leaving two daughters his coheirs; the eldest of whom, Grace, married first Sir Nicholas Wolstenholme, bart. and secondly, William lord Hunsdon, but died without issue by either of them, in 1729. The second brother was of Harrow, in Middlesex; and Timothy, the third, was an eminent merchant of London, whose grandsons were Edward, who was of South Lambeth, esq. and died in 1783, leaving only one daughter; and Timothy, of Clapham, esquire, the purchaser of this estate, as above mentioned, who was afterwards knighted, and died possessed of it, with near thirteen hundred acres of land round it, in 1786; he married, in 1736, Miss Catherine Wakefield, by whom he left an only daughter and heir, married to George Medley, esq. of Sussex, lady Waldo surviving him is at this time intitled to it.

 

The castle is entire, and in good condition; it has a moat round it, formed by the river Eden, over which there is a draw bridge, leading to the grand entrance, in the gate of which there is yet a port cullis, within is a quadrangle, round which are the offices, and a great hall; at the upper end of which, above a step, is a large oak table, as usual in former times. The great stair case leads up to several chambers and to the long gallery, the cieling of which is much ornamented with soliage in stucco; the rooms are all wainscotted with small oaken pannels, unpainted. On one side of the gallery is a recess, with an ascent of two steps, and one seat in it, with two returns, capable of holding ten or twelve persons, which, by tradition, was used as a throne, when king Henry VIII. visited the castle. At the upper end of the gallery, on one side of a large window, there is in the floor a kind of trap door, which, when opened, discovers a narrow and dark deep descent, which is said to reach as far as the moat, and at this day is still called the dungeon. In a closet, in one of the towers, the window of which is now stopped up, there is an adjoining chamber, in which queen Anne Bulleyn is said to have been consined after her dis grace. The entrance to this closet, from the chamber, is now by a small door, which at that time was a secret sliding pannel, and is yet called Anne Bulleyn's pannel.

 

In the windows of Hever-castle are these arms; Argent, three buckles gules, within the garter; a shield of four coasts, Howard, Brotherton, Warren, and Mowbray, argent three buckles gules; a shield of eight coats, viz. Bulleyn, Hoo, St. Omer, Malmains, Wickingham, St. Leger, Wallop, and Ormond; and one, per pale argent and gules, for Waldegrave. (fn. 8)

 

It is reported, that when Henry VIII. with his attendants, came to the top of the hill, within sight of the castle, he used to wind his bugle horn, to give notice of his approach.

 

There was a court baron constantly held for each of the above manors till within these forty years, but at present there is only one, both manors being now esteemed but as one, the circuit of which, over the neighbouring parishes, is very extensive.

 

SEYLIARDS is an estate here which extends itself into the parishes of Brasted and Eatonbridge, but the mansion of it is in this parish, and was the antient seat of the Seyliards, who afterwards branched out from hence into Brasted, Eatonbridge, Chidingstone, and Boxley, in this county.

 

The first of this name, who is recorded to have possessed this place, was Ralph de Seyliard, who resided here in the reign of king Stephen.

 

Almerick de Eureux, earl of Gloucester, who lived in the reign of king Henry III. demised lands to Martin at Seyliard, and other lands, called Hedinden, to Richard Seyliard, both of whom were sons of Ralph at Seyliard, and the latter of them was ancestor to those seated here and at Delaware, in Brasted. (fn. 9)

 

This place continued in his descendants till Sir Tho. Seyliard of Delaware, passed it away to John Petley, esq. who alienated it to Sir Multon Lambarde, of Sevenoke, and he died possessed of it in 1758; and it is now the property of his grandson, Multon Lambarde, of Sevenoke, esq.

 

Charities.

A PERSON gave, but who or when is unknown, but which has time out of mind been distributed among the poor of this parish, the sum of 10s. yearly, to be paid out of land vested in the churchwardens, and now of that annual produce.

 

The Rev. JOHN PETER gave by will, about 1661, the sum of 10s. yearly, to be paid for the benefit of poor farmers only, out of land vested in the rector, the heirs of Wm. Douglass, and the heirs of Francis Bowty, and now of that annual produce.

 

The Rev. GEORGE BORRASTON, rector, and several of the parishioners, as appears by a writing dated in 1693, purchased, with money arising from several bequests, the names of the donors unknown, except that of WILLIAM FALKNER, to which the parishioners added 15l. a piece of land, the rent to be distributed yearly among the poor of the parish, vested in the rector and churchwardens, and of the annual produce of 3l. 12s.

 

Rev. THOMAS LANCASTER, rector, gave by will in 1714, for buying good books for the poor, and in case books are not wanting for the schooling of poor children at the discretion of the mimister, part of a policy on lives, which was exchanged for a sum of money paid by his executor, being 20l. vested in the minister and churchwardens.

 

SIR TIMOTHY WALDO gave by will in 1786, 500l. consolidated 3 per cent. Bank Annuities, one moiety of the interest of which to be applied for the placing of some poor boy of the parish apprentice to a farmer, or some handicraft trade, or to the sea service, or in cloathing such poor boy during his apprenticeship, and in case no such poor boy can be found, this moiety to be distributed among such of the industrious poor who do not receive alms. The other moiety to be laid out in buying and distributing flannel waistcoats, or strong shoes, or warm stockings, among such of the industrious or aged poor persons inhabiting within this parish, as do not receive alms, vested in the Salters Company.

 

HEVER is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham. The church, which stands at the east end of the village, is a small, but neat building, consisting of one isle and two chancels, having a handsome spire at the west end of it. It is dedicated to St. Peter.

 

Among other monuments and inscriptions in it are the following:—In the isle is a grave-stone, on which is the figure of a woman, and inscription in black letter in brass, for Margaret, wife of William Cheyne, obt. 1419, arms, a fess wavy between three crescents.—In the chancel, a memorial for Robert Humfreys, esq. lord of the manor of Heaver, only son and heir of Sir Orlando Humfreys, bart. of Jenkins, in Effex, obt. 1736. Against the wall is a brass plate, with the figure of a man kneeling at a desk, and inscription in black letter for William Todde, schoolmaster to Charles Waldegrave, esq. obt. 1585.—In the north chancel, an altar tomb, with the figure on it at large in brass, of Sir Thomas Bullen, knight of the garter, earl of Wilcher and earl of Ormunde, obt. 1538. A small slab with a brass plate, for ........ Bullayen, the son of Sir Thomas Bullayen.—In the belsry, a stone with a brass plate, and inscription in black letter in French, for John de Cobham, esquire, obt. 1399, and dame Johane, dame de Leukenore his wife, and Renaud their son; near the above is an antient altar tomb for another of that name, on which is a shield of arms in brass, or, on a chevron, three eagles displayed, a star in the dexter point. These were the arms of this branch of the Cobhams, of Sterborough-castle. (fn. 10)

 

This church is a rectory, the advowson of which belonged to the priory of Combwell, in Goudhurst, and came to the crown with the rest of its possessions at the time of the surrendry of it, in the 7th year of king Henry VIII. in consequence of the act passed that year for the surrendry of all religious houses, under the clear yearly revenue of two hundred pounds. Soon after which this advowson was granted, with the scite of the priory, to Thomas Colepeper, but he did not long possess it; and it appears, by the Escheat Rolls, to have come again into the hands of the crown, and was granted by the king, in his 34th year, to Sir John Gage, to hold in capite by knights service; who exchanged it again with Tho. Colepeper, to confirm which an act passed the year after. (fn. 11) His son and heir, Alexander Colepeper, had possession granted of sundry premises, among which was the advowson of Hever, held in capite by knights service, in the 3d and 4th years of king Philip and queen Mary; the year after which it was, among other premises, granted to Sir Edward Waldegrave, to hold by the like tenure.

 

Charles Waldegrave, esq. in the 12th year of queen Elizabeth, alienated this advowson to John Lennard, esq. of Chevening, and being entailed to his heirs male, by the last will of Sampson Lennard, esq. his eldest son, under the word hereditament possessed it, and it being an advowson in gross, was never disentailed by Henry, Richard, or Francis, lords Dacre, his descendants, so that it came to Thomas lord Dacre, son of the last mentioned Francis, lord Dacre, afterwards earl of Sussex, in 1673, and at length sole heir male of the descendants of John Lennard, esq. of Chevening, above mentioned; and the same trial was had for the claim of a moiety of it, at the Queen's-bench bar, as for the rest of the earl's estates, and a verdict then obtained in his favour, as has been already fully mentioned before, under Chevening.

 

The earl of Sussex died possessed of it in 1715, (fn. 12) whose two daughters, his coheirs, on their father's death became entitled to this advowson, and a few years afterwards alienated the same.

 

It then became the property of the Rev. Mr. Geo. Lewis, as it has since of the Rev. Mr. Hamlin, whose daughter marrying the Rev. Mr. Nott, of Little Horsted, in Sussex, he is now intitled to it.

 

In the 15th year of king Edward I. this church of Heure was valued at fifteen marcs.

 

By virtue of a commission of enquiry, taken by order of the state, in 1650, issuing out of chancery, it was returned, that Hever was a parsonage, with a house, and twelve acres of glebe land, which, with the tithes, were worth seventy-seven pounds per annum, master John Petter being then incumbent, and receiving the profits, and that Francis lord Dacre was donor of it. (fn. 13)

 

This rectory was valued, in 1747, at 1831. per annum, as appears by the particulars then made for the sale of it.

 

It is valued, in the king's books, at 15l. 17s. 3½d. and the yearly tenths at 1l. 10s. 8¾d. It is now of the yearly value of about 200l.

 

¶The priory of Combwell, in Goudhurst, was endowed by Robert de Thurnham, the founder of that house, in the reign of king Henry II. with his tithe of Lincheshele and sundry premises in this parish, for which the religious received from the rector of this church the annual sum of 43s. 4d.

 

www.british-history.ac.uk/survey-kent/vol3/pp190-202

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 Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, 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.

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.

Took me about an hour, maybe two. Pretty happy with how it turned out, though I kind of hate the base. I just threw it together, but hey, it turns! Hopefully will upload better pics soon.

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.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, 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.

Just to see the differences. By just increasing the size (6 studs longer, 4 studs larger) and with new parts, I was able to put more details everywhere:

- Epic greebles on the thrusters

- Boring greebles on the sides (same as executor, more or less)

- Better tower will all gaps closed (although it does not appear here)

- Better landing an launching bays

- More detailled hull (top and bottom sides.

- And thinner.

 

To be noted that all this was possible by building a derivative of onecase's imperial destroyer structure, which was really well made.

 

The model should be fully buildable. The only concern I have is about the structure angling that is very important in my design since I align each 4 parts of the hull on their angled edges (while most of the other designs have their hull aligned on their straight edge).

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.

A brief visit before the arrival of Flying Scotsman, and the church was open!

 

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There are few churches in Kent that display transepts without a central tower. When in the fifteenth century a tower was built it was added to the west end of the existing nave. Two excellent hagioscopes are cut through either side of the chancel arch, whilst the south transept contains some eighteenth-century monuments by the celebrated sculptor Michael Rysbrack. The most famous memorial at Chartham is the brass to Sir Robert de Septvans (d. 1306), one of the oldest and largest memorial brasses in the country, showing the cross-legged knight with flowing locks. The chancel windows show excellent medieval tracery which has preserved much of its late thirteenth-century glass.

 

www.kentchurches.info/church.asp?p=Chartham

 

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CHARTHAM,

CALLED in Domesday, Certeham, lies the next parish eastward from Chilham. The greatest part of it is in the hundred of Felborough, and some small part of it, viz. the manor of Horton, in the hundred of Bridge and Petham.

 

THE PARISH of Chartham is pleasantly situated, a great part of it in the sertile vale of pastures through which the river Stour takes its course, between a continued series or range of losty hills, over which this parish extends; the high road from Canterbury to Ashford leads through it, mostly on high ground, from which there is a most pleasing view of the vale and river beneath, as well as of the oppo site hills, whose summits are cloathed with the rich foliage of the contiguous woods. Though the soil in the valley is rich pasture, yet the hills are poor and barren, those rising from the vale are chalk, further on they are a cludgy red earth, mixed with slints, much covered with coppice woods, and a great deal of rough land, with broom and heath among it, bordering on a dreary country. The parish is large, and is supposed to be about twelve miles in circumterence. It contains about ninety-seven houses, and five hundred inhabitants. The village of Chartham is situated close on the side of the river Stour, the houses of it are mostly built round a green, called Charthamgreen, having the church and parsonage on the south side of it. On this green was till within these few years, a large mansion house most of which being burnt down, the remains have since been known by the name of Burnt house. It was formerly the residence of the Kingsfords, several of whom lie buried in this church, whose arms were, Two bends, ermine. At length William Kingsford, esq. in 1768, sold it to William Waller, who alienated it in 1786 to Mr. Robert Turner, as he did again to Allen Grebell, esq. who sold it in 1795 to Mr. John Gold, the present owner of it. Near it is a handsome modern-built house, formerly the property and residence of Dr. John-Maximilian Delangle, rector of this parish and prebendary of Canterbury, and from him usually named the Delangle house. He died possessed of it in 1729. It was late the property of John Wotton, esq. who died in August, 1798, and devised it to Mary, the wife of Benjamin Andrews, gent. of Stouting, for her life; and after her decease to Thomas Wotton, gent. of the Tile-lodge farm, in Sturry, and his heirs for ever. On the river Stour here, is a paper-mill, belonging to the dean and chapter of Canterbury. In 1763, William Pearson, the lessee by will, gave this leasehold estate to his wife Sarah for life, remainder to his son Thomas Pearson, his executors, &c. Sarah Pearson renewed the lease in her own name in 1765. In 1766 Thomas Pearson sold the lease to his brother James Pearson absolutely, after the death of their mother, and of the said Thomas pearson, and Elizabeth his wife, or any after-taken wife, without issue of the said Thomas. In 1767 the said Thomas Pearson and Elizabeth, sold all their interest in the premises to David Ogilvy. In the same year the said Thomas and James assigned the premises to the said Ogilvy, by way of mortgage, redeemable by James if Thomas died without issue. In 1768 James became a bankrupt. In 1789, Sarah and James being both dead, Ogilvy renewed the lease in his name. In 1792 Ogilvy, Thomas Pearson, and the surviving assigness, under James Pearson's commission, assigned the premises absolutely, to Edward Pain, paper-maker, of Chartham, (son of Leeds Pain, deceased) who now holds the lease, and occupies the estate.

 

That part of this village on the opposite side of the river Stour, is called Rattington, being in the borough of that name. The northern part of this parish is mostly high ground, and covered with woods, extending almost up to the high Boughton road to London, through which the boundaries of it are very uncertain, from the different growths of the high wood in them; and there have been several contests relating to the bounds in this part of the parish, on account of the payment of tithes to the rector of Chartham; the lands without the bounds of it on the north side being exempt from all tithes whatever, as being within the king's antient forest of Blean, now usually called the ville of Dunkirk. Among them are the two hamlets, called Chartham hatch and Bovehatch, vulgarly Bowhatch; and near the former a large hoath, the soil of which is sand and gravel, and, from the poorness of it, but of little value. This hoath, as well as the lands near it, called Highwood, both claim, as I am informed, an exemption from paying tithes, as part of the manor of Densted.

 

Among the woods at the north-west boundaries of the parish, is a house and grounds called the Fishponds, which, though now gone to ruin, were formerly made and kept at a large expence, by Samuel Parker, gent. the grandson of Dr. Parker, bishop of Oxford, and rector of this church, who resided here. It is now in the joint possession of Mrs. Bridges, of Canterbury, and William Hammond, esq. of St. Alban's, in this county.

 

About a mile west from Densted, in the northwest part of this parish, is a stream of water, called the Cranburne, which is a strong chalybeate. It rises among the woods on the south side of the high London road, running through the fifth-ponds beforementioned, and thence into the river Stour, near Whitehall, a little below Tonford.

 

On the opposite side of the valley, close to the river Stour, is the hamlet of Shalmsford-street, built on the Ashford high road, and the bridge of the same name, of stone, with five arches, repaired at the expence of the hundred of Felborough, over which the abovementioned road leads; and at a small distance above it is a very antient corn-mill, called Shalmsford-mill, formerly belonging to the prior and convent of Christchurch, and now to the dean and chapter of Canterbury. There are two more hamlets on the hills of the southern parts of this parish, one at Mystole, and the other at Upperdowne, near it, behing which this parish reaches some distance among the woods, till it joins Godmersham and Petham.

 

There is a fair annually held at Chartham on St. Peter's day, June 29.

  

Plan of Chartham Downs

 

On the chalky downs, called Chartham Downs, adjoining the south side of the Ashford road, about four miles from Canterbury, being high and dry ground, with a declivity towards the river Stour; there are a great number of tumuli, or barrows near, one hundred perhaps of different sizes near each other, this spot being described in the antient deeds of the adjoining estates by the name of Danes banks. Several of them have at times been opened, and the remains of bodies, both male and female, with various articles of trainkets, &c. have been found in them. Beyond these, on the contiguous plain, called Swadling downs, still more southward, there are three or four lines of intrenchments which cross the whole downs from east to west, at different places, and there is a little intrenchment in the road, under Denge wood, a little eastward above Julliberies grave.

 

Various have been the conjectures of the origin of these barrows, some have supposed them to have been those of the Britons, slain in the decisive battle with Cæsar, under Cassivelawn, others that this place was the spot appropriated for the burial of the Roman garrison at Canterbury, whilst others suppose them to have belonged to the Danes, who might be opposed here in their attempts to pass the river Stour, in their further progress into this island.

 

In the year 1668, in the sinking of a new well at Chartham, there was found, about seventeen feet deep, a parcel of strange and monstrous bones, together with four teeth, perfect and sound, but in a manner petrified and turned into stone, each as big as the first of a man. These are supposed by learned and judicious persons, who have seen and considered them to be the bones of some large marine animal, which had perished there; and it has been by some conjectured, (fn. 1) that the long vale, of twenty miles or more, through which the river Stour runs, was formerly an arm of the sea (the river, as they conceive, being named Stour from astuarium); and lastly, that the sea having by degrees filled up this vale with earth, sand, and coze, and other matter, ceased to discharge itself this way when it broke through the isthmus between Dover and Calais. Others have an opinion, that they were the bones of elephants, abundance of which were brought over into Britain by the emperor Claudius, who landed near Sandwich, who therefore might probably come this way in his march to the Thames, the shape of these teeth agreeing with a late description of the grinders of an elephant, and their depth under ground being probably accounted for by the continual washing down of the earth from the hills.

 

IN THE YEAR 871, duke Elfred gave to archbishop Ethelred, and the monks of Christ-church, the parish of Chartham, towards their cloathing, as appears by his charter then made, or rather codicil; and this gift of it was confirmed to them in the year 1052, by king Edward the Confessor; and it continued in their possession at the time of taking the general survey of Domesday, in the year 1084, in which it is thus entered, under the title of Terra Monachorum Archiepi, i. e. lands of the monks of the archbishop, as all lands belonging to that monastery were.

 

In Feleberg hundred, the archbishop himself holds Certeham. It was taxed at four sulings. The arable land is fourteen carucates. In demesne there are two, and sixty villeins, with fifteen cottagers, having fifteen carucates and an half. There is a church and one servant, and five mills and an half of seventy shillings, and thirty acres of meadow, and wood for the pannage of twenty-five bogs. In the time of king Edward the Confessor, and when he received it, it was worth twelve pounds, now twenty pounds, and yet it pays thirty pounds.

 

The possessions of the priory here were after this augmented by Wibert, who became prior in 1153, who restored to it the great wood of Chartham, con taining forty acres, which the tenants had long withheld. After which, in the reign of king Edward I. THIS MANOR OF CHARTHAM, with its appurtenances, was valued at thirty-four pounds, (fn. 2) at which time there appears to have been a vincyard here, plentifully furnished with vines, belonging to the priory, as there were at several of their other manors; and in the 25th year of the same reign Robert Winchelsea, archbishop of Canterbury, having fallen under the king's displeasure, dismissed most of his family, and lived privately here at Chartham with one or two priests, and went almost every Sunday and holiday to preach in several of the adjoining churches.

 

King Edward II. by his charter in his 10th year, granted and confirmed to the prior of Christ-church, free-warren in all his demesne lands in this manor among others, which he or any of his predecessors had acquired since the time of his grandfather, so that the same were not within the bounds of his forest.

 

The buildings on this manor were much augmented and repaired both by prior Chillenden, about the year 1400, and by prior Goldston, who about the year 1500 rebuilt the prior's stables here and his other apartments with brick. This manor continued part of the possessions of the priory till its dissolution in the 31st year of Henry VIII. when it was surrendered into the king's hands, with whom this manor did not continue long, for the king settled it, among other premises, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose inheritance it still continues.

 

A court leet and court baron are regularly held for this manor by the dean and chapter, but the courtlodge and demesnes of the manor are demised by them on a beneficial lease. At the time of the dissolution, anno 30 Henry VIII. Thomas Thwayts was lessee of it. John Baker, esq. of St. Stephen's, near Canterbury, is the present lessee.

 

THE DEANRY is a large antient seat, situated adjoining to the court-lodge, being part of those possessions belonging to the late priory of Christ-church, in Canterbury, and was formerly the capital mansion of their manor here, being made use of most probably as a place of residence and retirement for the prior himself; and it was most probably to this house that archbishop Winchelsea retired, as has been mentioned before, in king Edward the 1st.'s reign, whilst under that king's displeasure. In which state it remained till the dissolution, when it came, with the adjoining meadows belonging to it, among the rest of the possessions of the priory in this parish, into the hands of the crown, and was next year settled by the king on his new-erected dean and chapter of Canterbury; after which it seems to have been allotted to and made use of in like manner as it was by the priors before, by the deans of Canterbury, for their country residence; in particular dean Bargrave resided much at this mansion, in the windows of which his arms, with the quarterings of his family alliances, in several shields, remained till within these few years. The consusion of the times which immediately followed his death, preventing the residence of any dean here, this mansion seems to have fallen into the hands of the chapter, who soon afterwards leased it out, with a reservation of a part of the yearly rent to the dean and his successors; and it has continued under the like demises to the present time, though there have been several attempts made by succeeding deans to recover the possession of it to themselves. The Whitfields were for some length of time lessees of it, afterwards the Lefroys, then Mr. Lance, and after him Mr. Coast, who greatly augmented and improved this mansion, and resided in it till he sold his interest in it to John Thomson, esq. and he conveyed it in 1797 to William Gilbee, esq. the present lessee of it.

 

There was a large chapel belonging to this mansion, which was taken down in 1572.

 

DENSTED is a manor, situated among the woods in the northern part of this parish, next to Harbledown, in the ville of its own name, part of which extends into that parish likewise. It was antiently part of the estate of the family of Crevequer, and was given in the 47th year of Henry III. by Hamo de Crevequer, to the priory of Leeds, founded by one of his ancestors, which gift was confirmed, together with the tithes of Densted, to the priory at several different times, by the several archbishops, and by the priors and convent of Christ-church, (fn. 3) and the revenue of it was increased here in the 8th year of king Richard II. when Robert Bovehatch being convicted of felony, was found to have held some lands at Densted, which upon forfeiture, were granted by the king to it. The prior and convent continued owners of this manor, with those other lands here, and in king Henry the VIIIth.'s reign, demised it for ninety-nine years to Paul Sidnor, (fn. 4) in which state it remained till their dissolution in the 32d year of that reign, when it came, with the rest of their possessions, into the king's hands, who granted it in his 37th year, with all the tenements called Densted, belonging to this manor, to John Tufton, esq. to hold in capite by knight's service, who, about the 3d year of king Edward VI. alienated his interest in it to Richard Argall, whose descendant John Argall sold it, about the beginning of king James I.'s reign, to Sir John Collimore, of Canterbury, who in 1620, conveyed it to trustees, to be sold for the payment of his debts; and they conveyed it to Thomas Steed, esq. who in the reign of king Charles I. passed it away to Sir Thomas Swan, of Southfleet; in whose descendants it continued, till at length the widow of Sir William Swan, at her death, devised it, among his other estates, alike between his and her own relations, one of whom marrying John Comyns, esq. afterwards knighted, and chief baron of the exchequer, he became in her right possessed of this manor, being descended from the Comyns's, of Dagenham, in Essex, in which county he resided, and bore for his arms, Azure, a chevron, ermine, between three garbs, or. On his death in 1740, he devised it to his eldest nephew and heir John Comyns, esq. of Highlands, in Essex, (son of his brother Richard, serjeant-at law) who died possessed of it in 1760, leaving by his second wife, an only son, Richard-John Comyns, esq. whose heirs conveyed it by sale to Thomas Lane, esq. one of the masters of chancery, who died possessed of it in 1773, on which it descended to his two sons Thomas and William, and the former having purchased the latter's interest in it, died, leaving his widow surviving, who is now in the possession of this estate for her life; but the reversion of it in see, after her death, is vested in the younger brother above-mentioned, Mr. William Lane, gent. of London.

 

A court baron is held for this manor.

 

The lands belonging to this manor consist of about four hundred acres; the whole of which, excepting seven acres in Highwood which are titheable, is subject only to a composition yearly to the rector of Chartham, in lieu of all tithes whatever.

 

HOWFIELD is a manor in this parish, lying in the north-east part of it, adjoining to Toniford. It was formerly spelt in antient records both Haghefelde and Hugeveld, and was part of the possessions of the priory of St. Gregory, most probably at its foundation in 1084. However that be, this manor was confirmed to it, among the rest of its possessions, by the name of Haghefelde, together with the mill of Toniford, by archbishop Hubert, who died in 1206; (fn. 5) and in this state it remained till the reign of Henry VIII. when, by the act passed in the 27th year of it, this priory was suppressed among other religious houses, whose revenues did not amount to the clear yearly value of two hundred pounds, Christopher Hales, esq. afterwards knighted, and attorney-general, being then lessee of this manor, under a lease for ninety-nine years, from the prior and convent; and he had that year a grant from the king of it in see, with all privileges and immunities belonging to it, to hold by fealty only. Sir Christopher Hales was likewise master of the rolls, being the son of Thomas Hales, A.M. second son of Henry Hales, of Hales-place, whose eldest son John was ancestor of the Hales's, of the Dungeon, in Canterbury, Tenterden, and other parts of this county. He left three daughters his coheirs, who became jointly entitled to this manor, with a tenement called Bovehoth, and other lands in Chartham. At length the whole interest of it, on a division of their estates, was assigned to the youngest daughter Mary, who entitled her husband Alexander Colepeper, esq. to it. He left an only daughter by her, Anne, who carried it in marriage to Sir John Culpeper, of Wigsell, and he alienated it to the family of Vane, or Fane, in which it was in the year 1638, and in the year following Mary, countess dowager of Westmoreland, widow of Sir Francis Fane, earl of Westmoreland, joined with her son Mildmay, earl of Westmoreland, in the sale of it to William Man, esq. of Canterbury, afterwards knighted, whose ancestors had been settled there from the beginning of king Henry VIII.'s reign. They bore for their arms, Or, a chevron, ermines, between three lions, rampant guardant, sable; and there were of this name of Man, who were aldermen of the ward of Westgate in that city, as early as king Edward III.'s reign. (fn. 6) He in 1688, with his son William Man, esq. conveyed it to John Denew, gent. of Canterbury, whose ancestors were antiently written De New, and bore for their arms, Or, five chevronels, azure; whose grandson John Denew, esq. dying in 1750, s.p. devised it by will to his wife Elizabeth, and she at her death in 1761, gave it to one of her late husband's sisters and coheirs, Elizabeth, married to Mr. Edward Roberts, of Christ's hospital, London; their eldest son Mr. Edward Roberts died possessed of it in 1779, leaving three sons, Edward, George, and William, when it devolved to his eldest son Edward-William Roberts, who sold it in 1796 to George Gipps, esq. of Harbledown, M.P. for Canterbury, who is the present owner of it.

 

The demesne lands of this manor claimed and enjoyed an exemption from all manner of tithes till almost within memory; but by degrees tithes have been taken from most of them, and at present there are not more than twenty acres from which none are taken.

 

SHALMSFORD-STREET is a hamlet in this parish, built on each side of the Ashford road, near the river Stour, and the bridge which takes its name from it, at the western boundary of this parish. It was antiently called Essamelesford, and in the time of the Saxons was the estate of one Alret, who seems to have lost the possession of it after the battle of Hastings; for the Conqueror gave it, among many other possessions, to Odo, bishop of Baieux, his half brother, under the general title of whose lands it is thus entered in the record of Domesday:

 

In Ferleberg hundred, Herfrid holds of the see of the bishop, Essamelesford. It was taxed at half a suling. The arable land is one carucate. In demesne there is one carucate, and three villeins, with one borderer having one carucate. There are three servants, and eight acres of meadow. In the time of king Edward the Confessor it was valued at sixty shillings, and afterwards forty shillings, now sixty shillings. Alret held it of king Edward.

 

Four years after the taking of the above survey, the bishop of Baieux was disgraced, and all his lands and possessions were confiscated to the king's use. Soon after which this estate seems to have been separated into two manors, one of which was called from its situation.

 

THE MANOR OF SHALMSFORD-STREET, and afterwards, from its possessors, the mansion of Bolles, a family who had large possessions at Chilham and the adjoining parishes. At length, after they were become extinct here, which was not till about the beginning of the reign of queen Elizabeth, this manor came into the name of Cracknal, and from that in the reign of king James I. to Michel, one of whose descendants leaving two daughters and coheirs, one of them married Nicholas Page, and the other Thomas George; and they made a division of this estate, in which some houses and part of the lands were allotted to Thomas George, whose son Edward dying s.p. they came to Mr. John George, of Canterbury, who sold them to Mr. Wm. Baldock, of Canterbury, and he now owns them; but the manor, manor-house, and the rest of the demesne lands were allotted to Mr. Nicholas Page, and devolved to his son Mr. Thomas Page. He died in 1796, and devised them to Mr. Ralph Fox, who now owns them and resides here. The court baron for this manor has been long disused.

 

ON THE OPPOSITE SIDE of the road, about twenty rods from the bridge, stood an antient seat, which was taken down about thirty-five years ago, though there is a malt house remaining on the scite of it, which has evident marks of antiquity, and of its having been once made use of as part of the offices belonging to it. In the windows of the old house were several coats of arms, that most frequent being the coat and crest of Filmer, with a crescent for difference. This seat, with the lands belonging to it, was for a great length of time owned by the Mantles, and continued so till Mary Mantle carried it in marriage to Mr. Stephen Church, of Goodnestone, the present owner of it.

 

THE MANOR OF SHALMSFORD BRIDGE was the other part of the bishop of Baieux's estate here, described as above in Domesday, and was that part of it which was by far of the most eminent account, and was so called not only to distinguish it from that lastmentioned, but from its situation near the bridge of this name over the river Stour, on the opposite or west side of it next to Chilham, in which parish much of the lands belonging to it lie. It was antiently accounted a member of the manor of Throwley in this county, as appears by the inquisition taken after the death of Hamo de Gatton, owner of that manor in the 20th year of king Edward I. when Roger de Shamelesford was found to hold it as such of him by knight's service. His descendant William de Shalmelesford, who possessed it in the beginning of the reign of Edward II. leaving an only daughter and heir Anne, she carried it in marriage to John Petit, who resided here, and died before the 20th year of the next reign of king Edward III. bearing for his arms, Gules, a chevron, between three leopards faces, argent. In his descendants, who resided at Shalmesford, this manor continued down to Thomas Petit, esq. of Canterbury, who died possessed of it in 1625, (fn. 7) leaving his three sisters his coheirs, who became entitled to this manor in undivided thirds. They were married afterwards, Catherine to Michael Belke; Elizabeth to Giles Master, of Woodchurch; and Dorothy first to William Master, secondly to John Merryweather, and thirdly to Parker, of Northfleet. Michael Belke above-mentioned, whose ancestors were originally of Coperham-Sole, in Sheldwich, having purchased another third of this manor, became entitled to two thirds of it, which continued in his descendants down to Dr. Thomas Belke, prebendary of Canterbury, who died in 1712, and his heirs sold them to Mr. Hatch, of that city, who was befor possessed of the other third part of this manor, which he had under his father Mr. John Hatch's will, who had purchased it of one of the descendants of Mr. Thomas Petyt, before-mentioned, and thus became entitled to the whole property of it. He died in 1761, and by will devised it to his great nephew, Mr. John Garling Hatch, of Chartham, who sold it to Mr. Joseph Saddleton. He died in 1795 intestate, leaving Elizabeth his widow, and Joseph their only son, who are the present owners of it.

 

Mystole is a handsome well-built seat, situated on the green of that name, in the south-west part of this parish, about a mile and an half from the church of Chartham. It was built by John Bungey, prebendary of Canterbury, who was rector of this church, and married Margaret Parker, the archbishop's niece, by whom he had several sons and daughters. He bore for his arms, Azure, a lion, passant-guardant, or, between three bezants, (fn. 8) and dying here possessed of it in 1596, was buried in this church. His eldest son Jonas Bungey succeeded him here, and in his descendants it continued till it was at length sold to Sir John Fagge, of Wiston, in Sussex, who was created a baronet on Dec. 11, 1660. But before this purchase, there were those of this name settled in this parish, as appears by their wills, and the marriage register-book in the Prerogative-office, Canterbury, as early as the year 1534, in both which they are stiled gentlemen. He left a numerous family, of whom only three sons survived; Sir Robert, his successor in title; Charles, who will be mentioned hereaster; and Thomas, ancestor of John Meres Fagge, esq. late of Brenset. Sir John Fagge died in 1700, and by will devised this seat of Mystole, with his other estates in this and the adjoining parishes, to his second son Charles Fagge, esq. of Canterbury, before-mentioned, who continued to bear the family arms, being Gules, two bends, vaire. His only surviving son Charles Fagge, esq. resided here, and married Elizabeth, youngest daughter of William Turner, esq. of the White Friars, Canterbury. His son Sir William Fagge, bart. resided at Mystole, and married Elizabeth, daughter of Abraham Le Grand, gent. of Canterbury, who died in 1785. He died in 1791, having had one son John, and two daughters, Helen, married to the Rev. Mr. Williams, prebendary of Canterbury, but since removed to Winchester; and Sarah to Edwin Humphry Sandys, gent. of Canterbury. He was succeeded by his only son the Rev. Sir John Fagge, bart. who married in 1789 Anne, only daughter and heir of Daniel Newman, esq. of Canterbury, barrister-at law, and recorder of Maidstone. He now resides at Mystole, of which he is the present possessor.

 

HORTON MANOR, sometime written Horton Parva, to distinguish it from others of the same name in this county, is a manor in that part of this parish which lies within the hundred of Bridge and Petham. It has by some been supposed to have been once a parish of itself, but without any reason; for it was from the earliest times always esteemed as a part of the parish of Chartham.

 

At the time of taking the survey of Domesday, about the year 1080, this manor was part of the possessions of Odo, bishop of Baieux, the Conqueror's half-brother, under the general title of whose lands it is thus entered in it, being then accounted within the bounds of the adjoining hundred of Felborough:

 

In Ferleberge hundred, Ansfrid holds of the bishop, Hortone. It was taxed at half a suling. The arable land is one carucote. There is in demesne . . . . and thirteen villeins having half a carucate. There is one servant, and two mills of one marc of silver, and eight acres of mea dow, and one hundred acres of coppice wood. In the time of king Edward the Confessor it was worth forty shillings, afterwards thirty shillings, now one hundred shillings, Godric held it of king Edward.

 

On the bishop's disgrace, about four years afterwards, this manor, among the rest of his possessions, was confiscated to the crown, and was granted thence to the family of Crevequer, of whom it was held by that of Northwood, of Northwood, in this county. John de Northwood died possessed of it in the 14th year of Edward II. In whose descendants it continued down to Roger de Northwood, whose widow Agnes entitled her second husband Christopher Shuckborough, esq. of Warwickshire, to the possession of it, and they afterwards resided here. He bore for his arms, A chevron, between three mullets, pierced. She died in the 6th year of king Henry IV. anno 1404, and he alienated it three years afterwards to Gregory Ballard, whose descendant Thomas Ballard, kept his shrievalty here anno 31 Henry VI. and dying in 1465, lies buried in St. Catherine's church, near the Tower. Robert Ballard was found by inquisition anno 14 king Henry VII. to hold at his death this manor of the king, as of his honor of the castle of Dover, by the service of one sparrow-hawk yearly. They bore for their arms, Sable, a griffin rampant segreant, ermine, armed and membered, or. At length it descended down to Nicholas Ballard, who in the 4th year of Philip and Mary, passed it away to Roger Trollop, esq. and he sold it, in the 2d year of queen Elizabeth, to Sir Edward Warner, then lieutenant of the tower, who died possessed of it in the 8th year of that reign, holding it of the king in capite by knight's service. Robert Warner, esq. was his brother and next heir, and sold it, in the 16th year of that reign, to Sir Roger Manwood, (fn. 9) chief baron of the exchequer, whose son Sir Peter Manwood, K.B. in the reign of king James I. alienated it to Christopher Toldervye, esq. who resided here, and dying in 1618, s.p. was buried in Ash church, near Sandwich, bearing for his arms, Azure, a fess, or, in chief, two cross croslets of the second. By his will he devised it to his brother John Toldervye, gent. of London; on whose death likewise s.p. it devolved by the limitations in the above will to Jane his eldest sister, then married to Sir Robert Darell, of Calehill, who in her right became entitled to it, and from him it has at length descended down to Henry Darell, esq. of Calehill, the present owner of this manor.

 

The chapel belonging to this manor is still standing, at a small distance south-west from the house. It had more than ordinary privileges belonging to it, having every one the same as the mother church, excepting that of burial, and its offices. It consists of one isle and a chancel, with a thick wall at the west end, rising above the roof, and shaped like a pointed turret, in which are two apertures for the hanging of two bells. It has been many years disused as a chapel, and made use of as a barn.

 

This chapel, like many others of the same sort, was built for the use of the family residing in the mansion of the manor, which being, as well as the ceremonies of the religion of those times, very numerous, rendered it most inconvenient for them to attend at the parish church, at so great a distance, in all kind of seasons and weather. But after the reformation, when great part of such ceremonies ceased, and the alteration of the times not only lessened the number of domestics, but even the residence of families, by degrees, at these mansions; these chapels became of little use, and being maintained at the sole charge of the owners of the estates on which they were built, they chose rather to relinquish the privilege of them, than continue at the expence of repairs, and finding a priest to officiate in them.

 

In the reign of king Richard II. there was a great contest between John Beckford, rector of Chartham, and Christopher Shuckborough, lord of this manor, concerning the celebration of divine offices in this chapel; which was heard and determined in 1380, before the archbishop's official, that all divine offices might be celebrated in it, exceptis tantum defunctorum sepulturis et exequiis. These were more than ordinary privileges; it being usual, even in chapels which had the right of sepulture granted to them, to oblige the inhabitants to baptize and marry, and the women to have their purifications at the mother church.

 

There is a composition of 6l. 14s. paid by the occupier of this manor, to the rector of Chartham, in lieu of all tithes whatever arising from it.

 

Charities.

THERE are no charitiesor alms houses belonging to this parish, excepting the legacy by the will of Thomas Petit, esq. of Canterbury, in 1626. to this parish, Chilham, and St. George's, Canterbury, jointly for the benefit of young married people for ever; a full account of which has been given before, under Chilham, p. 141.

 

There is a school lately set up in this parish, for the teaching of children reading, writing, and arithmetic.

 

The poor constantly relieved are about forty-five, casually 60.

 

CHARTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Mary, is a large, handsome building, of one isle and a chancel, with a cross isle or transept. It has a tower steeple at the west end, in which are five bells and a clock. Besides other monuments and memorials in this church, there are in the chancel memorials for the Kingsfords; for Margaret, daughter of Sir Samuel Peyton, knight and baronet, wife of Thomas Osbern, esq. obt. 1655; for Jane, daughter of Arthur Barham, esq. wife of Thomas Osbern, esq. obt. 1657; several for the dis ferent rectors, and a monument for Dr. Delangle, 1724; a large grave-stone with the figure of a man in his armour, cross-legged, with his sword and spurs, in full proportion, inlaid in brass, with his surcoat of arms, viz. Three wheat-skreens, or fans, being for one of the Septvans family; and on the north side is an antient tomb, under an arch hollowed in the wall. In the north cross isle is a grave-stone, which has been very lately robbed of its brasses, excepting the impalements of one coat, being the arms of Clifford. It had on it the figure of a woman, with an inscription for Jane Eveas, daughter of Lewys Clifforht Squyre, obt. 1530. The chancel is very handsome, and there has been some good painted glass in the windows of it, of which there are yet some small remains. In the south chancel the family of Fagge lie buried; in it there is a monument for the late Sir William and his lady, and a most superb monument of excellent sculpture and imagery, having the figures, in full proportion of Sir William Young, bart. and his lady; Sarah, sister of Sir William Fagge before-mentioned, who died in 1746, æt. 18, in the same year in which she was married. He died in the West-Indies in 1788, and was brought over and buried beside her, and the above-mentioned monument which had laid by in the church ever since her death was repaired and placed here.

 

The church of Chartham was part of the antient possessions of the see of Canterbury, and continues so at this time, his grace the archbishop being the present patron of it.

 

In a terrier of 1615, it appears there was then here a parsonage-house, barn, gardens, and meadow, in all about two acres; certain closes containing thirty-eight acres, and a little piece of wood-land adjoining to it; some of which glebe-land has since that time been lost, the rector now enjoying nor more than thirty acres of it.

 

Part of the parsonage-house seems very antient, being built of flint, with ashlar-stone windows and door cases, of antient gothic form. It was formerly much larger, part of it having been pulled down, by a faculty, a few years ago.

 

An account of the lands in this parish, which claim an exemption of tithes, has already been given before, under the description of the respective lands, as well as of the chapel of Horton, and the composition for tithes from that manor.

 

¶This rectory is valued in the king's books at 41l. 5s. 10d. and the yearly tenths at 4l. 2s. 7d. In 1640 it was valued at one hundred and twenty pounds. Communicants three hundred. It is now worth about three hundred and fifty pounds per annum.

Vicksburg, Mississippi (est. 1825, pop. (2013) 23,542) • MS Delta

 

• galleried cottage w/pierced columns • built as a 1-story, clapboard bldg. • typical of Lower Mississippi Valley dwellings in the territorial & early statehood periods • ideally suited to the warm climate • only surviving example in Vicksburg

 

• while neither architect-designed nor crafted by masters, the relative sophistication of the trim confirms the presence of skilled craftsmen in early Vicksburg —MDAH

 

• the structure was raised c. 1872, adding a brick 1st floor & rectangular pierced columns to replace the original classical ones [1936 photo] • the alterations were possibly a response to the flanking Italianate dwellings under construction, or damage incurred during the 47 day Siege of Vicksburg

 

• Pierced Columns: An Architectural Mystery —Southern Lagniappe

 

• according to tradition, the Rev. John Masselon Lane (1789-1855) built this house with his wife, Sarah (1794-1883), daughter of Vicksburg founder Rev. Newet Vick (1766-1819) • nevertheless, evidence suggests that the house was probably built by Lane's nephew — also named John — who in 1833 purchased the property for $700 & sold it for $10K 3 yrs. later

 

• Rev. Lane was appointed executor of the Vick estate after the Reverend & his wife, Elizabeth Clark Vick (1772-1819), died of yellow fever • he took charge of the town's development, laid out its streets, named it after his father-in-law and is remembered as "co-founder" of Vicksburg • in 1855, he too succumbed to yellow fever

 

HABS MS-114 • National Register # 82003116, 1982 • National Register # 82003116, 1982 • Uptown Vicksburg Historic District, National Register # 93000850, 1993

"Here lieth entombed James Harington esq: the youngest sone of Sir James Harington of Exton, knight, & Frauncis his first wife, one of ye daughters & coheires of Robert Sapcots of Elton in countie of Huntingdon esq: by whome he had issue sixteen children viz. nyne sones & seaven daughters which said Fraunces deceased in September 1599 and the said James Harington decessed the 2 of February 1613"

Monument erected in his lifetime probably on the death of Frances.

 

James was the son of Sir James Harington and Lucy www.flickr.com/gp/52219527@N00/03e3L7 daughter of Sir William Sydney & Anne daughter of Hugh Pakenham / Packenham and Anne Clement

He m Frances was the daughter of Robert Sapcote 1600 www.flickr.com/gp/52219527@N00/8U15k6 and either Catherine or Eleanor daughters of William Prestland

Children - 9 sons & 7 daughters

1. Edward 2nd bart 1574-1653 m Margery daughter of John D'Oyley +++ & Anne Bernard

2. Sir Sapcote Harington of Rand 1586-1629 m1 Jane 1619 flic.kr/p/4iVR8s daughter of Sir William Samwell of Upton 1628, Auditor of the Exchequer to Queen Elizabeth m2 Jane Woodward

3.John 1611-dsp 1662 m Frances daughter of Terringham Norwood of Ashwood

4. William

5. Robert

6. Henry

7. James

1. Theodosia b1584 m Henry Ascough / Ayscough of Blyborough

2. Bridget m Sir Anthony Markham of Sedgebrook son of John Markham & Mary daughter of Sir Anthony Thorold 1594 flic.kr/p/qZmVLP of Marston Thorold

3. Anne m1 Sir Thomas Foljambe m2 Sir John Molyneux of Haughton

4. Eleanor m Sir Henry Clinton

 

He m2 1601 Anne 1629 daughter of Francis Bernard of Abington, Widow of John D'oyley of Merton +++ who m3 Sir Henry Poole of Kemble & Oaksey 1632 widower of Griselda daughter of Sir Edward Neville, 7th baron Abergavenny and Catherine Brome

(Anne was the sister in law of Alice Chubnoll of Turvey flic.kr/p/hXBNdr 1st wife of her brother Richard Bernard )

 

Early in 1603 he travelled north with his brother to meet the new King James from Scotland, who knighted him at Grimston Yorkshire, and he was among the first baronets, paying a first instalment of £360. .

Calling himself ‘a worm and no man, clothed with earth, full of sin’, he asked to be buried with ‘as little cost as may be’. Though wealthy he left only 40s. to the poor of Ridlington and a similar sum to those of Merton. Having assured his principal estates to his son Edward, he bequeathed a life interest in Thornbury and Morton to his wife, together with household stuff. He provided annuities for his wife and 4 of his younger sons, and left Gunthorpe, Knossington, Oldebury and a few small properties, in all worth £10,000, to his executors, his sons Edward and Sapcote, to pay his debts and legacies. These included £2,000 to one daughter, £1,000 to another, £500 to his second son, and £1,500 to his five youngest sons. He left a colt to his nephew Lord Harington and nominated him supervisor of the will.

www.historyofparliamentonline.org/volume/1558-1603/member...

- Church of St Mary Magdalene & St Andrew, Ridlington Rutland

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

Teylers Museum in Haarlem is genoemd naar Pieter Teyler van der Hulst (1702- 1778), een vermogende Haarlemse zijdefabrikant en bankier. Levend in de tijd van de Verlichting had hij grote belangstelling voor kunst en wetenschap. Vanuit de gedachte dat kennis de mensheid kon verrijken, legde hij op beide terreinen verzamelingen aan. In zijn testament bepaalde hij dat zijn vermogen moest worden ondergebracht in een stichting die onder meer de bevordering van kunst en wetenschap tot doel had.

 

De uitvoerders van Teylers testament besloten het eerste museum van Nederland te bouwen waarin voorwerpen van kunst en wetenschap verenigd zouden worden. De boeken dienden voor studie, de natuurkundige instrumenten werden gebruikt voor demonstraties, terwijl over de tekeningen werd gediscussieerd tijdens kunstbeschouwingen. Fossielen en mineralen speelden een rol bij de openbare lessen.

 

Achter Teylers woning in de Damstraat werd een ‘boek- en konstzael' gebouwd. Deze Ovale Zaal werd in 1784 opengesteld voor bezoekers en is sindsdien vrijwel onveranderd gebleven. Teylers Museum is hiermee het eerste museum van Nederland, dat vanaf 1784 onafgebroken voor het publiek is opengesteld en waar de collecties in hun authentieke samenhang te zien zijn. Het gebouwencomplex van Teylers Museum beslaat meer dan 200 jaar bouwgeschiedenis.

Bron: www.teylersmuseum.nl/nl/collectie/gebouw-en-geschiedenis/...

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Teylers Museum in Haarlem is named after Pieter Teyler van der Hulst (1702-1778), a wealthy Haarlem silk manufacturer and banker. Living during the time of the Enlightenment, he had a great interest in art and science. Based on the idea that knowledge could enrich humanity, he built collections in both areas. In his will he stipulated that his assets should be placed in a foundation whose aim, among other things, was to promote art and science.

 

The executors of Teyler's will decided to build the first museum in the Netherlands in which objects of art and science would be united. The books were for study, the physics instruments were used for demonstrations, while the drawings were discussed during art appreciation sessions. Fossils and minerals played a role in the public lessons.

 

A 'book and art hall' was built behind Teyler's house in Damstraat. This Oval Hall was opened to visitors in 1784 and has remained virtually unchanged since then. Teylers Museum is the first museum in the Netherlands that has been open to the public continuously since 1784 and where the collections can be seen in their authentic context. The building complex of Teylers Museum covers more than 200 years of construction history.

This is the final Kent church of the year, and with these uploads I will have caught up on all my picture taking, I believe.

 

We only visited St Mildred last year, but I forgot, so we went again in November, on another wonderful late autumn morning.

 

After visiting, we sat in the churchyard eating sausage rolls, much to the disgust of a couple of other visitors to the church.

 

Oh well.

 

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A superb church, which despite a heavy-handed restoration by G.M. Hills (see also Newenden) in 1864 still has much of interest. The nave ceiling is exceptional fifteenth-century work, rather more domestic in feel than is normal in an ecclesiastical building. There are two blocked thirteenth-century windows above the chancel arch - an unusual position to find windows in Kent. The five bay aisles are extremely narrow. The glass in the south aisle windows by Hughes of 1865 are rather fun. In the north chapel is a fine alabaster standing monument to Herbert Whitfield (d. 1622) and his wife. This monument cuts off the base of the north-east window and displays many colourful coats of arms. The chancel screen and pulpit are late nineteenth century and fit in with the medieval architecture better than most works of that period.

 

www.kentchurches.info/church.asp?p=Tenterden

 

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The history of Tenterden itself is lost in time, as is the origin of St. Mildred’s church. Perhaps all that can be said with any confidence is that the story of the town and the story of St. Mildred’s are bound together with each other, with the story of pre-conquest Kent, with the story of Christianity in Kent, and with the story of the ancient Kentish royal house.

 

Tenet-wara-den (the den of the Thanet folk) was the Wealden area used by the abbey of Minster-in-Thanet for Autumn pig-forage (acorns and beech mast to fatten the pigs for Winter). That abbey was founded by Domne Aefa (“the lady Aebba”?) of the Kentish royal family, and either she herself or her daughter, St. Mildred, was the first abbess. This is within the first century after the arrival in Canterbury of St. Augustine’s mission from Rome. Mildred’s holy reputation was an international one, and there can be no doubt that a church in her name was here from some point in the eighth to tenth centuries. The reign of Canute is the latest possible period and it was almost certainly much earlier. However, we have no record of any incumbent before 1180, and the oldest perceptible fabric of the church is of about that time too.

 

When you stand in the middle of St. Mildred’s, you see a large building reflecting the prosperity of the town in the later middle ages. The north arcade of the chancel is probably around 1200, but most of the chancel, nave, and aisles is work of the 13th to 15th centuries. The fine wagon-vault ceiling of the nave has been variously stated to be 14th or 15th century (with some Victorian additions). The tower of the church, a prominent Kentish landmark, was probably built by architect Thomas Stanley. This major building work was undertaken in the middle of the 15th century, at the height of Tenterden’s prosperity, it being no coincidence that the town gained a charter and Cinque Port status in support of Rye, at about the same time.

 

The town’s prosperity was reflected also in the presence of important shipbuilding yards at both Reading Street and Smallhythe, both on the tidal River Rother at that time. The settlement at Smallhythe was sufficiently large to gain its own chapel sometime in the middle ages, but we know nothing of that building, though it was probably dedicated to St. John the Baptist. Smallhythe itself was burnt in a huge fire in 1514, and we know that rebuilding of the chapel began virtually straight away. The current church of St. John the Baptist is a beautiful example of a brick-built Tudor church, box-like (so with an excellent acoustic). It has, during its history, had varying levels of dependence or independence from the town church of St. Mildred.

 

By the middle of the 19th century, the population was growing fast, and attitudes to worship were changing too. St. Mildred’s lost its box pews, and had the organ moved to its present position. A new church was planned for the hamlet of Boresisle at the northern end of Tenterden, the neat and small Gothic revival church being dedicated to St. Michael and All Angels. Two consequences were, firstly, the acquisition by Kent of another prominent landmark – the graceful spire, and secondly, the name Boresisle fell out of usage and the hamlet itself has ever since been known as “St. Michael’s”.

 

I do feel it important to append to this account of the Anglican church buildings a brief comment on the other churches of the town. There was always a Roman Catholic presence here, but after the Reformation, there was no church building until the Catholic priest in Tenterden, Canon Currie began, in the 1930s, a determined attempt to put that right, culminating in the building of St. Andrew’s Roman Catholic church in Ashford Road.

 

The history of “non-conformity” in Tenterden is a major and extensive one. Within a few decades of the development around the 1370s, by John Wyclife at Oxford, of the doctrines later known as “Lollardy”, there were significant numbers of people in Tenterden who ascribed to doctrines regarded as unorthodox. Moreover, following the Reformation of the 1540s to 1560s, there were many who rejected not only Roman ways, but were unhappy with the English church. We know that Tenterden families joined the 17th century exodus to the New World (notably to Massachusetts), and Tenterden acquired its first “non-conformist” chapel around 1700, that building now being the Unitarian church in Ashford Road, and one of Tenterden’s most interesting ancient relics. The nineteenth century saw the building of the Methodist church at West Cross, and two of the three Baptist churches – Zion in the High Street, and the Strict Baptist Jireh Chapel at St. Michael’s. Trinity Baptist in Ashford Road was built in 1928.

 

Those interested to pursue their enquiries further will find a guide in St. Mildred’s, and there is much information in standard texts of Kent history and architecture.

 

www.tenterdencofe.org/?page_ref=265

 

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THIS hundred contains within its bounds THE TOWN AND PARISH OF Tenterden, and part of the parish of Ebeney, containing the borough of Reading, the church of which is in another hundred.

 

This hundred was antiently accounted one of the Seven Hundreds, and was within the jurisdiction of the justices of the country, from which it was separated by Henry VI. who, on account of the impoverishment of the port and town of Rye, in Sussex, by his letters patent, in his 27th year, incorporated the town and hundred of Tenterden, by the name of the bailiff and commonaltie of the town and hundred of Tenterden, and granted that the same should be a member annexed and united to that town and port, and separated from the county of Kent, and that the bailiff and commonalty of this town and hundred should have for ever, on their contributing to the burthens and exigencies of that port and town from time to time, (fn. 1) many franchises, privileges, and freedoms, and all other liberties, freedoms, and free customs which the barons of the five ports had before that time enjoyed. In which state this town and hundred remained till the 42d year of queen Elizabeth's reign, when the name of their incorporation was changed to that of the mayor, jurats, and commonalty of the town and hundred of Tenterden, by which it continues to be governed at this time.

 

THE CORPORATION consists of a mayor, twelve jurats, and as many common-councilmen, a chamberlain, and town clerk; the jurisdiction of it being exclusive from the justices of the county. The mayor is chosen yearly on August 29. The election used to be in the town-hall; but that being burnt down by some prisoners in the prison-room over it, it was afterwards made under one of the great old oaks, which are not far from the place, on the other side of the street, where it stood. A neat and elegant hall was finished in 1792, adjoining the Woolpack Inn, in which the mayor has been elected as heretofore, and it is occasionally used as an assembly room by the inhabitants. The mayor is coroner of both the town and hundred; there is no sheriff; the commoners must be resciants, and are chosen by the mayor and two of the jurats; the jurats are all justices of the peace. They hold sessions of oyer and terminer, but cannot try treason. At the sessions holden at Tenterden, August 10, 1785, two men were convicted of burglary, and executed near Gallows-green the 27th following. Both the charters of this corporation being destroyed by the fire of the court-hall in 1660, an exemplification of them was procured anno 12 George III.

 

The liberty of the court of the bailiwic of the Seven Hundreds, claimed a paramount jurisdiction over this hundred, till the incorporation of the town of Tenterden, and the annexing this hundred to it in the reign of Henry VI. since which the mayor and jurats have been lords of the royalty of it, and continue so at this time.

 

The parish is divided into six boroughs, each having a borsholder chosen yearly, these are Town Borough, Castweasle, Boresile, Shrubcote, Dumborne, which includes all Smallhyth, and Reading, which is wholly in the parish of Ebene.

 

THE PARISH of Tenterden lies too near the marshes to be either healthy or pleasant, excepting that part where the town is situated near the northern boundaries of it, on what may be called for this country, high ground; it is about five miles across each way. The soil of it is various, the northern part being sand, towards the east it is a wet stiff clay, and towards the south and west towards the marshes a deep rich mould. The generality of the lands in it are pasture, but there are about one hundred acres of hop-ground dispersed in different parts of it; there is very little wood, and that mostly between the town and Smallhyth, a hamlet formerly of much more consequence, as will be further mentioned hereafter, situated at the southern boundary of it, on the road into the Isle of Oxney, close to the river Rother, which separates that part of this parish from the island. About a mile and a half eastward is the hamlet of Reading-street, built adjoining the high road to Apledore, close to the marshes below it, on the passage over the Rother into Ebeney, and the Isle of Oxney.

 

On Saturday, Nov. 1, 1755, between ten and eleven o'clock in the forenoon (being at the same time that the great bason at Portsmouth was disturbed) several ponds in this parish and neighbourhood, without any sensible motion of the earth, were greatly agitated, the water of them being forced up the banks with great violence, fretting and foaming with a noise similar to the coming in of the tide, so as to terrify many who were near them; some of these waters flowed up three times in this manner, others circled round into eddies, absorbing leaves, sticks, &c. and it was observed that only those ponds were affected, that had springs to supply the waters of them.

 

THE TOWN OF TENTERDEN is situated nearly in the centre of the parish and hundred. It stands on high ground, neither unpleasant nor unhealthy; the greatest part of it is built on each side of the high road leading from the western parts of Kent and Cranbrooke through this parish south-east to Apledore. A small part of it is paved, where there is a small antient market-place, built of timber; but the market, which is still held on a Friday, is but little frequented, only two millers, and seldom any butchers attending it. It is a well-built town, having many genteel houses, or rather seats, interspersed throughout it, among which are those of the Curteis's, a numerous and opulent family here, who bear for their arms, Argent, a chevron between three bulls heads, caboshed; (fn. 2) the Haffendens, who have been long resident here, and in Smarden and Halden, in this neighbourhood. Bugglesden, in the north part of Boresile borough, in this parish, was very antiently, and till within these few years, their property and residence. Richard Haffenden now resides in a new house, built by his father, called Homewood, at the west end of this town, and in the south part of Boresile borough. They bear for their arms, Chequy, sable and argent, on a bend, sable, three mullets, or; the Staces, who have been resident here from the beginning of the last century, as appears by their wills in the Prerogative-office, Canterbury, in several of which they are stiled gentlemen; the Blackmores, possessed of Westwell house, a handsome seat at the south east end of the town, built by James Blackmore, esq. in 1711, one of whose descendants afterwards becoming possessed by gift of the seat of Briggins, in Hertfordshire, removed thither, where they have continued ever since, and this of Westwell-house is now occupied by Mr. James Blackmore, the uncle of Thomas Blackmore, esq. of Briggins, who died possessed of it in 1789, having been thrice married. He left by his two first wives three sons and two daughters; his third. wife Anne, daughter of Mr. Tatnall, of Theobalds, now survives him. They bear for their arms, Argent, a fess between three balckmoors heads sideways, couped at the neck, sable; and several others, most of whose wealth, as well as that of the inhabitants of this town in general, has arisen from its near neighbourhood to Romneymarsh, where most of them have some occupation in the grazing business.

 

The church stands on the north side of the town, which, with the rest of the parish, consists of about three hundred houses, and two thousand inhabitants, of which about five hundred are diffenters, who have two meeting-houses here, one of Presbyterians, the other of Methodistical Baptists.

 

At the east end of the town is Craythorne-house, which formerly belonged to the Bargraves, and then to the Marshalls, who sold it to the late Mr. John Sawyer, who built a new house here, in which he afterwards resided, and his assigns now possess it. A branch of the family of Whitfield had once their residence in a large house at the east end likewise of this town. John Whitfield resided here, as did his son Herbert, who died in 1622; they were descended from an antient family in Northumberland, and bore for their arms, Argent, on a bend, plain, between two cotizes, ingrailed sable, a mullet, or. At length the heirs of Sir Herbert Whitfield, sold this seat to Wil liam Austen, esq. of Hernden, in this parish. Sir Robert Austen, bart. the last of that name, resided in it, and it now belongs to his heirs, and is made use of as a boarding school for young ladies.

 

There is a large fair held in this town on the first Monday in May yearly, for cattle, wool, merchandize, and shop goods of all sorts, to which there is a great resort from all the neighbouring country. Most of the road, leading from the town to Smallhyth, particularly the upper part of it, known by the name of Broad Tenterden, is said to have been lined with buildings on each side, and to have been the most populous part of the parish.

 

THERE ARE several places in this parish worthy notice, the first of them is HALES-PLACE, at the northwest end of this town, which was for many generations the residence of a branch of the family of Hales, who removed hither from their original seat, of the same name, in the adjoining parish of Halden. Henry Hales, who lived in the reign of Henry VI. was born here, and married Juhan, daughter and heir of Richard Capel, of Tenterden, by which he greatly increased his estate in this parish. He had by her two sons, of whom John Hales, the eldest, was of the Dungeon, in Canterbury, esq. and was one of the barons of the exchequer. He had four sons, Sir James Hales, one of the justices of the common pleas, who was of the Dungeon, where his descendants continued many generations afterwards; Thomas, who was seated at Thanington, whose descendant Robert was created a baronet in 1666, and was ancestor of the present Su Philip Hales, bart. Edward, the third son, inherited this seat and his father's possessions in this parish; and William, the fourth son, was of Recolver and Nackington, in this county. Edward Hales, esq. the third son, who inherited this seat and estate at Tenterden, resided at it, and left a son Sir Edward Hales, who was created a baronet on the 29th of June, 1611. He removed his residence from hence to the neighbouring parish of Woodchurch, in which parish he possessed the antient seat of the Herlackendens, in right of his wife Deborah, only daughter and heir of Martin Herlackenden, esq. of that place. His son Sir John Hales, having married Christian, one of the daughters and coheirs of Sir James Cromer, of Tunstal, became possessed of the antient seat of the Cromers in that parish, where he resided, and died in his father's life-time, in 1639, whose son Edward Hales succeeded to the title of baronet on his grandfather's death, in 1654 whose heir he was, and resided at Tunstal. His son Sir Edward Hales, bart. having purchased the mansion of St. Stephen's, near Canterbury, resided there, as his descendants have ever since; and from him this seat and estate at Tenterden at length descended down to his great-grandson Sir Edward Hales, bart. now of St. Stephen's, who about forty-eight years ago pulled down the greatest part of this antient seat, and fitted up a smaller dwelling or farm-house on the scite of it, which, together with the antient offices or out-buildings of the mansion still remaining, continues part of his possessions.

 

HERNDEN, formerly spelt Heronden, was once an estate of considerable size in this parish, though it has been long since split into different parcels. The whole of it once belonged to a family of the name of Heronden, whose arms, as appears by the antient ordinaries in the Heralds-office, were, Argent, a heron volant, azure. At length one part of this estate was alienated by one of this family to Sir John Baker, of Sissinghurst, whose descendant Sir John Baker, knight and baronet, died possessed of it in 1661; but the capital mansion and other principal parts of it remained some time longer in the name of Heronden, one of whom, in the reign of Charles I. alienated some part of it, now called Little Hernden, to Short, a family whose ancestors had resided at Tenterden for some time. In the Heraldic Visitation of this county, anno 1619, is a pedigree of this family, beginning with Peter Short, of Tenterden, who lived in the reign of Henry VIII. They bore for their arms, Azure, a griffin passant, between three estoiles, or. At length one of them sold this part of it to Curteis, whose grandson Mr. Samuel Curteis is now in the possession of it. But the remainder of Hernden, in which was included the principal mansion, situated about a quarter of a mile southward of the town, was at the same time conveyed by sale to Mr. John Austen, the second son of William Austen, esq. of this parish, and elder brother of Robert, created a baronet anno 1660. He afterwards resided here, and dying in 1655, s. p. gave it by will to his nephew Robert Austen, esq. the second son of Sir Robert above-mentioned, by his second wife. He afterwards resided here, and had two sons, Robert and Ralph; the eldest of whom, Robert Austen, esq. resided here, and left three sons, William, of whom hereafter, and Edward and Robert, both of whom afterwards succeeded to the title of baronet. William Austen, esq. the eldest son, inherited Hernden, and in 1729, suffered a recovery of this, as well as all other the Kentish estates comprised in his grandfather's settlement of them, to the use of him and his heirs. He died in 1742, and by will devised it to Mr. Richard Righton, who afterwards resided here, and died possessed of it in 1772, and was buried, as was his wife afterwards, under a tomb on the south side of the church-yard; upon which it came into the hands of his son Benjamin Righton, esq. of Knightsbridge, who in 1782 conveyed Hernden, a farm called Pixhill, and other lands in this parish and Rolvenden, to Mr. Jeremiah Curteis, gent. of Rye, in Sussex, who finding this antient mansion, which seems, by a date remaining on it, to have been built in the year 1585, being the 28th of queen Elizabeth's reign, in a ruinous condition, pulled it down; but the scite of it, together with the lands belonging to it, still remain in his possession.

 

PITLESDEN, or Pittelesden, as it was antiently spelt, is situated near the west end of this town. It was once a seat of some note, being the residence of a family of that name, who bore for their arms, Sable, a fess, between three pelicans, or, in whose possession it continued till Stephen Pitlesden, (fn. 3) about the reign of Henry VI. leaving an only daughter and heir Julian, she carried it in marriage to Edward Guldeford, esq. of Halden, whose descendant Sir Edward Guldeford, warden of the five ports, leaving an only daughter and heir Jane, she entitled her husband Sir John Dudley, afterwards created Duke of Northumberland, to the possession of this manor, and they, in the 30th year of Henry VIII. joined in the conveyance of it to Sir Thomas Cromwell, lord Cromwell, afterwards created Earl of Essex, who passed it away by sale to that king, and it remained in the hands of the crown till king Edward VI. in his 7th year, granted it, with the pend of water, wear and fishery, with the dove-house belonging to it, and all its appurtenances, to Sir John Baker, one of the privy council, to hold in capite by knight's service, in whose family it continued till Sir John Baker, bart. of Sissinghurst, in the reign of king Charles I. conveyed it by sale to Mr. Jasper Clayton, mercer, of London. At length, after some intermediate owners, it came into the possession of Mr. William Blackmore, gent. of this place, who at his death devised it to his daughter Sarah, who entitled her husband Mr. John Crumpe, of Frittenden, to the possession of it for her life, but the remainder, on her death, is vested in her brother Mr. Thomas Blackmore, gent. now of Tenterden.

 

LIGHTS, formerly called Lights Notinden, is a small manor here, which together with another called East Asherinden, the name of which is now almost forgotten, though there was a family of this name of Asherinden, or Ashenden, as it was afterwards spelt, who were resident in this parish, and were, as appears by their wills, possessed of lands here called Ashenden, so late as the year 1595. These manors belonged partly to a chantry founded in this parish, and partly to the manor of Brooke, near Wye, which was part of the possessions of the priory of Christ-church, in Canterbury; in which state they continued till the reign of Henry VIII. when, on the suppression both of that priory and of the chantry likewise, they were granted by that king to Sir John Baker, his attorneygeneral, whose descendant Sir John Baker, of Sissinghurst, knight and baronet, died possessed of them in 1661. How long they continued in his descendants, I do not find; but the former is now-become the property of Mr. William Mantell, and the latter belongs to Mr. William Children, who has lately built a house on it, in which he resides.

 

FINCHDEN is a seat here, situated on the denne of Leigh, at Leigh-green, which was formerly in the possession of a family, who were ancestors of the Finch's, whose posterity still continued till very lately in the possession of it. They were antiently called Finchden, from their seat here; one of them, William de Fyncheden, was chief justice of the king's bench in the 45th year of the reign of Edward III. (fn. 4) though his name in some old law books, which appear to be of that time, is written contractedly Finch, which probably was the original name, though I do not find any connection between this family and the descendants of Vincent Herbert, alias Finch, seated at Eastwell and elsewhere in this county; excepting that they hear the same coat of arms. In later times I find William Finch, gent. of this place, died possessed of it in 1637, and in his direct descendants this seat continued down to Mr. William Finch, gent. who resided in it, and died possessed of it in 1794, s. p. leaving his brother Mr. Richard Finch, of Tenterden, his next heir.

 

ELARDINDEN is an estate, which was formerly of some account here, and is parcel of the manor of Frid, or Frith, in Bethersden. It was antiently part of the possessions of the noble family of Mayney. Sir John de Mayney, of Biddenden, died possessed of it in the 50th year of Edward III. and in his descendants it continued till the reign of Henry VI. when it was alienated by one of them to William Darell, esq. whose descendant George Darell, esq. conveyed it by sale in the 17th year of king Henry VIII. to Sir John Hales, of the Dungeon, in Canterbury, one of the barons of the exchequer, who gave it to his third son Edward Hales, esq. of Tenterden, in whose descendants it has continued down to Sir Edward Hales of St. Stephens, near Canterbury, the present possessor of it.

 

THE MANORS OF GODDEN AND MORGIEU are situated in the south-west part of this parish. The former of them was once in the possession of a family of that name, one of whom, Roger de Godden, paid aid for it in the 20th year of king Edward III. as one knight's fee, which he held here of Stephen de la Hey. Soon after which it seems to have passed into the possession of the family of Aucher. How long it continued in this name I have not seen; but in the 36th year of Henry VI. the executors of Walter Shiryngton, clerk, chancellor of the duchy of Lancaster, having founded a chantry in the chapel near the north door of St. Paul's cathedral, London, which, from the founder, bore the name of Shiryngton's chantry, they purchased both these manors towards the endow ment of it. (fn. 5) These manors remained part of this foundation till the suppression of it, in the 1st year of Edward VI.when coming into the hands of the crown, they were granted by the king, the year afterwards, to Sir Miles Partridge, to hold in capite by knight's service, and he sold them, in the 6th year of that reign, to Thomas Argal; and from his descendant they passed into the possession of Sir John Colepeper, afterwards created lord Colepeper, who died possessed of them in 1660; upon which they came to his second son John, who on his elder brother's death without male issue, succeeded to the title of Lord Colepeper, and dying in 1719 without issue, bequeathed these manors to his wife Frances, daughter of Sir Thomas Colepeper, of Hollingborne, who by will devised them to her nephew John Spencer Colepeper, esq. of the Charter-house, being the last of the vast possessions of the different branches of this family dispersed over this whole county. He, in 1781, alienated them to Mr. Richard Curteis, of Tenterden, the present possessor of them.

 

KENCHILL is a seat in this parish, which was formerly the property of the family of Guldeford, one of whom, Sir Richard Guldeford, knight-banneret, and of the garter, possessed it in the reign of Henry VIII. His son Sir Edward Guldeford, warden of the five ports, leaving an only daughter Jane, she carried it in marriage to Sir John Dudley, afterwards duke of Northumberland, and he, about the 30th year of king Henry VIII.'s reign, conveyed it to that king, who, in his 36th year, granted it to Thomas Argal, to hold in capite by knight's service, on whole decease his son Thomas Argal had possession granted of it, in the 6th year of queen Elizabeth. At length, after some intermediate owners, it came into the possession of Robert Clarkson, esq. of London, who sold it in 1687 to Mr. John Mantell, grazier, of Tenterden, who was one of the instances of the quick accumlation of riches from Romney-marsh; for in fourteen year she had acquired sufficient to become the purchaser of this and other estates, which rented at 800l. per annum. He devised Kenchill by will, together with the manor of East Asherinden, already mentioned before, Dumborne, and other lands in this parish, to his son Reginald, who died possessed of them in 1743, and lies buried in this church-yard. They bear for their arms, Argent, a cross between four martlets, sable, as borne by the family of Horton Monks, excepting, that the latter bore the cross engrailed; and leaving no issue, he gave them to his nephew Mr. Edward Mantell, of Mersham, who left several sons and daughters, who afterwards joined in the sale of their respective interests in them to Mr. William Mantell, the then elder brother; by which means he became entitled to the entire see of Kenchill, with the manor of East Asherinden, and resided at the former of them. He married Anne Marshall, of Mersham, and died in 1789, leaving issue several children. The Rev. Mr. Thomas Mantell, the younger brother, re-purchased Dumborne, of which he is now possessed, having married in 1788 Miss S. Horne, by whom he has one daughter.

 

THE HAMLET OF SMALLHYTH, commonly called Smallit, is situated somewhat more than three miles from the town of Tenterden, at the southern boundary of this parish, close to the old channel of the river Rother, over which there is a passage from it into the Isle of Oxney. The inhabitants were formerly, by report, very numerous, and this place of much more consequence than at present, from the expressions frequently made use of in old writings of those infra oppidum and intra oppidum de Smallhyth; the prevalent opinion being, that the buildings once extended towards Bullen westward; no proof of which, however, can be brought from the present state of it, as there remain only three or four straggling farm-houses on either side, and a few cottages in the street near the chapel. The sea came up to this place so lately as the year 1509, as is evident by the power then given of burying in this chapel-yard the bodies of those who were cast by shipwreck on the shore of the sea infra predictum oppidum de Smalhyth; which are the very words of the faculty granted for that purpose.

 

At this place A CHAPEL was built, and was soon afterwards licensed by faculty from archbishop Warham, anno 1509, on the petition of the inhabitants, on account of the distance from their parish church of Tenterden, the badness of the roads, and the dangers they underwent from the waters being out in their way thither; and was dedicated to St. John Baptist. The words of it are very remarkable: And we William, archbishop aforesaid, of the infinite mercy of Almighty God, and by the authority of St. Peter and St. Paul the apostles, and also of our patrons St. Alphage and St. Thomas, remit, &c.

 

Divine service still continues to be performed in this chapel, which is repaired and maintained, and the salary of the chaplain paid out of the rents of lands in this parish and Wittersham, which are vested in trustees; who pay him the annual produce of them, the rents of them being at this time 52l. 10s. per annum, though it is set down in Bacon's Liber Regis, as only of the clear yearly certified value of forty five pounds. The present curate is Thomas Morphett, appointed in 1773.

 

Charities.

 

JOHN WOOD, by will in 1560, gave an annuity of 40s. per annum, out of certain lands in Tenterden, now belonging to Sir Edward Hales, bart. payable to the churchwardens, towards the repair of the church; which gift is confirmed by a decree of the court of chancery; the lands being in the occupation of Richard Farby.

 

LADY JANE MAYNARD GAVE by will in 1660, thirty acres of land in Snave and Rucking, let at 24l. per annum, for putting out poor children apprentices, whose fathers are dead or otherwise disabled by sickness; the overplus to be given to poor, honest and aged widows of this parish, that have not been nor are likely to become chargeable to it.

 

MR. ANNE SHELTON, widow, by will in 1674, gave nine acres of land in Brookland and Brenset, now let at twelve guineas per annum, to the vicar and churchwardens to put out one or more children, born in Tenterden, apprentices to some honest handicrast trade.

 

DAME FRANCES NORTON, widow, sister of Judith, wife of Robert Austen the elder, of Heronden, esq. gave by deed in 1719, an estate, of 35l. per annum, in Hollingborne, for the joint benefit in equal moieties of this parish and Hollingborne. Since which, by a commission of charitable uses, in 1748 a farm of 15l. per annum, in Hucking, has been purchased and added to it; the division of the profits of which between them, and the application of them, has been already fully related under the description of the parish of Hollingborne, in the fifth volume of this history, p. 473.

 

AN ANCESTOR of the family of Heyman, of Somerfield, many years since founded the free school in this town, for teaching the Latin tongue gratis, to so many poor children of this parish as the mayor and jurats should think proper, who are trustees of it, and appoint the master; but at present there are no children on this foundation.

 

WILLAIM MARSHALL, clerk, about the year 1521, gave 10l. per ann. to be paid the master of this school, out of a messuage and twelve acres of land, in this parish, now belonging to Sir Edward Hales, bart. which was confirmed by a decree in the Exchequer, anno 4 queen Anne, and then in the occupation of Thomas Scoone.

 

JOHN MANTELL,gent in 1702, gave 200l. which was laid out in the purchasing of a piece of fresh marsh land, containing ten acres, in St. Maries, let at 10l. per annum, to be paid to the master of this school.

 

The south chancel of the church is appropriated to the use of this school.

 

TENTERDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.

 

The church, which is dedicated to St. Mildred, is a large handsome building, consisting of two isles and three chancels, having a lofty well-built tower at the west end, which standing on high ground is seen from the country for many miles around it. There are eight bells in it, and a set of musical chimes. The two isles and chancels are all ceiled; the north isle is curiously ceiled with oak and ornamented. There are three galleries in the church. On the front of the steeple are the arms of St. Augustine's monastery, and likewise on a beam over the altar. In the north window a coat, Two chevrons, gules, on a canton, gules, a lion passant, or. In the south window, at the bottom, Or, a saltier, between four mullets, sable; and another, Gules, a bend sinister azure, fretted argent. The monuments and gravestones in this church, as well as the tomb-stones in the church-yard, are so numerous as to be far beyond the limits of this volume. Among them are those belonging to the families of the Austens, Curteis's, Blackmores, Haffendens, and other families mentioned before, as the modern possessors of estates and manors in this parish.

 

Thomas Petlesden, esq. by will in 1462, appears to have been buried in the chancel of St. Catherine, and gave one hundred marcs to the steeple here, to be paid out of his land, &c. as long as it was a werking. (fn. 6)

 

Till within these few years there hung a beacon, (a very singular instance remaining of one) over on the top of this steeple. It was a sort of iren kettle, holding about a gallon, with a ring or hoop of the same metal round the upper part of it, to hold still more coals, rosin, &c. It was hung at the end of a piece of timber, about eight feet long. The vanes on the four pinnacles were placed there in 1682. There was formerly a noted dropping stone, in the arch of the door-way going into the bell-lost, which has ceased to drop for many years. By the dropping of it, part of a stone, or two stones rather, were carried off, leaving a considerable rist or hollow where the stones were joined. Upon the water drying in 1720, where it fell underneath, the stone hardened and grew slippery, being probably of the nature of the stelastical water in the Peak of Derbyshire, at Poolshole.

 

There is a noted saying, that Tenterden steeple was the cause of the Goodwin Sands—which is thus accounted for: Goodwin, earl of Kent, in the time of king Edward the Confessor, was owner of much flat land in the eastern part of it, near the isle of Thanet, which was desended from the sea by a great wall, which lands afterwards became part of the possessions of the abbot of St. Augustine's, near Canterbury still retaining the name of Goodwin, their former owner; and the abbot being at the same time owner of the rectory of Tenterden, the steeple of which church he had then began building, had employed during the course of it so much of his care and attention to the finishing of that work, that he neglected the care and preservation of that wall, insomuch, that on Nov. 3, 1099, the sea broke over and ruined it, drowning the lands within it, and overwhelming it with a light sand, still remaining on them, the place retaining to this time the name of the Goodwin Sands, and becoming dreadful and dangerous to navigators. Thus this steeple is said to be the cause of the Goodwin Sands. This is the common tradition; how far consistent with truth, so far as relates to these sands, will be taken notice of in its proper place. (fn. 7)

 

THE CHURCH of Tenterden was part of the antient possessions of the monastery of St. Augustine, to which it was appropriated in 1259, on condition of a proper portion being assigned for the maintenance of a perpetual vicar of it; and the official of the archbishop, on an inquisition concerning this vicarage, made his return that it then consisted in all tithes, obventions, and oblations belonging to the church; except the tithes of sheaves, corn, and hay, of which latter the vicar should receive yearly four loads from the abbot and convent, and that it was then valued at eighteen marcs and more per annum.

 

The abbot of St. Augustine took upon himself, about the year 1295, to constitute several new deanries, and apportioned the several churches belonging to his monastery to each of them, according to their vicinity; one of these was the deanry of Lenham, in which this church of Tenterden was included, but this raising great contests between the archbishops and them, it ended in stripping the abbot of these exemptions, and he was by the pope declared to be subject to the archbishop's jurisdiction in all matters whatsoever, which entirely dissolved these new deanries. (fn. 8)

 

This church had a manor antiently appendant to it, and on a quo warranto in the iter of H. de Stanton, and his sociates, justices itinerant, anno 7 Edward II. the abbot was allowed year and waste, and cattle called weif, in his manor of Tentwardenne among others; and those liberties, with all others belonging to the abbot and convent, were confirmed by letters of inspeximus by Edward III. in his 36th year, and likewise the additional privilege of the chattels of their own tenants condemned and sugitive, within their manor here.

 

¶In which state this church continued till the general suppression of religious houses, when it came with the rest of the possessions of the abbey of St. Augustine, anno 30 Henry VIII. into the hands of the crown, after which the king, by his dotation charter in his 33d year, settled both the church appropriate of Tenterden, with the manor appendant and all its rights and appurtenances, and the advowson of the vicarage, among other premises, on his new-founded dean and chapter of Canterbury, with whom the inheritance of the parsonage remains. After the death of Charles I. on the dissolution of deans and chapters, this parsonage was surveyed in order for sale; when it appears to have consisted of one great barn, newly erected, on a close of pasture of five acres; together with all the tithes of corn within the parish; and several rents, out of lands and tenements in Tenterden, amounting to 26s. 8d. taken in right of the parsonage, which had been let in 1640 to Sir Edward Hales, at the yearly rent of 20l. 6s. 8d. but that they were worth over and above that rent seventy-eight pounds. That the lessee was bound to repair the premises, and the chancel of the church, and provide for the dean and officers, or pay the sum of 33s. 4d. The present lessee of it is Sir Edward Hales, bart. of St. Stephens, but the advowson of the vicarage the dean and chapter retain in their own hands.

 

In 1259 this vicarage was valued at thirty marcs, and in 1342 at forty-five marcs. It is valued in the king's books at 33l. 12s. 11d.and the yearly tenths at 3l. 7s. 3½d. In 1588 there were communicants five hundred and eighty-six. In 1640 it was valued at 120l. per annum. Communicants six hundred. It is now double that value.

 

There is a modus claimed throughout the parish, in the room of small tithes.

 

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