Executor photos on Flickr

Sir Kenelm Digby by Ann Longmore-Etheridge

Sir Kenelm Digby (July 11, 1603 – June 11, 1665) was an English courtier and diplomat. He was also a highly reputed natural philosopher, and known as a leading Roman Catholic intellectual and Blackloist. For his versatility, Anthony à Wood called him the "magazine of all arts".

He was born at Gayhurst, Buckinghamshire, England. He was of gentry stock, but his family's adherence to Roman Catholicism coloured his career. His father, Sir Everard, was executed in 1606 for his part in the Gunpowder Plot. Kenelm was sufficiently in favour with James I to be proposed as a member of Edmund Bolton's projected Royal Academy (with George Chapman, Michael Drayton, Ben Jonson, John Selden, and Sir Henry Wotton).[2]

He went to Gloucester Hall, Oxford in 1618, where he was taught by Thomas Allen; but left without taking a degree. In time Allen bequeathed to Digby his library, and the latter donated it to the Bodleian.[3][4]

He spent three years in Europe between 1620 and 1623, where Marie de Medici fell madly in love with him (as he later recounted). He was granted a Cambridge M.A. on the King's visit to the university in 1624.[5] Around 1625, he married Venetia Stanley, whose wooing he cryptically described in his memoirs. He had also become a member of the Privy Council of Charles I of England. His Roman Catholicism being a hindrance in the way of government office, he switched to Anglicanism.

In 1628, Digby became a privateer, with some success: on January 18 he arrived off Gibraltar and captured several Spanish and Flemish vessels. From February 5 to March 27 he remained at anchor off Algiers on account of the sickness of his men, and extracted a promise from the authorities of better treatment of the English ships. He seized a rich Dutch vessel near Majorca, and after other adventures gained a complete victory over the French and Venetian ships in the harbour of Iskanderun on the June 11. His successes, however, brought upon the English merchants the risk of reprisals, and he was urged to depart.

He returned to become a naval administrator and later Governor of Trinity House. His wife died suddenly in 1633, prompting a famous deathbed portrait by Van Dyck and a eulogy by Ben Jonson. (Digby was later Jonson's literary executor. Jonson's poem about Venetia is now mostly lost, because of the loss of the center sheet of a leaf of papers which held the only copy.) Digby, stricken with grief and the object of enough suspicion that the Crown had ordered an autopsy (rare at the time) on Venetia's body, secluded himself in Gresham College and attempted to forget his personal woes through scientific experimentation and a return to Catholicism. At that period, public servants were often rewarded with patents of monopoly; Digby received the regional monopoly of sealing wax in Wales and the Welsh Borders. This was a guaranteed income; more speculative were the monopolies of trade with the Gulf of Guinea and with Canada. These were doubtless more difficult to police.

Digby became a Catholic once more in 1635. He went into voluntary exile in Paris, where he spent most of his time until 1660. There he met both Marin Mersenne and Thomas Hobbes.[6]

Returning to support Charles I in his struggle to establish episcopacy in Scotland (the Bishops' Wars), he found himself increasingly unpopular with the growing Puritan party. He left England for France again in 1641. Following an incident in which he killed a French nobleman, Mont le Ros, in a duel,[7] he returned to England via Flanders in 1642, and was jailed by the House of Commons. He was eventually released at the intervention of Anne of Austria, and went back again to France. He remained there during the remainder of the period of the English Civil War. Parliament declared his property in England forfeit.

Queen Henrietta Maria had fled England in 1644, and he became her Chancellor. He was then engaged in unsuccessful attempts to solicit support for the English monarchy from Pope Innocent X. Following the establishment of The Protectorate under Oliver Cromwell, who believed in freedom of conscience, Digby was received by the government as a sort of unofficial representative of English Roman Catholics, and was sent in 1655 on a mission to the Papacy to try to reach an understanding. This again proved unsuccessful.

At the Restoration, Digby found himself in favor with the new regime due to his ties with Henrietta Maria, the Queen Mother. However, he was often in trouble with Charles II, and was once even banished from Court. Nonetheless, he was generally highly regarded until his death at the age of 62 from "the stone", likely caused by kidney stones.

He published a work of apologetics in 1638, A Conference with a Lady about choice of a Religion. In it he argued that the Catholic Church, possessing alone the qualifications of universality, unity of doctrine and uninterrupted apostolic succession, is the only true church, and that the intrusion of error into it is impossible.

Digby was regarded as an eccentric by contemporaries, partly because of his effusive personality, and partly because of his interests in scientific matters. Henry Stubbe called him "the very Pliny of our age for lying".[9] He lived in a time when scientific enquiry had not settled down in any disciplined way. He spent enormous time and effort in the pursuits of astrology, and alchemy which he studied in the 1630s with Van Dyck.[10][11][12]

Notable among his pursuits was the concept of the Powder of Sympathy. This was a kind of sympathetic magic; one manufactured a powder using appropriate astrological techniques, and daubed it, not on the injured part, but on whatever had caused the injury. His book on this salve went through 29 editions.[13] Synchronising the effects of the powder, which apparently caused a noticeable effect on the patient when applied, was actually suggested in 1687 as a means of solving the longitude problem.

In 1644 he published together two major philosophical treatises, The Nature of Bodies and On the Immortality of Reasonable Souls. The latter was translated into Latin in 1661 by John Leyburn. These Two Treatises were his major natural-philosophical works, and showed a combination of Aristotelianism and atomism.[14]

He was in touch with the leading intellectuals of the time, and was highly regarded by them; he was a founding member of the Royal Society[10] and a member of its governing council from 1662 to 1663. His correspondence with Fermat contains the only extant mathematical proof by Fermat, a demonstration, using his method of descent, that the area of a Pythagorean triangle cannot be a square. His Discourse Concerning the Vegetation of Plants (1661) proved controversial among the Royal Society's members.[15] He is credited with being the first person to note the importance of "vital air," or oxygen, to the sustenance of plants.[16]

Digby is known for the publication of a cookbook, The Closet of the Eminently Learned Sir Kenelme Digbie Knight Opened, but it was actually published by a close servant, from his notes, in 1669, several years after his death. It is currently considered an excellent source of period recipes, particularly for beverages such as mead.

Digby is also considered the father of the modern wine bottle. During the 1630s, Digby owned a glassworks and manufactured wine bottles which were globular in shape with a high, tapered neck, a collar, and a punt. His manufacturing technique involved a coal furnace, made hotter than usual by the inclusion of a wind tunnel, and a higher ratio of sand to potash and lime than was customary. Digby's technique produced wine bottles which were stronger and more stable than most of their day, and which, due to their dark color, protected the contents from light. During his exile and prison term, others claimed his technique as their own, but in 1662 Parliament recognized his claim to the invention as valid.

Church of St Mary Stamford Lincolnshire by jmc4 - Church Explorer

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Underneath the arch between the north chapel and chancel, tomb of Sir David Phillip / Phelip 1450- 1506 and wife Anne Seymark 1533-1510 www.flickr.com/gp/52219527@N00/VG480o who is buried Chenies manor Bucks which she inherited ++

This was the site of a chantry set up after his death, licenced in November 1506 to David Cecille one of his executors "to fund a chantry of 2 chaplins or 1 chaplin perpetual for the good estate of the King while he lives and for his soul afterwards and for the soul of Elizabeth his late consort and the soul of the said David and of his father and mother and Anne his wife (when she dies) and all faithful with licence for the said chaplin to acquire in mortmoin lands to the value of 9l a year".

Anne was the co-heiress daughter of Thomas Seymark / Semark of Thornhaugh by Alice daughter of William Lexham

and Margaret Oldhall. She was the ward of Sir Richard Sapcote of Elton Hunts and later firstly married to his 2nd son William Sapcote having a son Guy Sapcote m Margaret daughter of Guy Wolston

Sir David & Anne m c1485 but had no children,

.Coming from a lowly welsh family Sir David served Henry Tudor (late Henry Vll) in France and fought at the Battle of Bosworth. He became a squire to the body and gentleman usher at court and steward to the kings mother Margaret Beaufort at Colley Weston palace near Stamford living nearby at Thornhaugh, He also held the office of Keeper of the Kings Swans in the waters of Lincolnshire, Northamptonshire, Cambridgeshire and Huntingdonshire and was also keeper of the royal forest of Kings Cliffe which bounded his estates and Windsor Park. .In 1499 he was sheriff of Bedford and Buckingham and a benefactor to the church of Holme in Hunts where there was a window inscription "Of your chartie pray for Sir Davy Phelip and my lady his wife, and for all benefactors of this windowe".

His nephew by marriage Richard Cecil www.flickr.com/gp/52219527@N00/z8mxo3 , father of William Cecil, Lord Burghley joined him having married advantageously Alice daughter of John Dicons alderman of Stamford by Margaret Seymark sister of his wife Anne Seymark ++

On the monument is the Dragon of Wales together with crowned Tudor Roses, and the Portcullis emblem of the Beauforts

The Semarks were out of favour after Bosworth and Annes marriage to David Phelip favoured by the Tudors and Ann's inheritance of the Cheyne fortune resulted into a family of position within the Court of Henry VIII.

www.cb5.co.uk/davidphelip.htm - Church of St Mary Stamford Lincolnshire

Wien, 1, Bezirk (the art of very historical listed buildings of Vienna), el Burgtheater (Teatro imperial de la corte) - Löwelstraße/Universitätsring/Josef-Meinrad-Platz by alfred lex

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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 .

St Nicholas, New Romney, Kent by Jelltex

Posting shots of churches we have visited has shown me that my photography has improved now I don't use the ultrawide angle lenses, so many churches need a revisit.

And with the orchid season now at an end, nearly, it is time to turn to churchcrawling.

And the easiest non-Kent church to revisit was Winchelsea, just over the border in East Sussex, also gave us the chance to call in at the fishmongers in Rye for some smoked haddock.

After the early morning coffee and then the rush round Tesco, back home to pack it all away and for me to make bacon butties and another brew.

And then: go west.

Traffic is not so mad now, so it was easy to drive to Folkestone then up the motorway to Ashford, before turning off, past the inland border facility, then out onto the Marsh past Hamstreet.

West of Brookland, the road meanders about, bend after bend, crossing and recrossing the railway until we reach Rye.

We stop to buy the fish, then round the river, over the bridge and out the other side, five miles to Winchelsea, turning off to go up the hill under the old town gate, parking near the village shop.

Whereas Rye was already busy, Winchelsea was quiet, and just past ten meaning the church had just opened.

We walk across the large churchyard through the ruins of the tower and into the church, where the triple wide nave was lines on the north and south walls with fine wall tombs.

I photograph each on in turn, and the corbel heads on each too.

I rephotograph the fine windows too, as despite being modern, they really are on another level.

One or two people come in, a family of three last 30 seconds before the mother and teenage son leave.

After completing the shots, I go out to meet up with Jools so we can walk to the shop to have ice cream, and sit to eat them on a bench looking at the north wall of the church.

After we had finished our ice creams, we climbed back in the car. It wasn't yet half ten. Time for some more churches!

So, after driving back through Rye and into Kent, we call into Brookland so I could check if the tower was open, as I have never found it open. The church was, but the candlesnuff tower was locked.

No worries, there's always New Romney.

I first came here with my friend, Simon, in 2014 when there was a formal dinner being prepared, and a year ago, we arrived just after one to find the building being locked for the day.

We parked opposite and I see the sign advertising a craft and record fair, along with refreshments.

Inside there were stall set up, and people in the Chancel drinking tea and eating cake.

I was able to get shots of some of the memorials and details, which is why I came back, really.

The fair happens on only one Saturday per month, just my luck to pick a day when it was on.

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A wonderful church of grand proportions, the exterior of which is best seen from the east where the three reticulated windows chancel and chapels of the Decorated period may be clearly seen. The nave is Norman, with interesting decoration on the arcades and solid circular piers. The church was owned by Potigny Abbey and in the thirteenth and fourteenth centuries it invested heavily in rebuilding the east end, with fine octagonal pillars, piscinae and sedilia in each of the three eastern chapels. Between the chancel and chapels are hagioscope openings. It is interesting that the floor remains unrestored, with brick, tile and old ledger slabs. This is the result of the intervention of the Society for the Protection of Ancient Buildings when John Oldrid Scott started over-restoring the church in 1878. The early aisles must have been very low as the Norman clerestory windows rise straight from the top of the arcade. The best place to see Norman work at New Romney is in the main west door where the zigzag decoration has few parallels in the county.

www.kentchurches.info/church.asp?p=New+Romney

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THE TOWN AND PORT OF NEW ROMNEY,

WRITTEN in the survey of Domesday, Romenel, lies the next adjoining southward from Old Romney, to distinguish it from which it was called New Romney. The greatest part of it is within the liberty of the cinque ports, and of the corporation of the town and port of New Romney; another part is within the level of Romney Marsh, and the liberty and jurisdiction of the justices of it; and the residue is within the level of Walland Marsh, and the jurisdiction of the justices of the county.

THE TOWN of New Romney is supposed to owe its origin to the decay of the antient port and haven of Old Romney, which being rendered useless by the withdrawing of the sea from it, that of New Romney became frequented in its stead, and being esteemed a large and commodious harbour for shipping, and the town adjoining to it increasing to a considerable size, and being well filled with inhabitants, it gained the privilege of being one of the cinque ports, and had annexed as members to it Lid, Old Romney, Dengemarsh, and Oswardestone, and that part of the parish of Promhill within this county, with which jointly it was bound to provide five ships, with twenty one men and one boy to each of them. After the battle of Hastings, William the Conqueror, on his march to Dover castle, passed this town, where he is said to have revenged himself on the inhabitants, for having killed some of his men, who by mistake had landed here. (fn. 1) After which this haven seems to have been in danger of ruin; and king Henry III. being informed of its danger of being destroyed, by stoppage from the river at Newenden, directed Nicholas de Handloe to re pair hither in person, with the sheriff of Kent and twenty four knights and lawful men, to examine into it. And among the patent rolls in the tower is one, in consequence of it, for the new making of this port. In this state New Romney, in all probability continued till king Edward I.'s reign, when the river Limen, or Rother, as it was afterwards called, being forced from its old channel hither, by a violent tempest, which destroyed likewise part of the town and several villages near it, and the sea at the same time retiring to a still further distance from it, the haven was soon irretrievably choaked up by the beach and became dry land, and the town itself never regained its former consequence; yet in the regin of king Edward the Confessor, it seems to have been of considerable note; for at the time of taking the survey of Domesday, in the 15th year of the Conqueror's reign, which was little more than fourteen years from king Edward's death, it appears by the following mention of it, that there were in it eighty-five burgesses, which belonged to the archbishop's manor of Aldington.

In Romenel there are four times twenty and five burgesses, which belonged to the archbishop's manor of Aldington, and were, and now are worth to the lord sixpounds.

Besides which, Robert de Romenel, who held the manor of Lamport of the archbishop by knight's service, had twenty one burgesses here, which belonged to that manor, and fifty which he held of the bishop of Baieux, as may be seen by the following entries in the same record:

To this manor (viz. Lamport) belong twenty-one burgesses, which are in Romenel, of whom the archbishop has three forfeitures—theft, breach of the peace, and robbery on the highway. But the king has all service from them, and they have all customs and other forfeitures for service of the sea, and they are in the king's hands .

And further, under the general title of the bishop of Baieux's possessions:

The same Robert (de Romenel) has fifty burgesses in the burgh of Romenel, and of them the king has all service, and they are quit from the service of the sea, from all custom except in three—thest, breach of the peace, and forstel .

In the time of king Edward the Confessor, and afterwards, it was forty shillings, now fifty shillings. Alsi held it of earl Godwin .

Robert de Romenel certainly took his name from his possessions in this place. He is mentioned several times in the record of Domesday. Albritha de Rumenel, in the reign of king John, was marshal of the king's birds by inheritance, and married William de Iarpenvile; their daughter and heir Alice, married Thomas Fitzbernard, to whom and their heirs for ever, on the petition of their mother, the king granted that office after her death. The latter afterwards gave to the abbot and convent of St. Augustine, for her sepulture there, twelve pounds sterling of Old Rumenell and Langport, to be received of Stephen deAudintune, or whomsoever should posses the same. (fn. 2) Camden, in his Remains, says, Sir Robert de Romney, for so the name was afterwards spelt, bore for his arms, in imitation of the family of Criol, Two chevrons, and a canton, to which he added, on the latter, three leopards faces; and so late as the 1st year of king James I. Sir William Rumney, was sheriff of London, and there are some of this name still remaining. But to return, so great a number of burgesses as one hundred and fifty-six, serves to give us an idea of its antient state and populousness, and even at the time of the dreadful tempest which caused its ruin in king Edward I.'s reign, as mentioned before, it is said to have been divided into twelve wards, and to have had in it five parish churches, a priory, and an hospital for the sick. But when the river, by so tremendous a convulsion of nature, which not only destroyed men and cattle, but whole towns and villages, had been driven from its proper channel, and its antient mouth here being stopped up, had opened for itself a nearer passage into the sea by Rye, then the sea began to withdraw itself from this town, which afterwards decayed apace, insomuch, that in king Henry VIII.'s reign the sea was two miles distant from it, and there was only one parish church remaining, and that scarce well maintained. Leland, who wrote his Itinerary in that reign, says, "Rumeney is one of the v portes, and hath bene a netely good haven, yn so much that withyn remembrance of men shyppes have cum hard up to the towne and cast ancres yn one of the church yardes. The se ys now a ii myles fro the towne so sore therby now decayed that where ther wher iii great paroches and chirches sumtyme, is now scant one wel mayteined."

There were certainly four other parish churches besides the present one of St. Nicholas, as will be further mentioned hereafter, to which, on the decay of the others about the beginning of king Henry VIII.'s reign, the parishes belonging to them were, united and made one parish, as at this time. The town stands rather higher than the neighbouring country, on a soil of gravel and sand. There are about one hundred houses in it, which are mostly modern, neatly built of brick, and sashed, and about five hundred inhabitants. It consists principally of one very wide street, well paved, running the whole length of it, and a cross street, in that part of which leading to the church stands the hall, or brotherhood-house, where the mayor, jurats, and commons of the cinque ports and two antient towns usually keep their court, called a brotherhood, of late newly built in a handsome manner, but not large enough to hold the several members to sit there with them in their court, called a guestling, which is therefore kept in the church, usually on the Tuesday after the feast of St. Margaret, being the 20th of July. In the midst of the high-street is the market-place, a neat modern building, the market being kept here weekly on a Saturday; and there is a fair held yearly on the feast of St. Laurence, now, by the alteration of the stile, on August 21. There is an establishment of the customs here, under the out-port of Dover. On the east side of the town is a large common, of about three quarters of a mile in length, called Romney Warren, belonging to the corporation, the soil of which is a deep sand, and the surface of it exceedingly uneven, and thrown up in that form, as to induce us to believe the whole of it was once covered at times by the sea, and then deserted by that inconstant element. It consists of four hundred acres of land. The rest of the grounds round the town are an entire flat of marshes, very fertile; and those on the south side especialy, have a plain appearance of having been left by the sea, and since inclosed and made pasture ground of.

THE CINQUE PORTS were in very early times enfranchised with divers privileges and customs, though of what antiquity they were, or when enfranchised, has not as yet been with any certainty discovered; and therefore; they are held to enjoy all their earliest liberties and privileges as, time out of mind, by prescription, and these were confirmed to them and their members by magna charta, by the stile of, barons of the cinque ports; and again by one general charter of king Edward I. which by inspeximus received confirmation, and sometimes additions from most of the succeeding kings and queens of this realm. New Romney being one of the cinque ports, became thus a corporation by prescription, and in Edward III.'s time was incorporated, by the stile of barons of the town and port of New Romeny; afterwards by that of jurats and commonaltie of the town and port of New Romney; and lastly, by queen Elizabeth, who by her letters patent, in her 5th year, anno 1562, again incorporated this town, by the stile of the mayor, jurats, and commonaltie of the town and port of New Romney, and she by the same letters patent ratified all the privileges which they had enjoyed in the reign of king Edward the Confessor, or any other since. And likewise granted to them the soil of the river Rother, from the entrance of its haven here to Redhill beyond Apledore. The members mentioned in this charter, being a mayor, five jurats, and twentysix freemen, or commoners. But the charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to Colonel Strode, then governor of Dover castle, and were never returned again. By the above-mentioned charter of queen Elizabeth, the corporation is governed at this time. It consists at present of a mayor, ten jurats, (the mayor being one) and fifteen commoners or freemen, together with a chamberlain, recorder, and town clerk. The mayor, who is coroner by virtue of his office, is chosen on Lady-day, March 25th, yearly, and together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of the record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the cinque ports. It has the privilege of two maces. The arms of this town and port are, Azure, three lions passant-guardant, in pale, or.

The cinque ports, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons, to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.

Charities.

MARGREAT, daughter of James Boyes, late wife of William Swan, of St. Nicholas in New Romney, by her will anno 1502, gave every year perpetual, a thousand billets, against Christmas, to be delivered among poor people. to be paid out of her principal messuage, in which the then dwelt, by the possessors of it for ever.

ADRIAN MARDEN, of the town and port of New Romney. by his will in 1554, devised his smiths shop or forge, with the garden adjoining, to the use and intent that there should yearly for ever, be distributed among the poor people of the town, in the presence of the bailiffs, jurats, and churchwardens, the yearly rent of the premises, the reparations thereof being first deducted; and in default of such distribution, or reparation, then he gave the premises to the bailiffs, &c. their successors and assigns, for ever, for the like intent and uses.

ROBERT DODD, of Lid, by his will in 1570, gave his barn and lands in the town of New Romney, to be by the mayor and three of the jurats put to farm yearly for ever, the money thereof to be bestowed upon the reparations of the church of New Romney.

JOHN SOUTHLAND, gent. of New Romney, by his will in 1610, gave all his houses, lands, and tenements, to his executor Thomas Broadnax, of Godmersham, his son-in-law, upon condition that he should make over by due course of law, to remain and continue for ever, the house wherein his schoolmaster then dwelt, and all his houses and lands in the parishes of Harrietsham, Ulcombe, and Smarden, to the only use of a schoolmaster, and the relief of two couple of poor folk, and the said houses and lands his said executor should make a body politique and incorporate, for ever to endure, for their maintenance; the schoolmaster to pay out of those lands to the poor folk, 5l. by half-yearly payments clearly, and to the churchwardens of St. Nicholas, in New Romney, 5l. by like half-yearly payments to the reparations of the church for ever; and he ordered that the schoolmaster should keep the reparations of the houses and the closures, and should teach from time to time two poor children to write and read the English tongue, and cast accoumpt, until they should come to the age of 14 years clearly; and that the poor folk and poor children should be placed and displaced by the mayor from time to time; the schoolmaster to be a scholar of Oxford or Cambridge, sufficient to teach the Latin tougue as well as the English.

This hospital and school-house is situated in St. Nicholas. and is made use of for the residence of the schoolmaster, now called the governor, and the four poor folk. It was incorporated anno 30 Elizabeth. The estates left for the support of it consist of 30 acres of land and 18 acres of wood in Smarden, and one tenement with 51 acres of land in Harrietsham, and one other tenement and 12 acres of land in Ulcombe. The Rev. William Wing Fowle, A. M. of New Romney, is now governor or schoolmaster of it.

THOMAS BAKER, by his will in 1728, gave for the benefit of the four poor persons living in Southlands hospital, to be paid half yearly for ever, the rents of 20 acres of land in Ivychurch, now of the annual product of 25l. which is given away by the mayor and jurats. Likewise 5l. per annum, being part of an annuity of IIl. per annum, out of lands formerly belonging to Epps, but now of the widow Coates, lying in Old and New Romney and Midley, to be given yearly on the 14th day of October, for the benefit of poor persons, so estimated by the mayor and jurats; the same being annually distributed by the mayor of New Romney for the time being.

The poor constantly maintained are about fifty-four.

NEW ROMNEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.

The church, which is exempt from the jurisdiction of the archdeacon, is dedicated to St. Nicholas the bishop. It is very large and handsome, consisting of three isles and three chancels, having a square tower, with four pinnacles on it, at the west end, in which hang eight bells. The church is antient, the pillars between the isles being very large, with circular arches and Saxon ornaments. The tower at the west end seems still more so, having several ranges of small circular arches on the sides, and at the bottom is a circular arch, over a door-way, with zig-zag ornaments. The stone pinnacles on the top are of unequal sizes. On the roof is a stone work, of an octagon form, carried up a few feet only, seemingly for the purpose of continuing a spire of the same form on it. The inside of the church is fitted up exceedingly handsome and elegant. In the middle chancel, on the wainscot, on one side, are painted the arms of Furnese, with the hand of Ulster, impaling Broughe, and underneath Sir Henry Furnese beautified this chancel at his cost, and made the mayor and jurats seats, 1712. On the other side are the arms of Furnese impaling Balam, and underneath, Sir Robert Furnese, bart. combaron, completed the work of this chancel, begun by his fa ther Sir Henry Furnese, in 1713. Throughout the church and chancels are numerous monuments and memorials, mostly for those who have been mayors and jurats of the town, and their families, among which are those of Wilcocke, Martin, Wightwick, Mascall, Coates, Hassenden, Brett, Bassett, Pix, Baker, Cobbe, and Bachelor. In the middle chancel is a memorial for Arthur Kight, A. M. rector and vicar of Newchurch, obt. March 18, 1765. In the south chancel, a memorial for Joseph Philpot, gent. son of Joseph Philpot, of Worde, obt. 1768. A monument in the south chancel for Thomas Lancaster, obt. 1728, arms, Lancaster, argent, two bars, gules, on a canton of the second, a lion passant of the first . A like monument for Isaac Warguin, M. D. born in France, who fled from persecution to New Romney in 1689, where he practised physic, obt. 1725. In the north chancel is a fine tomb of Bethersden marble, with the figures in brass of a man and woman, and behind her of one daughter, for Thomas Smith, jurat, obt. 1610. A tomb of black marble for Thomas Tookey, gent. jurat, and once mayor and bailiff of Yarmouth, obt. 1653, arms at the east end, Tookey, a chevron engrailed, between three estoiles of six points , impaling ermine, on a chief dancette, three crowns . A stone, with a figure in brass, for Thomas Lambarde, of Romene, obt. 1514. Several memorials for the Tookeys. A memorial for Edward Goulstone, esq. sixth son of John, of Widdall, in Hertfordshire, esq. prothonotary of the king's bench, who married Joane, daughter and heir of Thomas Tookey, gent. of Romney; she afterwards married Mr. John Goulstone, late of Tutsham hall, who lies buried here. He died leaving Edward Goulstone, of Tutsham-hall, arms, Goulstone, two bars nebule, over them, on a bend, three balls . In the north isle, several memorials for the Normans, arms, A lion rampant; and for the Durants, arms, Argent, on a cross, gules, five fleurs de lis, or. A stone, with an inscription in brass, the figure gone, for William Holyngbroke, obt. 1375, arms, A chevron, between three estoiles; and several memorials for the Wilsons.

When this town was in its most flourishing state, there were four other parish churches in it besides the present one of St. Nicholas, named St. Laurence, St. Martin, St. John, and St. Michael, all which there is frequent mention of in the several wills in the Prerogative-office, Canterbury. The last of them I find mentioned in wills in the beginning of Henry VIII.'s reign, and the three former as late as the 25th year of it, but before the end of that reign they seem to have been all disused, and the present one of St. Nicholas to have been the only one in use, and to have been accounted the only parochial church of this town and parish of New Romney. Besides the church-yard adjoining to St. Nicholas's church, there are five others belonging to it, viz. that of St. Laurence, in Mr. Russell's land, and of St. Michael in the Hardres land, both near Old Romney; of St. John, St. Martin, and another of St. Laurence converted into a garden, all three in the town of New Romney. All which are now part of the glebe belonging to the vicar of New Romney. The church of St. Nicholas seems to have had some pre-eminence over the others; for though mention is made in the several wills in the Prerogative-office, in Canterbury, of the other churches, their church-yards, and the parish priests and curates of them, yet the several vicars of this church are always stiled in them, from the year 1458 downwards, vicars of New Romney, without any other distinction.

The church of St. Nicholas, of New Romney, was antiently part of the possessions of the abbot and convent of Pontiniac, in France, who had a cell or priory here, to which abbey this church was appropriated before the 8th year of king Richard II. anno 1384, at which time the church appropriate was valued at twenty pounds perannum, and the vicarage, among the small benefices not taxed to the tenth, at four pounds. On the suppression of the above abbey, among the rest of the alien priories, in the 2d year of Henry V. anno 1414, this church, with the advowson of the vicarage, came into the hands of the crown, where it remained till Henry VI. on the petition of archbishop Chicheley, in his 17th year, settled it on the warden and fellows of All Souls college, in Oxford, with whom the parsonage appropriate, and the advowson of the vicarage, still remain.

It appears by the valuation in the king's books, taken anno 26 Henry VIII. that the several parishes before-mentioned in this town, had been before then united to the mother church of St. Nicholas, which was at that time the only parish in it, and that the churches of St. Martin and St. Laurence were accounted but as chapels of ease to it. The vicarage of St. Nicholas, with those chapels, is valued in them at 6l. 16s. 3d. and the yearly tenths at 13s. 7½d. In 1588 it was valued at ninety pounds, communicants three hundred and sixty-one. In 1640, at 105l. the like number of communicants The parsonage is usually demised by the college of All Souls to the vicar for the time being, at the yearly rent of seven pounds, which is nearly the full annual produce of it. There are seven acres of glebe land.

The vicarage of New Romney was endowed by archbishop Arundel, in 1402, and a competent portion assigned to the vicar for his maintenance.

¶There were formerly continual controversies between the vicars of New Romney and their parishioners, concerning the payment of tithes in kind, and especially for setting aside the custom for the payment of two-pence an acre in money, in lieu of tithe-wool and pasturage in kind, other tithes being paid by composition at such rates as could be agreed on; and two suits were commenced in particular, by Knight, vicar, against Brett and Clark, on the same custom, the former in 1637, and the latter in 1640, at the king's bench bar. In the first of which, the jury gave their verdict against the vicar, and in the latter he was nonsuited; but the custom in the latter trial was so plainly proved, that it has been uniformly acquiesced in by the vicars to the present time.

www.british-history.ac.uk/survey-kent/vol8/pp446-464