The Burgtheater on the 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.

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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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 .

www.mariachiproductions.org/basel2012/index.php/tournamen...

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 .

 

I visit Stockbury a lot in the spring and early summer, to see the local orchids and other wild flowers. But have only been inside the church once before, and only taken wide angle shots.

 

So, long overdue for a return.

 

Stockbury overlooks the northern end of the A249, just before it reaches the Medway towns and the M2, but is set high on the wooded down above the traffic, and although the noise never quite fades away, it is a distant hum.

 

St Mary sits on the very edge of the down, as the lane tumbles down to join the main road below, but the churchyard, and church are an oasis of calm and tranquility.

 

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A fire of 1836 and a restoration of 1851 have left their marks on this prominent Downland church. The east wall of the chancel contains three lancets, of nineteenth-century origin, which contain some lovely glass of the early years of the twentieth century. To the north and south of the chancel are transepts separated by nicely carved screens. The southern transept is the more picturesque, for its roof timbers are exposed and below, in its east wall, are three sturdy windows of which the centre one is blocked. The west end of the nave is built up to form a platform upon which stands the organ. On either side of the chancel arch are typical nineteenth-century Commandment Boards, required by law until the late Victorian era, with good marble shafting to mirror the medieval work in the chancel.

 

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

 

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STOCKBURY

IS the next parish northward from Hucking. It is called in the survey of Domesday, Stochingeberge, in later records, Stockesburie, and now Stockbury.

 

The western, which is by far the greatest part of it, lies in the hundred of Eyhorne, and division of West Kent, the remainder of it in that of Milton, and division of East Kent, over which part that manor claims, but the church and village being in the former district, the parish is esteemed as being in the former division of the county.

 

This parish lies on each side of the valley, called from it Stockbury valley, along which the high road leads from Key-street to Detling-hill, and thence to Maidstone; hence it extends on the hills on each side, for more than a mile. It lies mostly on high ground, and though exposed to the northern aspect, is not, especially on the northern side of the valley, near so bleak and cold as the parishes on the hills, lately before-described, nor is the soil, though much like them, and very flinty in general, quite so poor; and on the north side next to Hartlip and Newington, there is some land much more fertile, partaking more of the loam, and much less mixed with flints; the sides of the valley are covered with coppice woods, which extend round the western boundary of the parish, where there is some uninclosed. downe, being poor ruffit land, and a wild and dreary country.

 

On the north side of the valley, close to the summit of the hill, is the church, with the court-lodge near it, and a small distance further, on the north side of the parish, the village called Stockbury-street, in which stands the parsonage, and a little further Hill-greenhouse, the residence of William Jumper, esq. having an extensive prospect northward over the neighbouring country, and the channel beyond it, the former owners of which seat will be mentioned in the description of Yelsted manor hereafter; at a small distance southward from hence are the two hamlets of Guilsted and South-streets, situated close to the brow of the hill adjoining to the woods.

 

On the south side of the valley the woodland continues up the hills, westward of which is the hamlet of Southdean-green adjoining the large tract of woodland called Binbury wood. The manor of Southdean belongs to Mr. John Hudson, of Bicknor. On the eastern side of the woodland first mentioned is the hamlet of Pett, at the south-east boundary of the parish, which was formerly the property and residence of a family of that name, Reginald atte Pett resided here, and by his will in 1456 gave several legacies to the church towards a new beam, a new bell called Treble, the work of the new isle, and the making a new window there. Near it is a small manor called the Yoke of Hamons atte Deane, and upon these hills the small manors are frequently called Yokes.

 

There is a fair for pedlary, toys, &c. formerly on St. Mary Magdalen's day, July 22, but now by the al teration of the style, on August 2, yearly, which is held by order of the lord of the manor on the broad green before the Three Squirrels public-house in Stockbury valley.

 

On June 24, 1746, hence called the Midsummer storm, the most dreadful tempest happened that was ever remembered by the oldest man then living. The chief force of it was felt in the northern part of the middle of the county, and in some few parts of East Kent. It directed its course from the southward, and happily spread only a few miles in width, but whereever it came, its force was irresistible, overturning every thing in its way, and making a general desolation over every thing it passed. The morning was very close and hot, with a kind of stagnated air, and towards noon small, bright, undulated clouds arose, which preceded the storm, with a strong south wind; it raised a torrent, and the flashes of lightning were incessant, like one continued blaze, and the thunder without intermission for about fifteen or twenty minutes. When the tempest was over, the sky cleared up, and the remainder of the day was remarkably bright and serene. From an eminence of ground the passage of the storm might easily be traced by the eye, by the destruction it had made, quite to the sea and the waters of the Swale to which it passed. Neither the eastern or western extremities of the county felt any thing of it.

 

This place, at the time of taking the general survey of Domesday, in the year 1080, was part of the extensive possessions of Odo, the great bishop of Baieux, the Conqueror's half brother, under the general title of whose lands it is thus described:

 

The same Ansgotus, de Rochester, holds of the bishop (of Baieux) Stockingeberge. It was taxed at two sulings. The arable land is. In demesne there are two carucates, and five villeins, with nine borderers having two carucates. There is a church, and two servants, and one mill of sixty-four pence. Wood for the pannage of fifteen hogs. In the time of king Edward the Consessor, and afterwards, it was worth four pounds, now six pounds. Elveva held it of king Edward.

 

After the bishop's forfeiture of all his lands, which happened about four years afterwards, this place came into the possession of the family of Auberville, being held by them of Roger de St. John, as one knight's fee. Roger de Aubervill, for de Albrincis, was a man who held large possessions at the time of the general survey before-mentioned. William de Aubervill, his descendant, in 1192, anno 4 Richard I. founded the priory of Langdon, in this county, and his descendant of the same name died possessed of the manor of Stokinburie in the 36th year of Henry III. holding it by knight's service.

 

He left an only daughter and heir Joane, who carried it in marriage to Nicholas de Criol, a man of eminence in his time, who attending Edward I. at the siege of Carlaverock, in Scotland, was there made a knight banneret for his services performed at it, and in the 21st year of it he was allowed, by the justices itinerant, to have free-warren for all his estate here, except one plough-land, which was called Stannerland. He died possessed of this manor in the 31st year of that reign, and Philipott says many of their deeds bore teste, from their castle of Stockbury, which means no more, than its being one of the castellated seats of the family, as did his grandson John, in the 9th year of king Edward III. at which time he spelt his name Keryell.

 

After which it remained in his descendants down to Sir Thomas Kiriell, knight of the garter, eminent for his services to the house of York, during the reign of Henry VI. but being taken prisoner at the battle of Bernards-heath, near St. Albans, sought anno 38 king Henry VI. in which the Yorkists were defeated, he was, by the queen's order, beheaded, notwithstanding the king had granted him his life, when it was found by inquisition, that he held this manor of the king in capite by knight's service, by homage, and paying to the ward of Rochester castle yearly, and to the king's court of Mylton. He died without male issue, leaving two daughters his coheirs, one of whom, Elizabeth, carried this manor in marriage to John Bourchier, whom she survived, and afterwards died possessed of it in the 14th year of Henry VII. holding it in manner as before-mentioned. Soon after which it appears to have been alienated to Robert Tate, who died possessed of it in the 16th year of that reign, holding it by the like service. His descendant William Tate, who in the reign of James I. alienated it to Sir Edward Duke, of Cosington, in Aylesford, whose widow held it in jointure at the time of the restoration of king Charles II.

 

Her son, George Duke, esq. alienated it to John Conny, surgeon, and twice mayor of Rochester, and son of Robert Conny, of Godmanchester, in Huntingdonshire. John Conny, together with his son Robert Conny, of Rochester, M. D. conveyed it in 1700 to Thomas Lock, gent. of Rochester, who bore for his arms, Parted per fess, azure, and or, a pale counterchanged, three falcons, volant of the second, and his widow Prudentia, together with her three sons and coheirs in gavelkind, Robert, Thomas, and Henry, in 1723, passed it away by sale to Sir Roger Meredith, bart. of Leeds-abbey, who dying s.p. in 1738, left it by will to his niece Susanna Meredith, in tail general, with divers remainders over, in like manner as Leedsabbey before-described, with which it came at length, by the disposition of the same will, the intermediate remainders having ceased, to William Jumper, esq. of Hill-green-house, in this parish, who resided at Leeds-abbey, and afterwards joined with Sir Geo. Oxenden, bart. in whom the fee of it, after Mr. Jumper's death without male issue, was become vested, in the conveyance of this manor in fee to John Calcraft, esq. of Ingress, who died in 1772, and by his will devised it to his son John Calcraft, and he sold it in 1794 to Flint Stacey, esq, of Maidstone, the present owner of it.

 

YELSTED, or as it is spelt, Gillested, is a manor in this parish, which was formerly part of the possessions of the noted family of Savage, who held it of the family of Auberville, as the eighth part of one knight's fee. John de Savage, grandson of Ralph de Savage, who was with Richard I. at the siege of Acon, obtained a charter of free-warren for his lands here in the 23d year of Edward I. Roger de Savage, in the 5th year of Edward II. had a grant of liberties for his demesne lands here, and Arnold, son of Sir Thomas Savage, died possessed of it in the 49th year of king Edward III. and left it to his son Sir Arnold Savage, of Bobbing, whose son Arnold dying s.p. his sister Elizabeth became his heir. She was then the wife of William Clifford, esq. who in her right became possessed of this manor among the rest of her inheritance, and in his descendants it continued till the latter end of king Henry VIII.'s reign, when Lewis Clifford, esq. alienated it to Knight, whose descendant Mr. Richard Knight, gent, of Helle-house, in this parish, died possessed of it in 1606, and was buried in this church; his descendant William Knight leaving an only daughter and heir Frances, widow of Mr. Peter Buck, of Rochester, who bore for his arms, Argent, on a bend, azure, between two cotizes, wavy, sable, three mullets, or. He died soon after the death of Charles I. when she entered into the possession of this manor, after whose death her heirs passed it away by sale to Sir William Jumper, commissioner of his Majesty's navy at Plymouth. He had been knighted in 1704, for his services, as well at he taking of Gibraltar, as in the naval engagement with the French afterwards, being at both commander of the Lenox man of war, who died at Plymouth, where he was buried in 1715. He bore for his arms, Argent, two bars gemelles, sable, between three mullets of six points, pierced, gules. His son, William Jumper, esq. was of Hill-green-house, as it is now called, and died in 1736, leaving by Jane his wife, daughter of Thomas Hooper, gent. one son, William Jumper, esq. of Hill-green, likewise, who sold it, about 1757, to the Rev. Pierce Dixon, master of the mathematical free school at Rochester, and afterwards vicar of this parish, who died possessed of it in 1766, leaving it in the possession of his widow, Mrs. Grace Dixon, (daughter of Mr. Broadnax Brandon, gent. of Shinglewell), who soon afterwards remarried with Mr. Richard Hull, of London, who resided at Hill-green-house, and afterwards sold this manor, together with that seat, to William Jumper, esq. the former owner of it, who now resides here, and is the present possessor of both of them.

 

COWSTED is another manor in Stockbury, which was antiently written Codested, and was possessed by a family who took their surname from it, and resided here. They bore for their arms, Gules, three leopards heads, argent; which coat was afterwards assumed by Hengham. William de Codested died possessed of this manor in the 27th year of Edward I. holding it of the king in capite by the service of one sparrow-hawk, or two shillings yearly at the king's exchequer, as did his son William de Codestede in the 3d year of king Edward III. when it was found by inquisition, that he held this manor by the above-mentioned service, and likewise a burgage in Canterbury, of the king, of the serme of that city, and that Richard de Codestede was his brother and next heir, whose son John de Codestede, vulgarly called Cowsted, about the beginning of king Richard II.'s reign, leaving an only daughter and heir, married to Hengham, he became in her right possessed of it, and assumed her arms likewise.

 

His descendant, Odomarus de Hengham, resided here, who dying in 1411, anno 13 Henry IV. was buried in Christ-church, Canterbury, and it continued in his name till the reign of Henry. VI. when it was car ried, partly by marriage and partly by sale, by Agnes, a sole daughter and heir to John Petyte, who afterwards resided here, and dying in 1460, lies buried with her within the Virgin Mary's chapel, or south chancel, in this church. One of his descendants, in the reign of queen Elizabeth, sold it to Osborne, and Edward Osborne, gent. died possessed of it in 1622, and lies buried in the north chancel of this church. He bore for his arms, Quarterly, argent, and azure, in the first and fourth quarter, an ermine spot, sable; over all, on a cross, or, five annulets, sable; whose son, of the same name, leaving an only daughter and heir Mary, she entitled her husband, William Fagg, to the possession of it.

 

His descendant, John Fagg, esq. of Wiston, in Sussex, was created a baronet on December 11, 1660, and died in 1700, leaving three sons, Sir Robert, his successor; Charles, ancestor of the present baronet, of whom an account will be given under Chartham; and Thomas, who married Elizabeth, widow of John Meres, esq. by whom he left a son John Meres Fagg, esq. of whom an account will be given under Brenset. (fn. 1) Sir Robert Fagg, bart. his successor, left one son Robert, and four daughters, one of whom married Gawen Harris Nash, esq. of Petworth, in Sussex, and Elizabeth, another daughter, was the second wife of Sir Charles Mathews Goring, bart. of that county. Sir Robert Fagg, bart. the son, dying s.p. in 1740, devised this manor, with that of Cranbrooke, in Newington, and other estates in these parts, and in Sussex, to his sister Elizabeth, who entitled her husband Sir Charles Mathews Goring, bart. above-mentioned, to the possession of them. He left by her a son Charles Goring, esq. of Wiston, in Sussex, who sold this manor, with his other estates in this parish and Newington, to Edward Austen, esq. who is the present possessor of them.

 

IT APPEARS by the antient ledger book of the abbey of St. Austin's; near Canterbury, that the abbot and convent were antiently possessed of A PORTION OF TITHES issuing from the manor of Cowsted in Stockbury, which portion continued part of the possessions of the monastery till the dissolution of it, in the 30th year of Henry VIII. when the abbey, with all its revenues, was surrendered up into the king's hands.

 

This portion of tithes, or at least part of it, consisting of the great tithes of two hundred and thirty five acres of land, was afterwards granted in fee to Petytt, from which name it was alienated, with the manor of Cowsted, to Osborne, and it passed afterwards with it in like manor down to Sir Robert Fagg, bart. on whose death s. p. in 1740, one of his sisters entitled her husband Gawen Harris Nash, esq. by his will, to the possession of it, whose son alienated it to Charles Goring, esq. before-mentioned, and he sold it to Edward Austen, esq. the present owner of it.

 

NETTLESTED is an estate here, which by the remains of the antient mansion of it, situated in Stockburystreet, appears to have been once a seat of some note. The family of Plot, ancestors to that eminent naturalist Dr. R. Plot, possessed it, at least as early as the reign of Edward IV. when William Plot resided here, where his descendants continued till Robert Plot, gent. of Nettlested, having, in the 2d year of queen Elizabeth, purchased Sutton barne in the adjoining parish of Borden, removed thither. His heirs alienated Nettlested to Mr. Richard Allen, of Stockbury, whose descendant Thomas Allen, afterwards, with Gertrude his wife, anno 9 George I. alienated it to Mr. John Thurston, of Chatham, whose son Mr. Thomas Thurston, of that place, attorney-at-law, conveyed it to that learned antiquary John Thorpe, M. D. of Rochester, who died possessed of it in 1750, and was buried in the chancel belonging to this estate, on the north side of Stockbury church. He left one son John Thorpe, esq. of Bexley, whose two daughters and coheirs, Catherina-Elizabeth married to Thomas Meggison, esq. of Whalton near Morpeth, in Northumberland, and Ethelinda-Margaretta married to Cuthbert Potts, esq. of London, are the present possessors of it. (fn. 2)

 

THERE is a portion of tithes, which consists of those of corn and hay growing on forty acres of the lands belonging to the estate of Nettlested, which formerly belonged to the almonry of St. Augustine's monastery, and is called AMBREL TANTON, corruptly for Almonry Tanton. After the dissolution of the above-mentioned monastery, this portion was granted by Henry VIII. in his 36th year, to Ciriac Pettit, esq. of Colkins, who anno 35 Elizabeth, passed it away to Robert Plot; since which it has continued in the same succession of owners, that Nettlested, above-described, has, down to the two daughters and coheirs of John Thorpe, esq. of Bexley, before-mentioned, who are the present owners of it.

 

Charities.

A PERPETUAL ANNUITY of 2l. 10s. per annum was given in 1721, by the will of Mrs. Jane Bentley, of St. Andrew's, Holborne, and confirmed by that of Edward Bentley, esq. (fn. 3) her executor, payable out of an estate in the parish of Smeeth. which was, in 1752, the property of Mrs. Jane Jumper, and now of Mr. Watts; to be applied for the use of three boys and three girls, to go to school to some old woman in this parish, for four years, and no longer, and then 40s. more from it to buy for each of them a bible, prayer-book, and Whole Duty of Man.

 

MR. JAMES LARKIN, of this parish, gave by will an annuity, payable out of the lands of Mr. James Snipp, to the poor of this parish, of 1l. per annum produce.

 

SIX ACRES OF LAND, near South-street, were given by a person unknown to the like use, of the yearly produce of 2l. 8s. vested in the minister and churchwardens.

 

AN UNKNOWN PERSON gave for the use of the poor a cottage on Norden green, in this parish, vested in the same, of the annual produce of 1l.

 

AN UNKNOWN PERSON gave for the like use a field; containing between two and three acres, lying near Dean Bottom, in Bicknor, now rented by Robert Terry, vested in the same, and of the annual produce of 12s.

 

A COTTAGE in the street was given for the use of the poor, by an unknown person, vested in the same, and of the annual produce of 1l.

 

The number of poor constantly relieved are about thirty-six, casually fifteen.

 

STOCKBURY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

The church, which is both large and losty, is very antient, and consists of a middle and two narrow side isles, a high chancel, and two cross ones. The pillars and arches in it are more elegant than is usual in country churches, and the former, on the north side, are of Bethersden marble, rude and antient. It has a square tower at the west end, in which hangs a peal of six bells, and is dedicated to St. Mary Magdalen. In the great chancel lie buried several of the Hoopers, Knights, Bentleys, and Jumpers. The south chancel belongs to the Cowsted estate, in which lie buried the Pettits and Osbornes, and in the north chancel belonging to the Nettlested estate, Dr. Thorpe and his wife, formerly owners of it.

 

The church of Stockbury was part of the antient possessions of the priory of Leeds, to which it was given, soon after its foundation, by William Fitzhelt, the patron of it.

 

Hubert Walter, archbishop of Canterbury, in the reign of king Richard I. confirmed this gift, and appropriated this church to the use of the priory, reserving, nevertheless, from the perpetual vicar of it, the annual pension of one marc, to be paid by him to the prior and convent. Edmund, archbishop of Canterbury, confirmed the above in 1237, anno 22 Henry III. and granted to them the further sum of ten marcs from it, to be paid half yearly by the vicar of it, (fn. 4) which grants were further confirmed by the succeeding archbishops.

 

The church and vicarage of Stockbury remained part of the possessions of the above-mentioned priory till the dissolution of it, in the reign of Henry VIII. when it came, with the rest of the revenue of that house, into the king's hands.

 

After which, the king, by his donation-charter, in his 33d year, settled both the parsonage and advowson of the vicarage of the church of Stockbury on his newerected dean and chapter of Rochester, with whom they now remain.

 

¶On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed, by order of the state, in 1649, when it was returned, that the rectory or parsonage of Stockbury, late belonging to the dean and chapter of Rochester, consisted of a fair dwelling-house, dove house, and other necessary buildings, yards, &c. and the tithes belonging to it, all which were valued at eighty pounds per annum, and the glebe-lands, containing one hundred and forty-four acres, were worth, with the above, 132l. 10s. all which premises were let by the dean and chapter, anno 16 king Charles I. to John Hooper, for twenty-one years, at the yearly rent of 14l. 5s. 4d. That the lesse was bound to repair the chancel; and that the vicarage was excepted, worth fifty pounds per annum. (fn. 5)

 

The presentation to the vicarage of this church is reserved by the dean and chapter, in their own hands; (fn. 6) but the parsonage continued to be leased out to the family of Hooper, who resided there; several of whom lie buried in this church, particularly John, son of James Hooper, gent. of Halberton, in Devonshire, which John was receiver of the fines, under king Philip and queen Mary, for the Marches, of Wales, and died in 1548. He married Frances, daughter of Sir Thomas Roberts, of Glassenbury. At length, by marriage of one of the daughters of Walter Hooper, esq. it passed to William Hugessen, esq. eldest son of John Hugessen, esq. of Stodmarsh. He resided here till his father's death, when he removed to Stodmarsh, and he is the present lessee of this parsonage, under the dean and chapter.

 

www.british-history.ac.uk/survey-kent/vol5/pp572-585

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

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

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.

 

St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.

 

We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.

 

Dead on time the warden arrived, and was very welcoming indeed. They loved to have visitors she said. Now I know how to contact them, I can see that.

 

She was clearly proud of the church, and rightly so, most impressive was the south chapel with a pair of kneeling couples on top of chest tombs, staring at each other for all eternity.

 

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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.

 

After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.

 

This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.

 

The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.

 

In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).

 

The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.

 

www.faversham.org/community/churches/throwley.aspx

 

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TQ 95 NE THROWLEY THROWLEY

ROAD

(west side)

4/181

Church of

St. Michael

and All

24.1.67 Angels

 

GV I

 

Parish Church. C12, C13 north chapel, C14 south chapel, C15

nave arcades, restored 1866 and tower heightened. Flint and

plain tiled roofs. Chancel, north and south chapels, nave and

aisles, south tower and south porch. West doorway, C12, with

attached shafts and 3 orders, the outer panelled with X's on

circles, the centre roll moulded with the blocks offset and

alternately projecting, the inner with more X's on circles,

with 2 offset buttresses either side of doorway. South aisle

with plinth, string course and parapet, 3 offset buttresses and

C15 Perpendicular windows. South tower of 2 stages with square

south-eastern stair turret and C16 moulded brick surround

sundial. Water spouts on each corner in the 4 Evangelical

symbols. Half-timbered C19 south porch, south doorway with

rolled and double hollow chamfered surround, and outer surround

with label and quatrefoil spandrels. North aisle under 1 roof

with nave, with C15 fenestration, and C19 chimney to north west.

North and south chapels with C14 cusped 'Y' tracery fenestration,

with hollow chamfered and ogee drip moulds. Chancel east

window C19 curvilinear style. Interior: 2 bay nave arcades,

double hollow chamfered arches on octagonal piers. C12 single

arches to north and south eastern bay, that to south recessed

and double chamfered through tower wall. Barrel roof.

Chamfered arch on corbels from south aisle to tower, itself

with corbel table on south wall, and triple arch through to south

chapel C19 chancel arch. Chancel with 2 bay double chamfered

arcade to north chapel with octagonal capitals on round piers, and

single double chamfered arch on round responds to south chapel.

Fittings: hollow chamfered piscina and sedile in window reveal in

chancel and cusped recess in north wall. C19 reredos and altar

rail. Cusped piscina and four centred arched wall recess in

south chapel. Choir stalls, some C19, the four on the south C15

with carved misericords. Monuments: south chapel C16 chest tomb,

with shields in panelled sides, moulded plinth, lozenge-shaped

flowers, fluting and frieze. Chest tomb, Sir George Sondes,

Earl of Faversham, d.1677. Black marble with blank panelled sides.

Inscription on the top panel (made 1728). Standing monument,

Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with

achievements on side panels. Kneeling alabaster figures of

knight and his Lady on opposite sides of central prayer desk,

carrying inscription. Mary Sondes, died 1603. Smaller and

identical to Sir Thomas Sonde's monument, with 2 adults and 2

infant sons and daughters on either side of sarcophagus. Misplaced

scrolled and enriched carved achievement on floor to east of

those monuments. Wall plaque, Captain Thomas Sondes, died 1668.

Black and white marble, with draped apron, swagged and draped

sides with military trophies. Broken segmental pediment with male

bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).

North chapel C16 chest tomb, moulded plinth, panelled sides with

shields (1 panel reset in south chapel south wall). Early C16

tomb recess with moulded jambs, with rope work, crenellated,

with late Perpendicular motifs in spandrels, and tomb with 3

panelled recesses with 2 shields on each panel. Wall plaque,

Charles Harris, d.1814, by Flaxman. White plaque on white

background; dead soldier lifted from the grave by Victory, with

palms and cannon in background. Statue, to George, first Lord

Harris, life size soldier with sword and plans, on four foot

plinth. By George Rennie, 1835. Nave, wall plaque, Stephen

Bunce, d.1634. Black plaque on coved base and apron. Foliated

sides. Scrolled nowy cornice and pediment with achievement.

(See B.O.E. Kent II, 1983, 476-7.)

  

Listing NGR: TQ9883454254

 

www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...

 

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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.

 

THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)

 

There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.

 

About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.

 

THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.

 

The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.

 

In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.

 

MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.

 

THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:

 

Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.

 

On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.

 

After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.

 

In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.

 

William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.

 

His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.

 

He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.

 

Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.

 

Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.

 

The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.

 

WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.

 

On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.

 

On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.

 

There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.

 

BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)

 

John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.

 

IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.

 

There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.

 

The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)

 

In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.

 

The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)

 

This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.

 

The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.

 

THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.

 

The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.

 

Charities.

 

CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.

 

THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.

 

The poor constantly relieved are about thirty, casually double that number.

 

THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.

 

There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.

 

In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.

 

It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.

 

An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.

 

¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.

 

A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)

 

It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.

 

In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.

 

www.british-history.ac.uk/survey-kent/vol6/pp445-461

The days drag and the weeks fly by.

 

It has been a grim week at work, and yet the weekend is here once again.

 

The cold snap is still here; thick frosts and icy patches, but Sunday afternoon storms will sweep in from the west and temperatures will soar by day to 13 degrees.

 

But for now it is cold, and colder at nights, the wood burner makes the living room toasty warm, though the rest of the house seems like a fridge in comparison.

 

Even though we went to bed at nine, we slept to nearly half seven, which meant we were already later than usual going to Tesco.

 

We had a coffee first, then got dressed and went out into the winter wonderland.

 

Tesco was more crowded mainly because we were an hour later. There were no crackers for cheese, a whole aisle empty of cream crackers and butter wafers.

 

There is only so much food you can eat even over Christmas, so the cracker-shortage won't affect us, we have two Dundee cakes, filling for two lots of mince pies and pastry for five lots of sausage rolls.

 

We won't starve.

 

We buy another bag of stuff for the food bank, try to get two weeks of stuff so we wont need to go next weekend, just to a farm shop for vegetables, and the butcher for the Christmas order, though on the 25th we are going out for dinner to the Lantern.

 

Back home for fruit, then bacon butties and another huge brew. Yes, smoked bacon is again in short supply, with just the basic streaky smoked available, but we're not fussy, so that does the trick.

 

Also, Jools picked up her inhalers for her cough, and so, we hope, the road to recovery begins.

 

What to do with the day?

 

Although a walk would have been good, Jools can do no more than ten minutes in freezing conditions before a coughing fits starts, so a couple of churches to revisit and take more shots of.

 

First on the list was St Leonard in Upper Deal. A church I have only have been inside once. As it was just half ten, there should have been a chance it was open, but no. We parked up and I walked over the road to try the porch door, but it was locked.

 

No worries, as the next two would certainly be open.

 

Just up the road towards Canterbury is Ash.

 

Ash is a large village that the main roads now bypass its narrow streets, and buses call not so frequently.

 

The church towers over the village, its spire piercing the grey sky. We park beside the old curry hours than burned down a decade ago, is now a house and no sign of damage.

 

indeed the church was open, though the porch door was closed, it opened with use of the latch, and the inner glass door swung inwards, revealing an interior I had forgotten about, rich Victorian glass let in the weak sunlight, allowing me to take detailed shots. It was far better and more enjoyable than I remembered.

 

Once I took 200 or so shots, we went back to the car, drove back to the main road, and on to Wingham, where the church there, a twin of Wingham, would also be open too.

 

And it was.

 

The wardens were just finishing trimming the church up, and putting out new flowers, it was a bustle of activity, then one by one they left.

 

got my shots, and we left, back to the car and to home, though we did stop at he farm shop at Aylsham, and all we wanted was some sweet peppers for hash.

 

We went in and there was the bakery: I bought two sausage rolls, four small pork pies and two Cajun flavours scotch eggs. We got cider, beer, healthy snacks (we told ourselves) and finally found the peppers.

 

Three peppers cost £50!

 

Then back home, along the A2.

 

And arriving back home at one. We feasted on the scotch eggs and two of the pork pies.

 

Yummy.

 

There was the third place play off game to watch on the tellybox, the Football league to follow on the radio. We lit the woodburner and it was soon toasty warm.

 

At half five, Norwich kicked off, and hopes were high as Blackburn had not beaten us in over a decade.

 

And, yes you guessed it, Norwich lost. Played poorly, and in Dad's words, were lucky to get nil.

 

Oh dear.

 

Oh dear indeed.

 

We have Christmas cake for supper, and apart from the football, as was well with the world.

 

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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.

 

www.kentchurches.info/church.asp?p=Ash+2

 

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ASH

LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.

 

The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.

 

There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.

 

William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.

 

In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.

 

¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.

 

f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.

 

This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.

 

Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.

 

The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.

 

In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.

 

Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.

 

It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.

 

The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.

 

The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.

 

During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."

 

The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.

 

The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.

 

The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.

 

It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.

 

Charities.

A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.

 

Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.

 

John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.

 

Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.

 

Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.

 

The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.

 

There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.

 

There is a charity school for boys and girls, who are educated, but not cloathed.

 

The poor constantly relieved are about seventy-five, casually fifty-five.

 

This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.

 

In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.

 

John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)

 

The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.

 

¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.

 

www.british-history.ac.uk/survey-kent/vol9/pp191-224

The news was that Jools' cough was little better. She got a mail back from the surgery on Friday saying her (non-urgent) appointment with the doctor was on December 14th. But as we were going to Tesco, she would have a chat with the pharmasist and see about some of the behind the counter stuff.

 

Winter has arrived, though no snow as yet, but the wind is set in the east, its cloudy and feels raw outside.

 

I would spend part of the day churchcrawling.

 

After shopping.

 

We go to Tesco, Jools really only coming so she could get something for her cough.

 

With a few bottles of tripel and cider we managed to spend £140. A bag of rice, not white easy cook rice I'll admit, but that's £4.50 now.

 

Wow.

 

Back home with the shopping and a bottle of serious cough syrup, we put the shopping away and have breakfast.

 

No surprise then that Jools wasn't coming out with me, she wanted to get the cough under control, would only take the new syrup when needed as it can make you drowsy.

 

I had a list of churches, and first up was our local one, St Margaret.

 

They were having a craft day. I thought it might be a fayre, but was a kid's craft day. Anyway, the church would be open and I could take shots of the memorials and windows.

 

There were pagan heads at the top of each column, and as corbel stones. The more I looked, the more pagan heads, even at the top of two of the columns, but not all.

 

No real ancient glass, but good quality Victorian.

 

The church itself is the triumph, being an early Norman and well preserved.

 

Although, sadly, the tower is in poor repair and needs reroofing, which is why it is currently encased in scaffolding.

 

I am sure when we called in at Barham last week, a sign said there was a craft fayre on, so would be open. I would go back, and get some shots, I thought.

 

Its a half hour drive, if that out of Dover down the A2 and off at the Wingham turning, down the valley and parking outside the church, its spire pointing to heaven.

 

Inside the church there was no fayre again, just a warden showing a lady round. We all said "hello", and I went about getting shots.

 

I have been here at least three times, but now take the big lens to get details of the windows and memorials high up, so there are always new details to reveal.

 

Star item is the window of St George and the dragon, though is hidden in the north-west corner, and best viewed from the stairs to the belltower.

 

After 20 minutes, the visitor left and the warden turned off the lights, forgetting I was there, but I had my shots.

 

From Barham its a short drive to Bridge, then along the Nailbourne to Patrixbourne, where I see the door was open, but I had another target: Bekesbourne, the next village along, crossing the dry bed of the bourne, stopping on the lane outside the church. I look left to the Old Palace, but there were no cars parked there, so no point of even knocking, I drove on.

 

Instead of turning left back to Bridge, I turn right towards Littlebourne, no real idea where I was going.

 

Littlebourne could wait for another time, I only went back there in 2020, I went to Wingham, driving on towards Sandwich.

 

I thought, it's a long time since I was at Woodnesborough, I could cut through Ash and go there.

 

Which is what I did.

 

I could have stopped at Ash too, that's usually open, but there'll be other times. I have been there twice and got good shots last time for sure.

 

From Ash, the road climbs, leading to Woodnesborough, Woden's Hill, where there was a hill fort in antiquity. The church is on the highest point, overlooking the marshes of the old Wantsum Channel, and on to Sandwich which when the Channel was still flooded, was on a spit of land.

 

The church is a marker for miles around due to its cupola, something is shares with Ringwould near to home.

 

Inside it was so dark, I thought I would need to find the lights, but I could not find them. So, I hoped the camera would cope without.

 

It did.

 

But again, I was here really to record the windows, which were rich in detail. I took 215 shots here, 560 in a morning at three churches.

 

Not bad.

 

But I was done, what light there was, was fading, even though it was only just after one. I would go home.

 

Once home I got busy.

 

I have a taste for beans. Not baked beans, but Boston Beans. I had a recipe, and we got the ingredients that morning, so went about making a huge panful. Three tins of haricot beans, tomatoes, stock, spices, bacon, pork belly, mustard, and black treacle.

 

Cooked on the hob for an hour, then cooked long and low in the oven for four hours.

 

What came out looked and tasted like fine Boston Beans. We will be eating these for weeks.

 

At the same time I make fritters.

 

The plan was to be all cooked and eaten before the football began at three.

 

I did it with half an hour to spare, the leftover wine drunk too, meaning I would struggle to stay awake for Holland v USA game. Netherlands win pretty comfortably.

 

And in the evening, with a soundtrack of funk and soul thanks to Craig, I watch Argentine v Australia, which was a stunning game.

 

Even better, I sat on the sofa to watch, Cleo eyed me as if to say how dare you take my chosen sleeping place. But she came over, paced around, then lay between the arm of the sofa and my leg. Scully lay on the other side. I had 50% of the household cats.

 

Happier than I have been for ages.

 

Best of all was that the syrup worked, stopped the coughing, and Jools fell asleep right off.

 

------------------------------------------------

 

A morning out, revisiting some familiar fairly local churches.

 

Final visit was to Woodnesborough, aka Woden's Hill, near to Sandwich.

 

It was open, but no light switch that could be found meant that the church was dark, but the camera coped well.

 

Woodnesborough sits on the highest point near to the coast, its cupola marking the spot, and visible for miles in all directions.

 

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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.

 

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

 

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WOODNESBOROUGH,

¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.

 

art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.

 

There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.

 

THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.

 

At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.

 

In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.

 

¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.

 

This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.

 

In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.

 

The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.

 

There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.

 

The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.

 

Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.

 

There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)

 

¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)

 

www.british-history.ac.uk/survey-kent/vol10/pp121-144

  

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

Visual review.

- Bag 5.

Richard Rich, 1st Baron Rich (1496/7 - June 12, 1567), was Lord Chancellor during the reign of King Edward VI of England. He was the founder of Felsted School in Essex in 1564.

 

Many people will know of him from the play and film A Man for All Seasons, although there is some dispute about whether this was entirely fair in its treatment of Richard. In the 1966 film he was played by John Hurt, and by Jonathan Hackett in the 1988 TV-movie.

 

Thomas More told Rich at the time of More's trial that he was reputed light of his tongue, a great dicer and gamester, and not of any commendable fame; but he was a commissioner of the peace in Hertfordshire in 1528, and in the next autumn became reader at the Middle Temple.

 

He was the son of John Rich of Penton Mewsey, Hampshire and Agnes Rich. He was described as being 54 in 1551 which gives him a birth year of around 1497. He may have had connections with a Rich family prominent in the Mercer's Company in the 15th Century but early pedigrees linking him to a Richard Rich of St Lawrence Jewry are incorrect. Rich may well have grown up in London, as Thomas More at his trial said that he knew him. Beyond that we have little knowledge of his early life.

 

He may have studied at Cambridge before 1516. In 1516 he entered the Middle Temple as a lawyer and at some point between 1520 and 1525 he was a reader at the New Inn. By 1528 we know that Rich was in search of a patron and wrote to Cardinal Wolsey, in 1529, Thomas Audley succeeded in helping him get elected as an MP. As Audley's career advanced in the early 1530s so did Rich's through a variety of legal posts, before he became truly prominent in the mid-1530s.

 

Rich became the chancellor (April 19, 1536) of the Court of Augmentations established for the disposal of the monastic revenues. His own share of the spoil, acquired either by grant or purchase, included Leez (Leighs) Priory and about a hundred manors in Essex. Rich also acquired -- and destroyed -- the real estate and holdings of the Priory of St Bartholomew-the-Great in Smithfield. He built the Tudor-style gatehouse still surviving in London as the upper portion of the Smithfield Gate.[2] He was Speaker of the House of Commons in the same year, and advocated the king's policy. In spite of the share he had taken in the suppression of the monasteries, and of the part he was to play under Edward VI, his religious convictions remained Roman Catholic. His testimony helped the conviction of Thomas Cromwell and Rich was an participant in the only torture of a noble woman known at the Tower of London. Anne Askew stated that the Chancellor Wriothesley and Rich screwed the rack at her torture with their own hands.

 

Rich was an executor of the will of King Henry VIII, on which much suspicion has been thrown, and on February 26, 1548 he became Baron Rich of Leez. In the next month he succeeded Wriothesley as chancellor, an office in which he found full scope for the business and legal ability he undoubtedly possessed. He supported Protector Somerset in his reforms in church matters, in the prosecution of his brother Thomas Seymour, and in the rest of his policy until the crisis of his fortunes in October 1549, when he deserted to Warwick (afterwards Northumberland), and presided over the trial of his former chief. His daughter had married Warwick's eldest son, Henry (1526-1544/5; died at Boulougne). He was one of the subscribers of the device of 21 June 1553 settling the crown on Lady Jane Grey, but swiftly abandoned his support (as indeed almost everyone did). During the final years of Henry's, Edward's, and Mary's reigns, he was in favor of whatever religion was in power; he was not Catholic enough to oppose the persecution of the Church under Somerset and Northumberland, and he enthusiastically persecuted Protestants during Mary's reign.

 

Rich took part in the prosecution of bishops Stephen Gardiner and Edmund Bonner, and had a role in the harsh treatment accorded to the future Mary I of England. However, Mary on her accession showed no ill-will to Rich. He retired from the chancellorship on the grounds of ill-health in the close of 1551, at the time of the final breach between Northumberland and Somerset. He was now sixty years old, and there is no reason to suspect the sincerity of his plea. There is an improbable story, however, to the effect that Rich warned Somerset of his danger in the Tower of London, and that the letter was delivered by mistake to Thomas Howard, 3rd Duke of Norfolk, who handed it to Northumberland.

 

Lord Rich took an active part in the restoration of the old religion in Essex under the new reign, and was one of the most active of persecutors. His reappearances in the privy council were rare during Mary's reign; but under Elizabeth he served on a commission to inquire into the grants of land made under Mary, and in 1566 was sent for to advise on the question of the queen's marriage. He died at Rochford in Essex, on 12 June 1567, and was buried in Felsted church.

 

In Mary's reign he had founded a chaplaincy with provision for the singing of masses and dirges, and the ringing of bells in Felsted church. To this was added a Lenten allowance of herrings to the inhabitants of three parishes. These donations were transferred in 1564 to the foundation of Felsted School for instruction, primarily for children born on the founder's manors, in Latin, Greek and divinity. The patronage of the school remained in the family of the founder until 1851. By his wife Elizabeth Jenks, or Gynkes, he had fifteen children. The eldest son Robert (1537?-1581), second Baron Rich, supported the Reformation. One grandson, Richard Rich, was the first husband of Catherine Knyvet and another grandson Robert, third lord, was created Earl of Warwick in 1618.

1st Street at 2nd Avenue.

 

Independence was founded in 1847 near the center of present-day Buchanan County. The original town plat was a simple nine-block grid on the east side of the Wapsipinicon River. The town was intended as an alternative to Quasqueton (then called Quasequetuk), which was the county seat prior to 1847. The village of Independence had fewer than 15 persons when the county seat was transferred there.

 

1867 Wapsipinicon Mill

 

On Main Street, on the west bank of the Wapsipinicon, a six-story grist mill was built in 1867. Some of its foundation stones were taken from that of an earlier mill, the New Haven Mill, built in 1854, that was used for wool processing. (Prior to the incorporation of Independence in 1864, a short-lived neighboring village, called New Haven, had grown up on the west side of the river, hence the name New Haven Mill.) The 1867 mill, now called the Wapsipinicon Mill, was a source of electrical energy from 1915 to 1940. Some structural restoration occurred in recent years, and the mill now functions partly as an historical museum.

 

A courthouse was built in 1857, on the east side of the town, on a site described at that time as "the highest tract of land in the neighborhood," where offers "a fine view of the city of Independence, the Valley of the Wapsipinicon, and the surrounding Country". The original courthouse was replaced in 1939 by a Moderne or Art Deco structure.

 

Among the town's distinctions has been the long-term presence of the Independence State Hospital (formerly called the Iowa State Hospital for the Insane), located on a large, remote tract of land on the west edge of town. The recently restored main building, called the Reynolds Building (made of "native prairie granite" in French Second Empire style), was built in 1873. Today it is open to the public for scheduled tours.

 

For a few years in the late 1880s and early 1890s, Independence was a nationally-known horse-racing center, and was sometimes referred to as the "Lexington of the North". This came about as a result of the meteoric financial success of Charles W. Williams. A telegraph operator and creamery owner from nearby Jesup, Iowa, Williams (with no experience in breeding horses) purchased in 1885 two mares, each of which within a year gave birth to a stallion. These two stallions, which Williams named Axtel and Allerton, went on the set world trotting records, with the result that Williams' earnings enabled him to publish a racing newspaper titled The American Trotter, to build a large three-story hotel and opera house called The Gedney, and to construct a figure-eight shaped race track on the west edge of town, on a large section of land called Rush Park, where he also built a magnificent horse barn, his family mansion, and peripheral structures. The burgeoning community was soon home to other mansions, churches, and even a trolley-car service. Williams went on to raise other record-breaking horses, but he lost much of his fortune in the Panic of 1893. Williams subsequently moved to Galesburg, Illinois, where (among other things) he became acquainted with the young Carl Sandburg (as mentioned in Sandburg's autobiography, Always the Young Strangers). Today, the location of Williams' race track (which was the original site of the Buchanan County Fairgrounds) is a corn field. His house is still standing, but, in recent years, the Rush Park barn was demolished by a bulldozer, to make way for a fastfood drive-in and an auto parts store. In the years that followed the race track days, the town lost most of its importance when the railroad terminal at Independence was pushed further west to Waterloo, Iowa.

 

It is not widely known that Independence has an historical connection with the American-born writer Gertrude Stein. While living in Paris, Stein became close friends with an American expatriate painter named William Edwards Cook, who was born in Independence in 1881. It was Cook who taught Stein how to drive (so that she could transport supplies for the French during World War I). In her second autobiography, titled Everybody’s Autobiography, she talks about her fondness for the state, and for Cook’s hometown in particular, which she had never visited (although, as a child in San Francisco, she was well aware of the town's sudden celebrity as a horse racing center). Her fondness for Iowa is also partly attributable to her close friendship with American writer Carl Van Vechten (who would become her literary executor), who had grown up in nearby Cedar Rapids, Iowa. In 1933, when Stein traveled throughout the U.S. on a book publicity tour, she eagerly agreed to speak at Iowa City (on the second floor of what is now the Prairie Lights Bookstore), with the provision that she would be able to fly over Independence, to see Cook’s birthplace from the air. Unfortunately, the Midwest was hit by a major winter storm that day, and Stein’s visit to Iowa was entirely cancelled. Cook himself had returned to Independence for an extended visit in 1925, to assist in settling the affairs of his father, an Independence lawyer who had died the year before. When Cook returned to Paris, he used part of his inheritance to commission a young architect named Le Corbusier to design, on the outskirts of Paris, what is now considered to be the first Cubist house, called Maison Cook or Villa Cook.

 

The race track at Rush Park has also the distinction of being the site of the first one-mile bicycle speed record of under two minutes, which was set in 1892 at Independence by John S. Johnson.

 

Of additional interest are several other buildings of historic and architectural value. Among these are the Christian Seeland House and Brewery at 1010 4th Street Northeast (1873), an Italianate style mansion and brewery; Saint John's Roman Catholic Church at 2nd Street and 4th Avenue Northeast (1911); the Independence Free Public Library, formerly the Munson Building, at 210 2nd Street Northeast (1893–95); Saint James Episcopal Church on 2nd Avenue Northeast, just north of 2nd Street (1863, 1873); and the United States Post Office Building at 2nd Street and 2nd

 

Avenue Northeast (1934), not for its architecture, but because hanging inside in the lobby is a WPA mural from the 1930s, titled Postman in the Snow, painted by a former Independence resident named Robert Tabor. About 10 miles east of Independence, south of U.S. Highway 20, near Quasqueton, is the Lowell Walter house or Cedar Rock, a state-owned Frank Lloyd Wright house that is open to the public from May through October.

 

The Burgtheater on the 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. 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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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, 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.

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

 

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

 

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

 

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

 

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

 

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

 

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

 

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

I headed north out of Acle, en route to Trunch, but with the intention of investigating any towers or signs pointing to a church I might come across. And in only a few minutes there was a sign pointing to a church, which turned out to be St Peter.

 

There was a young chap, younger than me anyways, attending to the churchyard, pruning an errant bush, and we passed the time remarking what a fine day it was to be about, and nothing could be better on such a day than a bit of churchcrawling.

 

As far as Norfolk churches go, I suppose St Peter isn't remarkable. It would be easy to pass by on the bend of the main road and not see it at all. But it has some nice tiles, and traces of wall painting which is always good to see, and in general is a small and tidy church, well looked after, and on this day, welcoming.

 

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St Peter at Clippesby may well be one of the less-visited churches of Norfolk, especially in comparison with many others in the Broads area, because it is not easily visible until you are actually upon it, and neither is it well-signposted. It is set down a scrubby lane off at a dangerous bend in the busy Acle to Stalham road, and the secretive and beautifully overgrown churchyard comes as a surprise. St Peter is one of Norfolk's 120-odd round-towered churches, although the tower here is a complete rebuilding of the 1870s. Despite the major restoration of this time, the church still presents a fine Norman doorway to the north. Curiously, the 19th Century south porch which is hidden from the road appears to have two Norman doorways, the outer and the inner; it is not impossible that one was brought from elsewhere, but it seems more likely that they both incorporate parts of what was once a single doorway. There is some intriguing graffiti on both doorways, the most fascinating of which is a roundel which seems to show a Norman woman praying.

So the church is obviously a Norman building elaborated later then, as many are around here. But there seems to have been another considerable restoration in the early 13th Century, presumably obviating a need for anything major to happen in the late medieval period. This pretty little aisleless church must have looked very much as it does now, in its lovely churchyard, for almost a millennium.

 

If there is one good reason for coming to Clippesby it is to see one of the major works of the early 20th Century East Anglian Arts and Crafts revival, the south nave window by Margaret Edith Rope. The Rope family produced several fine artists, but the most significant were Margaret Edith Rope and Margaret Agnes Rope, two cousins who produced some of the finest English stained glass work of the first half of the Century. The Clippesby window is important because it was, in 1919, Margaret Edith Rope's first commission. It depicts the scene of Christ allowing the children to come to him, 'for of such is the Kingdom of Heaven'. It is full of bright colours, the drawing owing something to the contemporary work of Anning Bell, but the scene full of the little details which would become the Rope Cousins' trademarks: here, the doll held by one of the little girls, the toy Noah's ark which bobs in the stream with tigers and elephants coming off of it, the frog which sits on a lilypad. An upper light depicts a priest baptising a baby, and the round window behind him becomes a cruciform nimbus, because the window remembers Alfred Rivett, Rector here 1897-1917, and his wife Anna. It is utterly enchanting.

 

With such a dramatic highlight the rest of the interior pales somewhat, but this is a simple, well-kept church with the character of its 1870s restoration. The reredos is a fine piece, suggesting a considerable Anglo-Catholic sympathy here at that time. The 15th Century font is a curiosity, appearing to have had the top quarter or so sliced off the bowl, possibly to even it up after vandalism in the 16th and 17th Centuries. I couldn't help thinking that, in proportion, it is very similar to some of the Seven Sacrament series, and it would be fascinating to know what the panels depicted before they were smoothed clean.

 

Clippesby church has two sets of pairs of brasses from each end of the 16th Century, and thus either side of the great Reformation divide. The earlier ones are to Thomas Pallyng and his wife, he in the costume of a rich merchant. The later ones depict John Clippesby and his wife. He is very much the Tudor gentleman, and with them are their three daughters, and a chrysom child, a baby who did not survive into childhood. The only jarring note in the whole building is a window depicting the Resurrection, probably of the 1870s, in garish ice cream parlour colours.

As you may be able to tell, I liked Clippesby church very much indeed. I sat there, soaking it all in, feeling the warmth of the sunshine falling through Margaret Edith Rope's masterpiece behind me, when I heard - or thought I heard - a slight movement behind me. I had left both porch doors open, and as I turned I saw two young black cats, who had overcome their nervousness and were poking their heads around the doorway to see what I was up to. Well, when I turned they were gone like a flash, as you may imagine, no doubt fearful lest their inquisitiveness should prove their downfall. I went and sat outside in the churchyard, watching them explore and tumble in the long grass. Again, a noise behind me, and this time a large, adult male peacock was thrusting like a battleship through the undergrowth. What an extraordinary place. I took my leave respectfully, and headed on, pausing only to notice the new headstone on the south side of the chancel to one lovingly remembered as an inspiring Choir trainer, Artist, Poet, Thinker and a wise and caring friend.

 

Simon Knott, June 2011

 

www.norfolkchurches.co.uk/clippesby/clippesby.htm

 

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In the reign of the Confessor, 4 freemen, two of them being under the commendation of Almar Bishop of Elmham, one under Alsi, and one under the abbey of St. Bennet, held 100 acres, 10 of meadow, and there were under them 6 borderers, with a carucate and an half.

 

William Beaufoe Bishop of Thetford, on their deprivation, had a grant of it, and was lord at the survey, when it was valued at 20s. but in Edward's time at 5s. It was 3 furlongs long, and 5 broad, and paid 12d. gelt. (fn. 1)

 

The abbey of St. Bennet at Holm had also one freeman. (fn. 2)

 

Bishop Beaufoe, at his death, gave this lordship which he held by a lay fee, to his successours; and on the exchange of lands between King Henry VIII. and Bishop Rugg, what the abbot of Hom held came likewise to the see of Norwich, and so continues at this time.

 

Osbert de Salicibus, alias de Willows, was lord in the reign of Henry II. and in the 9th of King John, Henry was lord and patron of the church of Clippesby, (as the jury find,) and that his father Osbert presented the last, rector, and William was son of Henry.

 

In the 10th of Henry III. John de Salicibus held half a fee of the Bishop of Norwich; and in the 19th of that king, Hugh Pickering granted lands by fine to William de Salicibus.

 

Nicholas de Salicibus was found in the 20th of that reign, to hold here and in Repps, half a fee of Ralph Holeback, and he of the Bishop; and William de Salicibus granted to Henry de Billakeby half a fee, to be held of him and his heirs for ever.

 

In the reign of Henry III. Mathew de Bukeskyn conveyed to Walter, son of William de Bukeskyn, and his heirs, a messuage, and 50 acres of land, with a windmill in this town, Rolesby and Thurne; and Walter granted to Matthew, a messuage called Kamesworth, with lands, &c.

 

The said Walter granted to Willium de Bukeskyn and Julian his wife, the aforesaid mill, messuages and 50 acres in the 44th of that King.

 

Peter Buxkyn, in the first of Edward I. settled on himself for life, 18 messuages, and tenements, with lands here in Askeby, Oby, Repps, &c. remainder on Robert his son and Alice, his wife, in tail.

 

In the 35th of that King, Robert de Glenham and Alice his wife, settled by fine, on Mr. Walter de Pykering, and Walter son of Robert de Pikering; and John de Billokeby granted a messuage, &c. to Nicholas de Salicibus and Elen his wife, in the 9th of Edward II.

 

Peter Buxkyn, as lord, presented to this church in 1320, &c. and in 1338; and in the 17th of the said King Edward II. Walter parson of the church of Clopton, granted to Walter, son of William de Pickering, messuages, lands and rents here, &c. for life.

 

William de Stanton and Julian his wife, granted in the 19th of that King, lands here, &c. to Peter Buckskyn; and in the 3d of Edward III. John Hibberd released to William Bukeskyn a messuage, &c.

 

In the 19th of Edward III. Sir John Buxskyn claimed a moiety of 6 messuages, 30 acres of land, 10 of meadow, 8 of furze, one of moor, and 30s. rent, a hen, and 4 — in this town, &c. by the grant of John de Pickering, and William his brother, late Peter de Pickering's, and another of John and William de Pickering's; and it appears that the Pickerings had a lordship here, and what was held of it was partible between the heirs male.

 

In 1361, Edmund Pickering, John his brother, and Catherine, presented to this church.

 

In 1389, Edmund de Clipesby, John Pickering and Jeffrey Curteys, presented; and in 1390, John Pykering and Jeffrey Curteys, in right of their wives; and John son of John de Pickering, and John, son of Edmund de Clipesby, held here and in Repps, half a fee of Robert de Martham, of the fee of the Bishop of Norwich.

 

In the 20th of Henry VII. Ralph Fupson and Elizabeth his wife, convey the manor of Buxkyns, with lands in this town, &c. to Sir Henry Collet, alderman of London, and mayor in 1405, on whose death, in the 21st of the said King, John Collet, D. D. dean of St. Paul's, his son by Christian his wife, daughter of Sir John Knevet of Ashwell-Thorp, and Elizabeth, sister and heiress of Sir John Clifton, Knt. of New Buckingham in Norfolk, inherited it; who by his will, dated August 22d, 1519, appoints that after his death, and of Dame Christian his mother, an estate should be made to John Nele his servant, of all his lands, tenements, rents, services, wards, &c. in the towns of Clippesby, Rollesby, Burgh, Billokby, Ouby, Repps, Bastwick, Martham, Askeby, and Thurne in Norfolk.

 

This came afterwards to the Clipesbys, lords also of a manor, and by the heiress of that family to Sir Randolph Crew, and his son, Sir Clipesby Crew. From the Crews it came to Sir John Potts, Bart. of Manington, who settled it on his 2d wife Elizabeth, daughter of Sir Samuel Brown, one of the judges of the Common Pleas.

 

Sir Algernon Potts, Bart. sold the reversion of it to George England, Esq. who was lord in 1720; and England conveyed it to Capt. Clark; Mrs. Clark's heirs are said to have had it in 1740.

 

In the time of the Confessor, Earl Guert, brother of King Harold, had a freeman under his protection, who possessed 20 acres of land, and 4 of meadow, and 3 other freemen of his had 17 acres of land, and 3 of meadow, with a carucate, valued at 2s. 6d.

 

In Clipesby a freeman of the Confessor's had 20 acres, and half a carucate, and three acres of meadow, valued at 2s.

 

All this was in the Conqueror's hands at the time of the survey; and Godric also took care of 4 acres and an half of land for the Conqueror, of which a freeman was owner, and deprived. The Conqueror had also 46 acres of land, and 5 of meadow, the part of a saltwork, and one carucate, which 5 freemen were deprived of, valued at 3s. at the survey. On Almar's deprivation, Godric took care of it for the King.

 

These tenures were granted from the Crown to a family who took their name from the town; the first that I meet with is Hugh de Clipesby, living in the reign of King Henry II. whose son Richard conveyed by fine to Stephen de Rolvesby 60 acres of land here, and in Burgh, Stephen granting to him 10s. per ann.

 

Richard, son of Hugh de Clipesby let lands to William, son of Alan de Reppes, and Scientia his wife, in Reppes, for 30 years.

 

In the abuttals of the land, mention is made of the lands of John, son of Osbert de Clipesby; and for this grant William de Reppes and Scientia his wife, gave to Richard, 39s. two swords of the price of 9s. one bearded arrow of 2s. and one of 15d. with a pound of pepper.

 

This deed is sans date, but was about the first year of King John. The witnesses were Reginald Prest, de Askeby, Wimer de Sypa, Roger de Suffield, Stephen de Rollesby, Wimer de Burgh, Henry de Askeby, Hugh, son of Richard de Clipesby, &c.

 

About this time was also living, John, son of Elfred de Clipesby, who gave to William, son of Algar de Clipesby, lands here; witness William de Salicibus, also Ralph, son of Osbert de Clipesby, who gave lands to William de Sparham, who gave to Ralph 35 marks of silver.

 

¶Richard de Clipesby by deed, sans date, grants to Hugh his son, by Mabel his wife, 30 acres of land here, belonging to the fee of the King, with several villains, with all their progeny, and all the homages belonging to the fee of William de Owby, and villains, &c. and Hugh gave to Richard a palfrey, and a gold ring, in gersuma; witnesses, Ralph de Somerton, Robert de Malteby, Simon de Ormesby, William and Thomas, sons of Richard de Clipesby, &c.

 

In the 5th of Henry III. John, parson of Burgh, conveyed to Hugh de Clipesby 5 acres and a half of land here; and in this family this lordship continued, till the death of the last heir male John Clipesby, Esq.

 

a) The old pedigrees of this family are (as far as I can see) very faulty, and supported by no proofs or evidence; Algar and Osbert de Clipesby are made sons of Morcarius, and placed at the head of the pedigree, and made brothers to Ralph de Clipesby, who is therein said to be grandfather to this Hugh; whereas it appears by undoubted evidences, that Algar and Odbert were living in the reign of King John; and that Hugh, father of Richard de Clipesby, was living in the reign of Henry II. and what is yet more unpardonable there are 15 descents made between the 10th of King Richard I. and the reign of Richard II.

 

Sir Richard de Clipesby was witness to a deed of Robert, son of Richard de Mautebi, sans date.

 

In an assise of last presentation to this church, the pedigree stands thus, Ao. 9 of King John:

 

(b) Sir Robert de Clipesby was lord of this town, and had rents, free tenants and villains, in Repps, Bastwick, Martham, Skow, Rollesby, Billockly, Burgh, &c.

 

This Robert is said to have married Agnes, daughter and heir of John de Salicibus, or de Willows, and John de Salicibus and Agnes the daughter and coheir of William de Stalham.

 

(c) Edmund de Clipesby, Esq. married Eva, daughter and coheir of Sir William Caley of Oby, and was lord in the 48th of Edward III.

 

Some pedigrees make this Edmund to be father of John, and some say John was son of Edmund de Clipesby, junior, son of Edmund, senior, which Edmund, junior, was outlawed, for the murder of Walter Cooks, husband of Julian Cooks, in the 16th of Richard II. then aged 26.

 

In the 10th of Richard II. Edmund de Clipesby enfeoffed Sir John Jenny in this lordship and advowson.

 

(d) In the 3d of Henry IV. John Clipesby, Esq. son of Edmund, and John, son of John Pickering, senior, were found by an inquisition taken at Norwich on Thursday after St. Michael, to hold here, and in Repps, half a fee of Robert de Martham, of the Bishop of Norwich; and in the 2d of Henry V. John de Clipesby, son of Edmund, released to John Derby, Esq. all his right in the lands, villains, wards, marriages, in the village of Stalham, &c.

 

In the 12th of Henry VI. John settled on William de Clipesby his son, by Alice his wife, a moiety of this lordship, &c. on his son's marriage with Alice his wife; John was returned in the 7th of Henry VI. to be a gentleman of ancient coat-armour, and to serve the King with his lance, for the defence of the kingdom.

 

John Clipesby of Owbey, Esq. made his will April 26, in 1454, to be buried in Owby church, and it was proved July 8, following.

 

William Clipesby, Esq. (fn. 3) son of John, living in the 10th and 22d of Henry VI. when he enfeoffed John Fitz Ralph, and William Grey, Esq. of this manor, &c.

 

Catherine, his wife, remarried Edmund Paston, Esq. died April 18, 1491, and was buried at Askkeby; William died in 1355, when William Yelverton, Esq. jun. and this Catherine his wife, presented to this church. Yelverton died in 1481, and she after married Edmund Paston, Esq.

 

(e) John de Clipesby, Esq. in the 8th of Edward IV. enfeoffed Newent, &c. in his lands, tenements, &c. and advowson of the church of Plumstede Parva. John presented to Clipesby in 1507.

 

In the 6th of Henry VIII. Thomas Duke of Norfolk, great marshal, and treasurer of England, granted to William Paston, Esq. and Constance, widow of John Clipesby, Esq. the wardship, and custody of the lands of William Clipesby, son and heir of John Cliespby, Esq. deceased, and held of the Duke, and on February 14, in the 17th of that King, they grant to the said William, the benefit of his marriage, for the virtuous manners and good conditions which he according to his duty hath used to the said Constance his mother.

 

(f) William Clipesby, Esq. of Oby, by his will dated November 28, 1540, orders his body to be buried on the north side of the chancel of this church, appoints Lettice his wife, and John his son executors, proved October, 29, 1541.—Reg. Haydon. Norw.—Lettice after married William Cardinal, Esq. of Bromley Magna, in Essex, and presented here in 1561.

 

(g) By an inquisition taken in the 37th of Elizabeth, Audrey, Frances, and Julian were found to be the daughters and coheirs of John Clipesby, Esq. Audrey married Thomas Guybon, Esq. son and heir of Humphrey Guybon, Esq. of North Lynn, and had with her the manor of Oby,—Frances died single, and Julian married Sir Randolf Crew, lord chief justice of the King's Bench, in the reign of King James I. by whom he had Sir Clipesby Crew, lord of this town, by the inheritance of his mother; from the Crews, it came to Sir John Potts of Mannington in Norfolk.

 

Sir Algernon Potts, Bart. held it, and conveyed it to William Clarke, Esq. who presented in 1721.

 

(h) Roger Bigot, ancestor of the Earls of Norfolk, had the lands of a freeman of St. Bennet, and was part of this manor of Oby; this came to the Clipsby's, by the heir of Sir William Caly, lord of Oby, and so was united to this manor of Clipesby, and held of the manor of Forncett in Norfolk. (fn. 4)

 

(i) The abbot of St. Bennet had a freeman here at the survey; what he held came on the exchange of land, between King Henry VIII. and Bishop Rugg, to the see of Norwich, and so was united to the Bishop's manor before mentioned. (fn. 5)

 

And the Conqueror had at the survey, the lands of 5 freemen, which Almarus took care of for him, they belonging to no particular fee, who held 46 acres of land, 5 of meadow, the fourth part of a salt pit, with a carucate, valued at 3s. but at the survey at 4s. these were added by the Conqueror to the lordship of Causton. (fn. 6)

 

George Knightley, Esq. was lord in the reign of Queen Elizabeth, and in her 10th year had a præcipe to deliver it to Edmund Pirton, Esq.

 

The tenths were 5l.

 

The Church is a rectory dedicated to St. Peter. the ancient valor was 12 marks, Peter-pence 12d.

 

Rectors.

 

In 1320, Thomas de Spyney, instituted, presented by Peter Buxkyn.

 

1326, Peter de Pagefield, by William, rector of Askeby, &c.

 

1338, Ralph de Depham. Ditto.

 

1338, John Urri.

 

1338, Ralph de Urri.

 

1352, Edmund de Fresingfeld.

 

1361, Henry Gottes, by Edmund Pykering, John, his brother, and Catherine Pres.

 

1389, Henry Waggestaff, by Edmund de Clipesby, John Pykering, and Jeff. Curteys, in right of their wives.

 

1409, John Dynynton, by John Clipesby, domicellus, Robert Kent, &c.

 

1432, Barth. Fuller. Ditto.

 

1433, Walter Drury, by John Clippesby, Esq.

 

1440, John Heroun. Ditto.

 

1459, John Dalton, by William Yelverton, junior, and Catherine his wife.

 

1471, Thomas Hauley, by William Clipesby, Esq.

 

1473, Richard Foo. Ditto.

 

1477, Roger Grenegrass. Ditto.

 

1490, Thomas Foulsham, by Edmund Paston, Esq. and Catherine his wife.

 

1507, John Owdolf, by John Clippesby, Esq.

 

1513, John Makins, by the Bishop, a lapse.

 

1542, William Smith, by the assignees of William Clippesby, Esq.

 

Richard Crowder, rector.

 

1561, Edward Sharpe, by William Cardinal, Esq.

 

1593, John Nevinson, by John Clipsby of Oby, Esq.

 

1602, William Parry, by Thomas Guybon of West Lynn, and Ralph Crew, Esq.

 

—, Thomas Dockwra, presented by William Clark, Gent.

 

Isaac Laughton died rector in 1718.

 

1719, George Hill. Ditto.

 

1721, Charles Trimnell. Ditto.

 

1723, William Adams. Ditto.

 

1742, Robert Goodwyn, by John Goodwyn, Esq.

 

The present valor is 6l. 13s. 4d. and is discharged; the advowson goes with the lordship, and the heirs of Mr. Clark were patrons in 1740.

 

On a gravestone in the church, the pourtraiture of a man and wife in brass, and

 

Orate === Tho. Pallinge et Emme uxoris ej. qui. obt. 20 die Augusti, 1503.

 

On one in the chancel,

 

Orate === Will'mi Clypesbye, Armig. qui obt. 10 die Januarij, 1511: and the arms of Clipesby, quarterly, argent and sable, on a bend, gules, three mullets of the first.

 

On a raised altar tomb, on the south side of the chancel, are the pourlraitures of a man and his wife in brass,

 

¶Here layes the bodyes of John Clipesbye, Esq. and Julian his wife, who had issue William deceased, and left Audrey, Francis, and Julian his daughters and coheirs, which John died 31st of March, 1594; and these shields of arms, Clypesbye, impaling Jerningham; — Clypesbye, impaling Woodhouse of Kimberley;—also a shield containing 12 coats quarterly;—the first, is Clypesby;—2d, sable, three martlets in a bordure ingrailed, argent;—3d, vert, an eagle displayed, argent, bruised with a bendlet, or;—4th, azure, a chevron, between three herns, argent;—5th, azure, a pike hauriant, argent;—6th, or, a saltire between four cross crosslets, sable;—7th, Clipsbye;—8th, gules, on a chief or, three torteaux;—9th, gules, a lion rampant, argent;— 10th, argent, a chevron between three lioncels rampant, gules;—11th, barry of eight, or and sable;— 12th, Clipsbye; all these are above the epitaph, and below are the following shields;—Clipsbye, impaling quarterly, in the 1st and 4th, ermin, in the 2d and 3d quarter, paly of six, or and gules, Knightley;—Clipsbye, impaling sable, on a chevron between three women's heads, argent, crowned and crined, or, as many roses, gules; —Clypsbye, and Spilman;—Clipsbye, and Paston.

 

In memory of the Rev. Mr. Geo. Hill, rector, who died Oct. 22, 1721, aged 66.

 

On an old brass,

 

D'nj. Joh. Heron, quo'da' rectoris, isti. eccle qui obt. xxvo. die mens. Sept. Ao. Dnj. M. CCCCLXXIIo.

 

The lady Julian abovementioned, who married Sir Rand. Crew, died at Kewe in Surry, in 1603, and was buried in the chancel of the church of Richmond, on her monument, was

 

Antiquá fuit orta domo, pia vixit, inivit Virgo pudica thorum, sponsa pudica polum.

 

The temporalities of Hickling priory were 6s.—of St. Bennet at Holm 6s. 10d.— of Weybridge 11s.

 

www.british-history.ac.uk/topographical-hist-norfolk/vol1...

520 West End Avenue, Upper West Side, Manhattan

  

The residence at 520 West End Avenue, commissioned by developer Richard G. Piatt in 1892 and completed that same year for cotton broker John B. Leech and his wife Isabella, is an early, and within the context of his career, an unusual work of architect Clarence F. True. A seminal figure in establishing the initial architectural character of the Upper West Side, True was particularly active in the development and design of rowhouses and town houses in the area west of Broadway during the years 1890 to 1901. The Leech residence, originally a large single-family town house, was built during the first period of development of West End Avenue, when it was lined with distinguished residences for prosperous New Yorkers. In the bold form of its rusticated sandstone base, the complex massing of its tan Roman ironspot brick upper stories (now painted), the subtle handling and richness of its carved stone details of Romanesque, Gothic, and Elizabethan derivation, and decorative wrought-ironwork, it is a fine example of the diverse picturesque, eclectic architecture of the late 19th century which once characterized West End Avenue as one of New York City's most desirable residential avenues. Its corner site, allowing for two principal designed facades linked by a curved corner bay, both enhances the prominence and integrity of its original architectural elements and emphasizes its status as one of the most significant surviving individually-designed large town houses on the Upper West Side.

 

Development of the Upper West side

 

The Upper West Side, including West End Avenue, remained largely undeveloped until the 1880s. The area, once known as Bloomingdale ("Bloemendael," named by Dutch settlers), was included in the Randel Survey (Commissioners Map) of 1811 which. planned a uniform grid of broad avenues and narrow cross streets upon the rolling hills of Manhattan as far north as 155th Street. Years elapsed, however, before streets on the Upper West Side were actually laid out.

 

At mid-century, as New York City grew rapidly northward, residential development was concentrated primarily on the East Side, following the march uptown of New York's wealthy citizens and transit lines. Central Park, designed in 1857, was not oily an amenity for all the citizens of New York, but was as well a major spur to development of the city northward. A number of additional civic improvements also greatly contributed to the eventual development of the Upper West Side. The Eighth Avenue horse car line was extended to 84th Street in 1864. (Previously the only transit facility was a stage line along Bloomingdale Road.) The Commissioners of Central Park were authorized to complete the laying out of streets west of Central Park in 1865. West End Avenue (formerly Eleventh Avenue) was opened in 1880, from 72nd Street to 106th Street. Bloomingdale Road (renamed the Boulevard) was widened to 1868-71 and received central planted malls from 59th to 155th Streets.

 

The biggest boost to development of the area west of Broadway was the creation of Riverside Kirk and Drive near the Hudson River. Construction on the Upper West Side was further stimulated by the completion of the Ninth Avenue Elevated in 1879.

 

Developers had been reluctant at first to build on the Upper West Side, after a wave of speculation following the Civil War and subsequent period of stagnation from the Panic of 1873. Although Central Park West and Riverside Drive were envisioned as residential avenues for the wealthy, on a par with Fifth Avenue, there was no agreement about the future character of the rest of the Upper West Side. High real estate prices and delays in civic improvements further discouraged investment. Edward Clark, president of the Singer Sewing Machine Co., was the first to make major investments on the Upper West Side (1877-85); the Dakota, New York's first luxury apartment house, and his rowhouses on West 73rd Street, attracted much attention to the Upper West Side.

 

By 1885 the Upper West Side emerged as the city's area of most intense speculation. Developers already at work there undertook new and larger projects and were joined by nearly all of the larger builders in the city. Buildings erected on the Upper West Side now sold readily. In 1886, the Times wrote: "The west side of the city presents just now a scene of building activity such as was never before witnessed in that section . . . thousands of carpenters and masons are engaged in rearing substantial buildings ... 1,5 Development first occurred more rapidly on the streets between the Boulevard and Central Park than on the streets to the west of the Boulevard due, undoubtedly, to two factors: the land west of the Boulevard was less accessible to transportation, and lots along Riverside Drive, and to seme degree, West End Avenue, were (like Central Park West) considered to be prime property.

 

The notion that New York's social elite would erect mansions along these avenues caused the value of adjacent land to remain consistently higher, discouraging development for a longer period. Promotional brochures and publicity in the press, however, began to focus attention on the territory west of the Boulevard. In 1888 the West End Association published a pamphlet entitled "West End Avenue: Riverside Park in the City of New York" which lauded the virtues of West End Avenue and environs as an ideal residential area. In August 1890, the New York Herald ran a series of editorials and articles extolling the advantages of the Upper West Side, but especially this area:

 

The district to the east of Riverside Park as far as Central Park is likely, or rather, sure to become within the next twenty years, perhaps the location of the most beautiful residences in the world. The advantages of pure air and beautiful surroundings, glimpses of New Jersey Hills at the end of each street, with the glitter of the Hudson between? the nearness of parks and the accessibility of the district will be insurmountable factors in popularity.

 

The Architecture of West End Avenue

 

By the early 1890s, three- and four-story single-family rowhouses and town houses had been built in this area of the west 70s and 80s, and the neighborhood had begun to establish itself as fashionable for the prosperous and expanding upper-middle classes, largely those in business and the professions. The Upper West Side provided a unique opportunity for persons of this status and income in New York City to purchase houses that offered a wide variety of sizes, plans, and stylistic expression. West End Avenue in particular was consistently remarked upon as an unusually pleasant residential avenue with houses of high quality and interesting architectural character. The Real Estate Record and Guide noted in 1890 that:

 

No avenue in New York City is lined with more attractive houses for a distance of one mile north of 70th street than West End avenue. Fifth and Madison, though adorned with residences, in many cases more costly, display row after row of brown stone fronts of the older type; houses that, architecturally speaking, are devoid of originality, framed as they are on a general plan of a somewhat stereotype character.

 

It was reserved for the West Side to lead the way in a general movement for a change in our house fronts. This is seen on every street in that section of the city. There is only one avenue, however, that is of a purely residential character, and which is lined with houses showing original thought on the part of their architects: And that is West End avenue ...

 

All these advantages [of grass plots, sidewalk trees, spacious flagging, covenant restrictions, asphalt paving, and lack of steam and horsecar traffic]... make it one of the most desirable avenues for residence purposes in New York City.

 

The Upper West Side as a whole, and West End Avenue in particular, was rich in the number of individually designed town houses and speculatively built, yet distinctive, groups of houses, which were designed as harmonious units with individuality in the separate buildings. Among the prominent architects and speculative architect-developers of West End Avenue were Edward L. Angel 1; Babb, Cook & Willardy Berg & Clark; Frank M. Day; M. V. B. Ferdon; C. P. H. Gilbert; Henry J. Hardenburgh; Lamb & Rich; Little & O'Connor; William J. Meritt; Charles T. Mott; Gilbert A. Schellenger; Schneider & Herter; Thorn & Wilson; and Ralph S. Townsend. The period of intensive development of rowhouses and town houses on the Upper West Side, from 1885 to 1900, saw both the architectural reaction to the conformity and homogeneity of older brownstone New York and the culmination of individual house construction in Manhattan.

 

At the time of the construction of 520 West End Avenue, houses on the Upper West Side displayed the picturesque eclecticism of late nineteenth-century architecture drawn from a wide variety of stylistic sources. The desire of architects and clients for originality, variety, and novelty was demonstrated by a freedom in design, use of stylistic sources, and materials. In the move away from brownstone as a facing material (in Edith Wharton's view "the uniform hue [that] coated New York like a cold chocolate sauce"), an interest was shewn in the use of stone in differing colors and textures, brick in various colors, and the incorporation of terra cotta. Red sandstone increased in popularity as an alternative to darker brownstone. After 1885 bricks manufactured in such colors as white, grey, tan and gold became popular in New York City. 'Tiffany brick?' (also called ironspot brick), which was employed on the upper stories of 520 West End Avenue, was "semi-vitrified [Roman] brick of mottled brown shades ... especially preferred for high-class town houses."

 

Helping to make West End Avenue one of the most varied streetscapes in New York City was an unusual "Dutch" architectural flavor (similar to the "Pont Street Dutch" of London) which took hold following the construction of two .groups of houses in 1885-86 by Frederick B. White and McKim, Mead & White. The feature of stepped and curved gables was picked up by the architects of many subsequent houses along West End Avenue, as well as on the West End Collegiate Church (1892-93, Robert W. Gibson) and Public School 9 (1893-96, C.B.J. Snyder). Other churches by noted architects which complemented the residential nature of the avenue included the Fourth Presbyterian Church (1894, Heins & Lafarge), St. Paul's M. E. Church (1895-97, R. H. Robertson), and All Angels Church (1888-90, J. B. Snook & Son). The strong picturesque and eclectic architectural character of the avenue was further established by the rhythms created by the profusion of bowfronts, bay and oriel windows, gables, turrets, chimneys, end walls, dormers, cornices, peaked tile roofs, stoops, cornices, and ornamentation.

 

The residential design at 520 West End Avenue not only falls into this pattern, but its expressive and individualistic characteristics may be seen as a hallmark of the work of Clarence F. True. True played a leading role in the architectural development of West End Avenue in the years 1890-1901, as he designed at least 60 houses facing directly on the avenue (and participated in the planning of nine others) between 71st and 101st Streets.

 

Only a short time later, in the 1910s-20s, West End Avenue (like Riverside Drive) saw radical changes as most of its houses were demolished for the construction of the large-scale apartment buildings which now line the avenue. No. 520 West End Avenue is one of the few large town houses from the initial period of development which survives.

 

Clarence F. True

 

Clarence Fagan True (1860-1928) was a prolific, distinctive, and well-known architect (and later architect-developer) who designed, almost solely, rowhouses and town houses and practiced mainly on the Upper West Side of Manhattan during the years 1890-1901. Trained in the office of Richard M. Upjohn beginning around 1881, he was listed in directories in 1884 and had established his own firm by April 1890, When he filed plans for a group of houses at 301-319 West 89th Street. He received his commissions primarily from speculative builders and developers (including William E. Lanchantin, Richard G. Piatt, Theodore A. Squier, Charles G. Judson, and Smith & Stewart) who were rapidly constructing houses throughout the Upper West Side. True is documented as having designed at least 270 houses on the Upper West Side, the majority located west of Broadway between 71st and 107th Streets.

 

While diverse in architectural style and massing and eclectic in nature, these houses are a major factor in establishing the architectural character of the Upper West Side. He also designed some 20 houses in Harlem, including several located in the Hamilton Heights and Mount Morris Park Historic Districts. In 1893 he published a prospectus of his work Designs of 141 Dwellinq Houses (which included a photograph of the residence at 520 West End Avenue, as completed) in which he stated his aim of creating distinctive well-designed houses, both in interior plan and exterior appearance, that would mark a shift away from the homogeneity of the standard New York City brownstone rowhouse:

 

One of the striking anomalies of the City of New York where continued effort is widely exhibited in the variety, new ideas and general improvement pervading all other artistic and practical enterprises— is the wearisome sameness and unattractiveness of its dwelling houses. John Ruskin has well said somewhere, that row after row of brown-stone fronts, mostly bad copies of the Farnese palace in detail, making up the living streets of the city, ought all to be torn down.

 

That this unattractiveness is everywhere visible along the avenues and streets of our city, a ride on the elevated roads from the Battery to Harlem will reveal; there being very few buildings that will attract one's attention, but in all directions we see the same brick walls, square window openings and painted galvanized iron cornices, more or less dilapidated.

 

The following illustrations will demonstrate an attempt to improve the houses of our citizens in appearance, plan of rooms and interior arrangements, so that home-life in the city shall be rendered enjoyable rather than passably endurable ... we are convinced that investigation will prove the houses which we have for sale are the most complete in New York, both in design and execution.

 

True's executed work demonstrated that he succeeded in his ambitions.

 

The Leech residence at 520 West End Avenue was an early commission for True, his second of a series for builder Richard G. Piatt, and his first for an individual house. True was primarily an architect of rows and groups of houses; No. 520 West End Avenue was his only individually-designed town house for a comer site and was the largest house he is known to have designed. In his houses of the early 1890s, True employed a variety of contemporary architectural styles, frequently mingling them in an eclectic fashion; these included the popular Romanesque Revival and Renaissance Revival, as well as Francois I and "Elizabethan Revival" based on French and English Renaissance prototypes. The Leech residence, an eclectic design with references to the Romanesque and Gothic styles, incorporated numerous motifs and features found in his other early rowhouse groups.

 

These include: asymmetry; complexity of massing and articulation; picturesque silhouette composed of such elements as steeply-pitched roofs and gables; chimneys, stepped end walls, turrets, and dormers; rusticated stone; variety of materials; contrast of various windows, including bay windows and oriels; and such ornamental details as quoins, keyed enframements, stylized cornices, and parapets. Many of these elements were to continue to appear in his subsequent work. Generally these elements were used to articulate the units of a row, but at 520 West End Avenue they are found in a single house. This large town house was not part of a row, instead being designed to stand as single house, although in a dense urban context.

 

In 1894 True began to design houses on his own as a developer, in addition to those he did for others. He later formed the Riverside Building Co. A second prospectus, A True History of Riverside Drive (1899), pictured many of the houses which were responsible for prorating the development of lower Riverside Drive:

 

Mr. Clarence True, who had erected upon some of the lower lots, became so thoroughly impressed with the possibilities of the river front as a residence district that he secured all the available property south of 84th street, and by covering it with beautiful dwellings, insured a most premising future for the Drive.

 

The area along and adjacent to Riverside Drive, from 75th to 85th Streets, includes the densest concentration of extant True houses; many of these are included in the West End-Collegiate and Riverside Drive-West 80th-81st Street Historic Districts. These houses along the Drive, typical of most of True's mature work, were all designed in his highly individual, idiosyncratic, and readily identifiable "Elizabethan Revival" style. Characteristic is the use of smooth stone and brick; elaborate stepped and curved gables and dormers; end walls, chimneys, keyed enframements, and quoins; and contrast of various window groups, including bowfronts and three-sided and square bays.

 

True was one of the architects who greatly popularized the American basement plan house in New York City during these years. He received much favorable notice in the architectural publications of the 1890s, which printed a number of his designs. Real Estate Record and Guide in 1893 thought True "has earned quite a reputation for the novelty of the ideas he has carried out in a large number of houses built from his designs on the West Side in the last few years. The old method of high stoop construction has been abandoned ... the houses are entered almost on a level with the street." Architecture and Building (1893) noted: "The facades show great variety and taste, and the plans, many of them upon narrow lots, ingenuity and skill in arrangement."

 

The History of Real Estate, Building, and Architecture in New York (1899) considered True "probably the best known New York architect designing almost entirely residential structures... His work as exemplified by his houses is a credit both to himself and the city."

 

True also designed several apartment houses, hotels, and small commercial structures, as well as a Harlem church building. Little is known about the end of his career, but it appears to coincide with the demise in construction of rowhouses in New York City after the turn of the century. True died in Greensboro, North Carolina, in 1928, and was buried in Middletown, Connecticut.

 

The Residence at 520 West End Avenue (Leech Residence)

 

The site of the Leech residence was part of the Oliver Delancey Farm in colonial days. This portion of the farm was conveyed to John H. Howl and in 1825 and his executors had it plotted in 1850. The lot was purchased in 1890 by Robert and Joseph Gordon, who conveyed it in November 1891 to Upper West Side developer Richard Goodman Piatt. An agreement incorporating a restrictive covenant — a common feature at the time on West End Avenue — was made between Piatt, the Gordons, Edward Kilpatrick and others, in which up to two brick and stone dwellings could be erected on the 27 foot-2 inch by 100 foot site. Kilpatrick was the owner of the three adjacent lots to the north, then undergoing construction of houses designed by Gilbert Schellenger. Piatt commissioned True soon after; the Real Estate Record and Guide of November 21 announced that plans had been drawn by True for a dwelling to be built of "red stone and Tiffany brick." True filed plans on January 4, 1892, for this single-family residence, to cost $40,000.

Construction began on February 16, 1892. On March 7, 1892, a deed agreement was signed by Piatt with John B. Leech, whereby Leech was to pay $60,000 and complete the building of the house according to True's plans. The sale of a speculatively-designed house to a wealthy purchaser was a common occurrence on both the Upper East and West Sides at this time. Construction of the house was completed on November 26, 1892, and the property was conveyed to Isabella M. Leech, John Leech's wife, on December 9. A photograph of the residence was included in Clarence True's 1893 prospectus? the caption contained the following information: "for John B. Leech, Esq." and "Richard G. Piatt, builder." The house was one of the largest ever constructed on West End Avenue, measuring 27 feet-2 inches by 80 feet. The size alone takes it out of the category of the ordinary speculator-bui 11 house and gives it a special character.

 

John Burgess Leech (1832-1897), "one of the best known cotton brokers in New York City," was born in London, immigrated to the United States in the 1850s, and moved to Memphis, Tennessee. He became a partner of cotton merchant W.A. Goodwyn, and they opened a branch office in New York City during the Civil War. Leech moved to New York in the 1870s, working on his own, and became a member of the New York Cotton Exchange (formed in 1870), where he served several terms on the board of managers. Leech died of consumption at his residence; the funeral service was held there, and burial was in Woodlawn Cemetery. Isabella Leech, born in Mississippi, kept the house until 1907.

 

Subsequent History

 

Mary W. Somerville, a teacher originally from Virginia, purchased the residence in 1907; she lived at 520 West End Avenue with several other teachers (and possibly ran a school there as well) into the mid-1910s, although ownership was transferred to James Overton Winston in 1909. Winston (1864-1947), also from Virginia, was a nationally prominent businessman and contractor who specialized in the construction of railroads, highways, dams, reservoirs, and water purification facilities. 8 Under Winston's ownership, the 520 West End Avenue residence became an apartment house with eight apartments and a doctor's office in the basement. The conversion of a single-family residence to multiple occupancy is typical of what happened to such houses on the Upper West Side during this period, as the character of the avenue changed when most of its houses were demolished for apartment buildings in the 1910s-20s.

 

Winston lost the building through foreclosure in 1932 to the U. S. Trust Co.; the building had a series of owners after 1935, and during World War II (1942-44) was rented out as 20 furnished roans. Today the residence continues to serve as an apartment house.

 

520 West End Avenue was designated a New York City landmark on April 28, 1987, by a vote of 6-0-1; the designation was affirmed by the Board of Estimate on June 30, 1987, by a unanimous vote. Thereafter, as a result of a lawsuit brought by the owner, Acting Justice Schackman of the New York State Supreme Court annulled the designation on the basis that one of the six Commissioners voting in favor of the designation had previously submitted her resignation, and therefore the designation vote was found to be "in violation of lawful procedure." The City has filed a notice of appeal from the decision. On June 21, 1988, the Commission voted to calendar a new public hearing.

 

Architectural Description

 

No. 520 West Avenue is a picturesque, eclectic town house incorporating stylistic references to the Romanesque and Gothic Revivals. Prominently located on a large corner site (27 feet, 2 inches by 100 feet) at West 85 Street, it is 4-1/2 stories in height (now classified as five stories in current records). The building has two major designed elevations (and a third, eastern, elevation which is visible from the street): the long facade on West 85 Street contains the main entrance and is 1 inked to the short facade on West End Avenue by a curved corner bay. Both elevations are articulated and linked horizontally by the use of continuous bandcourse with intermittent balustrades or parapets. Vertical articulation is provided by the arrangement of fenestration and blank wall, slight recesses in the wall plane, a three-story oriel on West 85 Street, quoins, steeply pitched gables, chimneys, and terminating pilasters.

 

The asymmetrical composition has a complex roof line made up of ornamented intersecting gables and an angled pyramidal dormer. These varied elements, characteristic of True's rowhouse designs, are here used to great effect to create a unified composition for this large and prominently sited town house.

 

Originally the house had presented a polychromatic range of earth-toned materials ( a fact new partly obscured by paint): the rusticated red sandstone of the basement, ground story, and massive entrance stoop; tan Roman ironspot brick of the upper stories; fine, intricately carved sandstone ornamentation of Romanesque, Gothic, and Elizabethan derivation; and tile roof. The subtlety and richness in the handling of the carved stone detail is particularly notable. Hie carving on 520 West End Avenue is considered significant as an excellent example, in good condition, of the American art form of 19th-century stonecarving, as performed by European-American stonecarvers. Probably carved at the site by an itinerant carver, the work on No. 520 displays a freedom in the use of eclectic forms, an attention to craft and detail, and care in the proper working of the material.

 

West Bid Avenue and West 85 Street Elevations*

 

* location on West End Avenue facade will have notation: [WEA] location on West 85 Street facade will have notation: [W85]

 

Basement

rusticated red sandstone rectangular windows: [WEA]: one Corner bay: pair

[W85]: one east of stoop, pair below oriel, one at east end one-over-one double-hung wood sash? original decorative wrought-iron grilles

small one-pane wood sash windows below these (except by stoop); similar wrought-iron grilles [W85]. Alteration: small windows sealed with wood [WEA and corner bay] areaway: along both major facades (interrupted by stoop) ;low sandstone

wall with stone coping stoop [WEA]: rusticated sandstone; stepped wing wall with carved scrolls; balustrade composed of arcade with dwarf columns and bosses; round-arched opening with voussoirs and decorative wrought-iron grille; iron handrail on building; basement level entrance and steps at east side; wrought-iron gate/door below stoop. Alterations: second dwarf column from right missing; parging (1987) of some of details of scrolls, and on south and east walls said interior of stoop

original Roman brick wall with stone coping [W85] encloses rear yard;

 

Alterations: painted; new metal door; repair work at east edge of door

 

Alterations: doorway inserted [WEA, north end] by 1924; aluminum and glass door with transom and light fixture; areaway wall cut for entrance steps; low iron fence placed atop entire areaway wall, low iron gate east of stoop

 

Elements Common to Stories One to Four tan Roman ironspot brick stories two - four flush sandstone lintels and sills; sandstone keyed enframements 3-sided 3-story stone oriel window [W85, near east end], flanked by thin colonnettes; foliate motif and rosettes on base; foliate capitals and fans at top 3-story copper leader: north side of curved corner bay Alterations: brick and trim painted red; fire escape [W85, west end] installed in 1925 and removed 1986

First Story rusticated sandstone

 

inset terrace [WEA]: opening with elliptical arch with carved voussoirs supported by panelled piers with carved capitals; parapet with fish bladder tracery; rear curved porch wall intersecting with rear flat porch wall; two rectangular windows: one-overdone double-hung wood sash (one curved). Alteration: part of a voussoir at south end of arch is missing rectangular windows:

Corner bay: pair

[W85]: three on oriel, one at east end one-over-one double-hung wood sash (curved on corner) Alteration: new iron grilles on oriel windows entrance [W85]: round-arched opening with enframement with roll molding and carved foliate (vine) ornament and decorative wrought - iron tympanum grille; entablature (balcony parapet) with decorative foliate S-curve motif, supported by elongated brackets with corbels, which are ornamented by Romanesque style foliation and diaperwork; spandrels ornamented by carved oak and chestnut or beech leaves [possible reference to Leech family's English and Southern heritage] Alterations: original double doors replaced by single aluminum and glass door with sidelights; two light fixtures and address sign installed in tympanum small window to east of entrance: sill corbel with carved bat

 

Alteration: casement windows; new iron grille molded stone bandcourse below window sills, interrupted by terrace [WEA] and entrance stoop; molded stone bandcourse above lintels, interrupted by entrance entablature

 

Second and Third Stories

 

all header bricks on corner bay one rectangular window directly above each first story opening, except area above entrance and small window, where there are two, not directly above them; one-over-one double-hung wood sash (curved on corner); keyed enframements (except oriel)

Alteration: one small window inserted each floor to the east of the westernmost window [W85], with one-over-one double-hung wood sash quoins: [WEA]: north edge

 

[W85]: east edge; flanking oriel; two eastern edges of changes in wall plane (below chimneys) Alteration: quoins removed in 1986 [WEA] continuous stone lintel course, surmounted by molded stone bandcourse above the third story, which is interrupted by balustrade on corner bay and parapet with quatrefoil banding (supported by foliate colonnette capitals and corbels) on oriel, and continues as a parapet [W85, atop east end]; four foliate brackets below gables flanking corner bay

 

Fourth Story

 

Windows: one rectangular window with one-over-one double-hung wood sash above each third floor window, with the following exceptions: [WEA]: round-arched

 

Corner bay: openings are at a right angle (on south and west

 

facades of intersecting gables) [W85]: two openings above oriel [the building does not continue above the easternmost third floor window] Alterations: window facing south above comer bay replaced by wood and glass French doors; small window inserted to west of window

 

below eastern gable [W85], with one-overdone double-hung wood sash Ornament: [WEA]: keyed enframement and rectangular drip molding with foliate spandrels [W85]: below gables: keyed enframements and foliate lintel moldings

 

above oriel: keyed enframements copper leader at intersection of gables above corner bay quoins and terminating pilasters with finials and adjacent foliate scrolls flank windows below eaves of gables: [WEA] and [W85, westernmost]. Alteration: top portion of finials removed; north pilaster [WEA] removed in 1986 quoins continue from third story (below chimneys) [W85]; between chimneys is stone lintel course surmounted by cornice which is tracery band with cusp motif; corbel at east end

 

Attic Story and Roof

 

one gable [WEA] and two gables [WB5]; quoins; coping; crowned by finials; foliate panel in peak of gable [WEA]; gargoyle at junction of easternmost gable eave and chimney [W85]

 

Alterations: top of finial removed [WEA]; small roof accretion placed on east side of easternmost gable [W85] windows: [WEA]: rectangular with double-hung wood sash with diamond panes; keyed enframement; curved shelf sill supported by drip molding of window below [W85]: oval windows with wishbone-shaped foliate drip

 

moldings. Alterations: eastern window partly sealed; part of western window enframement missing peaked roof between chimneys [W85]; small angled pyramidal copper dormer with copper finial

 

Alterations: original dormer tiles replaced by asphalt shingles; tops of both chimneys removed roof material: originally tiles, new asphalt shingles

 

East Elevation

plain three-story block surmounted by terrace setback (with continuation of lintel course and parapet [W85]) which is topped by asymmetrically placed gable (attic story) rectangular windows: one full-sized on floors one through three (doorway on floor four); two smaller on floor one, one smaller on basement and floors two through attic 2 doors on basement level

quoins on south edge of facade and in gable; gable coping Alterations: fire escape installed 1925 and removed 1986; metal leaders; most of wall painted white and red [one area of brick remains unpainted] ;small rooftop accretion on north side of gable; pipe railing on parapet of terrace.

 

- From the 1988 NYCLPC Landmark Designation Report

Second weekend of the annual Heritage event. It seems wrong to call it a weekend as it now compromises two weekends and many meedweek events too.

 

And scanning the events, there were some in Canterbury, so we decide to head to the city for a wander: jools would go shopping while I would go and do some snapping.

 

Of course there is always shopping first. Off to Tesco to fill the car, then fill the fridge and larder. I am away for three days, nearly four, so not much needed on top of some ready meals for Jools. Still came to seventy quid, mind.

 

A tub of cheese footballs did fall into the trolley, which helped.

 

Back home for breakfast of fruit and more coffee, and then off to Canterbury, parking near St Augustine's Abbey, walking to the centre via a subway. We parted, Jools went to Body Shop and a couple of other shops, while I walked down High Street, past the Eastbridge Hospital, Westgate Tower, Canterbury West station to St Dunstan's.

 

I could say I walked straight there, but I had a quarter of an hour to play with, so when I walked past a pasty shop, I went in for a coffee, and although wasn't really hungry, I did have a pasty anyway.

 

Once fed and watered, I walk on, up the hill past the station, and on the left was the church, the door already open despite it being only five to nine.

 

I went in, and found I had the church to myself.

 

Last time I was here, the Roper Chapel was being renovated and so I couldn't get inside. Important as it is in the chapel that the head of Thomas Moor, beheaded on Tower Hill on orders of Henry VIII. The windows of the chapel have several representation of him and scenes from his life. I snap them all.

 

I go round with the wide angle lens, now the church is fully open again.

 

That done, I walk back down into the centre heading for Eastbridge Hospital.

 

I have been here before, a decade ago, when I went round with just my wide angle lens, and go a few poor shots. So, with it being open for the Heritage Event, it seemed a good idea to go.

 

The hospital is ancient, it goes without saying, and is still in use.

 

I have walked up and down High Street in Canterbury dozens of times, and never really thought about what lay behind buildings on the west side.

 

At Eastbridge the ancient hospital straddles the Stour, or one branch of it, on the other is the timber framed house, Weavers, with the ducking stool further downstream.

 

I re-visited the hospital, and on the way out was told I could visit the gardens and Greyfriars Chapel at the same time.

 

A shop, former pawnbrokers, is now a charity shop for the gardens, and through the shop there is an exit to a path beside the river.

 

This opens out into two acres of gardens, still used to feed the patients in the hospital, and the monks who still live and work here.

 

There used to be a large priory church here, and there are parts of ancient walls and ruins to be seen, as well as a bridge of the same age.

 

Over the river, a former lodging building from the 13th century, as been converted into a chapel, Greyfriars, with pillars supporting the building as the river passes through a tunnel under it.

 

It was rather like walking through a wardrobe into a magical place, with the Stour gently flowing through it, and a few other visitors making their was to the Chapel and surrounding gardens.

 

We sat for 45 minutes in the meadow waiting for a service to end, so I could get shots. So, we people watched and delighted in Migrant Hawkers flying by.

 

Franciscan Gardens, Canterbury, Kent The sounds of the city seemed a hundred miles away.

 

I got the shots once the group of ladies left, and once I had the three shots, we followed sign to the exit, leaving the garden through a plane gate beside the old post office.

 

Two hundred and sixty Now what?

 

Well, nothing. Really.

 

So, we walk back slowly to the car, pay for three hours parking and drive back out of the city, down the A2 to the coast and home.

 

Back in time to listen to the footy, have a brew and try to avoid eating as we were going out in the evening. As, on Monday, it will be 14 years since we married, and as I will be in another country Monday, we celebrated it two days early.

 

Or would do come six.

 

Norwich were going for seven wins in a row, but never really got going against WBA, and fell a goal behind early on. Better in the second half, and drew level thanks to a deflection, but no win. But also, no defeat either.

 

Franciscan Gardens, Canterbury, Kent I had a shower and put on some clean clothes and a splash of aftershave.

 

Ready.

 

I drive us to Jen's, picked her up, then drove slowly to Sandwich, then over the marshes through Preston to Stourmouth.

 

We were not the only customers; there was a wedding reception, and there were gentlement and boys in three piece suits, and ladies and girls in glamourous gowns and neck-breaking heels. Occasionally the bride would literally sweep through the bar, the train of her dress cleaning as it went. Not sure if what was the right colour.....

 

We had ordered when I booked the table, a huge pan of paella with chorizo, chicken, ham and shrimp. Jen and I shared a bottle of red, and we ate and watched the comings and goings as the wedding party got ever more rauocus.

 

We rounded off with a cheeseboard between the three of us, and that was it.

 

Jools drove us back to Jen's, dropping her off, then back home.

 

I had decided to open the bottle of port once home, and did. This has been on the shelf since my last trip to Denmark and I saw it at the airport duty free.

 

It was every bit of good that I hoped it would be.

 

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The Hospital of St Thomas the Martyr of Eastbridge was founded in the 12th century in Canterbury, England, to provide overnight accommodation for poor pilgrims to the shrine of St Thomas Becket. It is now one of the ten almshouses still providing accommodation for elderly citizens of Canterbury[1] and is a grade I listed building.

 

The hospital is situated on the King's-bridge, near the Westgate, in Canterbury. It was established sometime after the death of Thomas Becket (1170), possibly as early as 1176, when Canterbury Cathedral became a site of pilgrimage; the hospital provided accommodation for the pilgrims. The earliest name recorded as founder is that of Edward FitzOdbold c. 1190, with further endowments by Archbishop Hubert Walter about 1203.[1] For many years, no special statutes were enacted, nor were any rules laid down for the treatment of pilgrims.

 

The original building consists of an entrance hall, undercroft, refectory and chapel, all built in around 1190. Like the ancient Entrance Hall beneath it, the Pilgrims’ Chapel dates from the twelfth century, but assumed its present proportions in the fourteenth century. The roof of the Pilgrims’ Chapel is a fine example of its kind: the style of woodwork and joinery indicate that it was built around 1285. The Undercroft's original function was as a dormitory, and architecturally shows the period of time where the round-headed arch was giving way to the Gothic style of pointed arch.

 

The Refectory is a large open room originally used as a dining space. On the north wall is a painting of Our Lord in Glory between the symbols of the four Evangelists dating from the thirteenth century. This fresco was only uncovered when the chimney and fireplace installed around the time of the dissolution were removed in 1879, and it has been conserved since its revelation.

 

Approval for the funding of a Chantry Chapel was sanctioned by Archbishop Sudbury in 1375; the original document confirming this endowment is housed in the Canterbury Cathedral archives. (Chantries were abolished in 1547, and this fell into disrepair until it was reclaimed and restored for its original use in 1969.)

  

Hospital of St. Thomas, Canterbury, old engraving.

In the fourteenth century the hospital was reformed by Archbishop John de Stratford, during the reign of Edward III; he created ordinances, as well as a code of regulations to be acted on concerning pilgrims. He ruled that every pilgrim in health could rest in the hospital for one night at the cost of four pence, that weak and infirm applicants were to be preferred to those with better health, and that women "upwards of forty" should attend to the bedding and administer medicines to the sick. He also appointed a Master in priest's orders, under whose guidance a secular chaplain served. Further lands and revenues from parishes were given by Stratford and by Archbishop Simon Sudbury.[1]

 

This institution survived the Dissolution of the Monasteries and other religious houses during the reigns of Henry VIII and Edward VI, although the pilgrimage to St Thomas of Canterbury did not survive this period. In 1569 Archbishop Matthew Parker issued new ordinances governing the Hospital and its Master which specified the maintenance of twelve beds for the 'wayfaring poor' and established a school in the chapel for twenty boys. This arrangement was confirmed by Archbishop John Whitgift by Act of Parliament in 1584.[1]

 

The school survived until 1879. The chapel was then little used until its restoration by the Master in 1927. Further restoration work has taken place during the twentieth century. Much of this work was financed by sale of some of the hospital's lands at Blean at the foundation of the University of Kent in the 1960s.[1] A list of the Masters of the Eastbridge Hospital up to the end of the eighteenth century is given by Edward Hasted.

 

Between 2014–2019, extensive restoration took place to preserve those rooms situated directly over the River Stour. This work was supported by the Viridor Credits scheme, which funds community, heritage, and biodiversity projects. It was formally opened to the public by the Bishop of Dover on 23 March 2019, and named after Archbishop William Juxon, who was a generous benefactor during his tenure, and gave money for an earlier restoration of this part of Eastbridge.

 

Eastbridge is a functional almshouse to this day, providing accommodation in eight individual apartments in areas of the buildings inaccessible to the public. Eastbridge is administered by Trustees whose main aims are the maintenance of the ancient buildings, which are of national historic interest, and the welfare of the almshouse residents (Indwellers).

 

en.wikipedia.org/wiki/Eastbridge_Hospital_of_St_Thomas_th...

 

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THE HOSPITAL OF KING'S BRIDGE, ALIAS EASTBRIDGE

IS likewise situated in the same hundred, being exempt from the liberties of the city, and within the jurisdiction of the county of Kent at large. It takes its name from its situation close on the south side of King's bridge. This hospital was formerly called, by both the names of Eastbridge hospital and the hospital of St. Thomas the martyr of Eastbridge; which latter it had, from its being at first erected and endowed by the charity and piety of St. Thomas Becket, in king Henry II.'s reign. (fn. 1) For this we have the testimony of one of his successors, archbishop Stratford; who, upon his new ordination of the hospital, and in the charter of it, acknowledged archbishop Becket to be the first founder and endower of it; besides which, there is no other record extant, or to be found concerning the foundation of this hospital, or the intent why it was erected. (fn. 2) But to look back to the times intervening between these two founders, in which it is recorded, that archbishop Hubert, who sat in this see in king John's reign, was an especial benefactor to it, by the gift of several mills, tithes, and other premises, which were confirmed by the prior and convent of Christ church. In this archbishop's time there was another hospital, neighbouring to this of King's, alias Eastbridge, called Cokyn's hospital, built and en dowed by one William Cokyn, a citizen of Canterbury, whose name in his posterity long survived him, in this city. (fn. 3) This hospital was dedicated to St. Nicholas and the Virgin and martyr St. Catherine; and was situated in the parish of St. Peter, almost directly opposite to the late Black Friars-gate, having had a lane by it, once called Cokyn's lane, though long since shut up, and built upon. This hospital lastmentioned, was built on the scite of a house adjoining to the above William Cokyn's dwelling, or else was turned into one by him. Afterwards, by his charter, he united these two hospitals, and then by another charter, entitled them to all his lands, possessions and chattels, and made them his heirs. This union was confirmed by the bull of pope Innocent III. anno 1203, in which it is called the hospital of St. Thomas of Canterbury; and in Cokyn's grant of union, it is stiled the hospital of St. Nicholas, St. Catherine, and St. Thomas the Martyr of Eastbridge. (fn. 4) Eastbridge hospital becoming thus by union or consolidation possessed of and owners of Cokyn's hospital, it ceased soon afterwards, probably, to be used as one, and was hired or rented out, among the possessions of the hospital of Eastbridge; in which state it continues at this time. (fn. 5)

 

To return now again to the hospital of St. Thomas of Eastbridge, for which there being no statutes for the government of it, archbishop Stratford, anno 15 Edward III. drew up certain ordinances for that purpose, (fn. 6) the effect of which was, that the hospital being founded for the receiving, lodging and sustaining of poor pilgrims, was then, owing to the negligence of the masters, who had wasted the revenues of it, but meanly endowed, and that the buildings of it were in a ruinous condition: to remedy which, and to continue the charitable intent of it, he decreed, that the church of St. Nicholas, Harbledown, should be for ever appropriated to it; that for the government of this hospital, there should be a master in priest's orders, appointed by the archbishop and his successors, who should keep a proper secular chaplain, or vicar, under him, to be removed at the master's will and pleasure. That such poor pilgrims as happened to die within this hospital, should be buried in Christ church yard, in the place heretofore allotted to them there. That every pilgrim, in health, should have no more than one night's lodging and entertainment, at the expence of 4d. that there should be twelve beds in the hospital, and that some woman, upwards of forty years of age, should look after the beds and provide all necessaries for the pilgrims; that those who were not in health, should be preferred to such as were; that no lepers should be received into it; that if there was a smaller number of pilgrims reforting to the hospital, at any one time, a greater number should be received into it, in lieu of such deficiency, at other times, as far as the revenues of the hospital would allow of it; and further, he inhibited them from having any common seal in the hospital, with several other particular orders and injunction, as may be seen in the instrument more at large.

 

This hospital had several very liberal benefactors in early times. Among others, Hamo de Crevequer gave the church of Blean to it, which gift was afterwards confirmed by archbishop Stephen Langton, and was afterwards appropriated to it by archbishop Sudbury in 1375, Thomas, lord Roos, of Hamlake, in the 33d year of king Edward III. gave the manor of Blean to it, and the year afterwards Sir John Lee, as appears by the ledger of the hospital, gave to it a messuage, with 180 acres of land and divers rents of assize, in the same parish, for the increase of vorks of piety in it. (fn. 7)

 

In the year 1362, archbishop Islip founded a perpetual chantry in this hospital, and transferred to it, for the benefit of it, at the request of Bartholomew de Bourne, the chantry founded in the church of Livingsborne, alias Beaksborne, by his ancestor James de Bourne. (fn. 8)

 

By the instruments of the archbishops Islip and Sudbury, dated in the above year, it appears, by the former, that there was founded in this hospital, a perpetual chantry for divine services; the priest of which was to receive a yearly stipend of ten marcs, of the master of the hospital, out of the revenues of it; for which he was to celebrate divine service, and minister the sacraments and sacramentals in it, to such poor and infirm as should resort hither; and that the priest and his successors should possess the mansion, within the bounds of the hospital, between the infirmary and the great gate of it, and the chamber over it. After which king Edward III, having given a messuage, called the Chaunge, at the time almost wholly in ruins, to Thomas Newe de Wolton, then master of this hospital, and his successors, in aid of the maintenance of the priest who should celebrate in it for his health, for his soul afterwards, and that of John at Lee, who in part founded the chantry, &c. and the said messuage having been repaired and rebuilt by the executors, and at the cost, though charity, of his predecessor, the value of the rent amounted to seven marcs yearly, and would, as it was presumed, amount still higher in future; and it being difficult at that time to find a proper priest, who would undergo the duty and residence required in it, for the salary of ten marcs, the king's piety in augmenting the priest's stipend, was as yet frustrated—Archbishop Simon Sudbury, therefore, by his instrument dated in 1375, in which he recited the above ordination of his predecessor, ordained and decreed, in addition to that before-mentioned, and by the consent of the said Thomas, master of this hospital, and the executors of his predecessor, that the endowment of this chantry of ten marcs, should be augmented with five marcs and an half out of the seven marcs of rent of the messuage given by the king as aforesaid, with power of distress, &c. and whereas the presentation of the chantry of Bourne, united to this hospital, as in the ordination of the first chantry aforesaid made by his predecessor, more plainly appeared, belonged to Bartholomew de Bourne, his heirs, or assigns, before the union; he therefore decreed and ordained, that the presentation and collation to be made to the same, when vacant, should belong to him and his successors, and to the said Bartholomew de Bourne, his heirs, or assigns, alternately; the first turn to belong to the archbishop, because the assigns of Bartholomew de Bourne (fn. 9) had presented the then incumbent to it, &c. (fn. 10)

 

Though the revenues of this hospital lay chiesly in the parish of Blean, yet it was possessed of other rents, lands and tenements in Canterbury, Harbledown, and in Birchington. It was likewise possessed of lands in Herne, Reculver, Swaycliffe, Chistlet, and Bekesborne, belonging to the before-mentioned chantry, which at the suppression of it were seized on, as such.

 

By a bull of pope Honorius III. this hospital had the privilege of not paying tithes of their gardens. (fn. 11)

 

By the return made to the king's commissioners in king Henry VIII.'s reign, it appears, that there was here a neat handsome chapel, dedicated to the Virgin Mary, to which had belonged two bells, to ring to service, as was reported to them by the parson and churchwardens of All Saints; who said further, that this hospital was a parish church, in which there was ministred all sacraments and sacramentals, to the poor people resorting thither, and to the keeper of it, and his household, and all others remaining within the precinct of it, by the chantry priest; the matter of fact was, that this chapel was formerly served by the chantry priest of the chantry in it, mentioned before, to have been transferred to it, who had 10l. 6s. 8d. yearly stipend or wages, besides his mansion or dwelling, which was at the west end of the hospital, of all which it was deprived at the suppression of it by the statute of the 1st year of king Edward VI. (fn. 12) when a pension of six pounds per annum was granted to Nicholas Thompson, alias Campion, the incumbent of it, which was remaining anno 1553. (fn. 13)

 

The value of the revenues of the hospital itself, as returned anno 26 Henry VIII. according to both Dugdale and Speed, were 23l. 18s. 9⅓d. per annum, but this must have been the clear income, for according to Sancrost's manuscript valor, they amounted in the whole to 43l. 12s. 3d. (fn. 14)

 

The state of this hospital, as it stood in the time of cardinal Pole, at archdeacon Harpsfield's visitation in 1557, was, as appears by the entry in the book of it; that they were bound to receive way faring and hurt men, and to have eight beds for men, and four for women; to remain for a might, and more, if they were not able to depart; and the master of the hospital to be charged with their burial, and they had twenty lords of wood yearly allowed, and 26s. a year for drink, that there was 10l. land a year, with a mansion, which the priest always had for officiating in the chapel, taken away by the king, and that it was the head church to St. Cosmus and St. Damian Blean, but that they had no ornaments but organs. (fn. 15)

 

This hospital, though it outlasted the general suppression of most of the foundations of the like sort in the reigns of king Henry VIII. and king Edward VI. yet in the beginning of queen Elizabeth's reign, the lands and tenements belonging to it, as well as the hospital itself, then converted into tenements, were occu pied and possessed by private persons, until archbishop Parker, in the 10th year of that reign, recovered, by his prudent care, some of the lands and possessions, and restored the house again to pious and charitable uses. He framed new ordinances for the government of it, which he wisely contrived should be suitable to those times, as well as agreeable to the first foundation of the hospital, and the former statutes of archbishop Stratford, as far as might be; reserving nevertheless, a power to his successors, archbishops of Canterbury, to revise, alter, abolish and new make all, or any part of them; they are dated May 20, 1569. (fn. 16)

 

In them it appears, that in consequence of the ordinances of archbishop Stratford, the master of the hospital might take all the profits of it to his own use, bestowing only for the relief of wandering and wayfaring brethren, and poor, in bread and drink, after the rate of 4d. a day, and one night's lodging for twelve persons, if so many came there at one time, in the whole not above 6l. 2s. 6d. per annum, but the archbishop (Parker) by the authority in the above former ordinance concerning the disposition of the profits of this hospital, to him and his successors reserved, to alter and change the same, did by these ordinances in that behalf made, under his hand and seal, not only increase the above sum, to be from thenceforth bestowed on certain poor inhabiting within the county of the city of Canterbury, but also appointed other sums of money thereout, yearly to be paid towards the keeping of a freeschool, for a certain number of poor children of the county of the said city, to be taught to write and read freely within the hospital.

 

By the same ordinance, as well as by an indenture, between the master of this hospital and the master of Corpus Christi, or Benet college, in Cambridge, dated May 22, anno 11th Elizabeth, the archbishop founded out of the revenues of this hospital, two scholarships, each of the yearly value of 3l. 6s. 8d. that sum to be paid yearly from thence, by the master of the hospital to the master of the college; the two scholars to be chosen, named, examined and approved by the master of this hospital and the dean of Canterbury, if any such there should be; if not, then by the master only, and to be taken from the free-school in Canterbury, being such of the scholars there as were born within Kent, and being sent to Cambridge, should be called Canterbury scholars; who, after their admittance and receipt there, should remain and continue in that college, according to the orders and statutes of it, and should have of the provision of it, convenient chambers, commons, reading and other necessaries, as other scholars in it, according to common custom, for the term of two hundred years next, from the date of the indenture, with other rules and regulations in it relating to them. (fn. 17)

 

Not long after this, queen Elizabeth issued a commission of charitable uses, to enquire into the state and condition of this hospital, which was done, and a return thereof made accordingly; and again, soon after the death of archbishop Parker, there was a second commission, directed to Sir James Hales and others, who certisied, that the hospital house stood ruinated, and neither master nor brethren were resident, or dwelling of long time. The house was let out into tenements for yearly rent. The beds that were wont to lodge and harbour poor people resorting thither, were gone and sold, contrary to the old order and foundation of the same; and that the hospital was relinquished and concealed from the queen, &c. Upon which, she granted it, with all its revenues, by letters patent, dated July 20, in her 18th year, to John Farnham, one of her gentlemen pensioners, to hold in see farm for ever. —He soon afterwards conveyed his interest in it for 550l. and the release beside of a debt owing by him, to Geo. Hayes. After this, archbishop Whitgift recovered this hospital, with the revenues of it, from Hayes, and then settled it upon a new foundation, so firm and sure, that it has continued to the present time, and remains a perpetual monument of the archbishop's piety and prudence, who may be justly reputed the sounder and restorer of it; (fn. 18) and he framed new ordinances and statutes, for the better government of it, by which the hospital is now ruled. In these it is, among other things, ordered and decreed, that the archbishop should collate the master, who should be in holy orders, and should be instituted and inducted according to the usual form and custom, who should have the lodging known by the name of the master's lodging, in the hospital; and a yearly stipend of 61. 13s. 4d. and twenty loads of wood from the lands belonging to it, to be delivered cost free. That the master should appoint a school-master, who by himself or deputy, should freely instruct twenty poor children of this city, above the age of seven years, to write, read and cast accompts, and to have books, paper, &c. provided for them, out of the prosits of the hospital, and not to remain in the school above three years. The school-master to have a lodging in the hospital, and a stipend of four pounds, and for his further relief, if the master approved of it, to be receiver of the rents, &c. of the hospital; for which he should receive 26s. 8d. and two loads of wood yearly, to be delivered cost free, and one summer livery cloth. That out of the prosits of the hospital, there should be paid for ever, to the two scholars to be taken out of the common school at Canterbury, commonly called the mynte, by the master of the hospital, with the consent of the archbishop, and placed in Benet college, 3l. 6s. 8d. each, according to the former ordinances made of it. That whereas by former ordinances, the master of the hospital was only tied to pay in time of peace, unto the poor passengers, or to such other poor people as the master should think good, thirty pence a week; and in time of war that payment ceasing, to provide twelve beds for the lodging of poor soldiers, passing through this city, within the hospital, for the space of one night only, which is now grown wholly out of use, especially since the loss of Calais; therefore, for the better relief of the poor inhabiting within this city and the suburbs of it, it was ordered, that the former last recited orders should cease, and instead of them, there should be five inbrothers, and five in-sisters, to be permanent and have their habitation in the hospital; and after the space of twenty years next ensuing, there should be five other out-brothers, and five others called out-sisters; each of the said in-brothers and in-sisters to have a several dwelling and lodging within the hospital, and 26s. 8d. by the year, and one load of wood to be delivered cost free, between Midsummer and Michaelmas; and each of the out brothers and out-sisters to have 26s. 8d. by the year only; that the mayor of this city should from time to time, nominate to the master of the hospital for every of the brothers and sisters rooms, when they should be void and unfurnished, two poor persons, men or women, as the places should require, being lame, impotent, blind, or aged, above fifty years of age, who should have inhabited within the city, of suburbs, seven years before; of which two, the master should chuse and admit one; and in default of the mayor's nomi nating for the space of three months, the master to make choice, and admit any, qualisied as above-mentioned. That in the room of every out-brother and sister, the mayor should nominate such persons as above specisied, whereof one at least should be such as had dwelt in the city or suburbs, by the space of three whole years at least, to the end that such as dwelt there, and not within the county of the city, should receive the whole benefit of these ordinances. That the master, out of the profits of the hospital, should repair and sustain it, and every part within the precincts of it, and also sufficiently sustain and maintain the bridge, called the king's bridge, alias Eastbridge, within the city of Canterbury; (fn. 19) and pay to the queen, her heirs and successors, 7l. 10s. yearly, due to her for the pension of a chantry, sometime within the hospital, and all other dues and payments going out of it. That the master should not let for years or lives, the lands or tenements, nor make any woodsales of the wood, without the express consent, in writing, of the archbishop, and should yearly make an accompt to him, if demanded, so that of the surplusage all charges deducted, the portions of the brethren and sisters might be increased at the will of the archbishop, as theretofore had been used. That the in-brethren or sisters, master or schoolmaster, who should die within the precincts of the hospital, might be buried within the church-yard of the cathedral, according to a former agreement made between the archbishop, his predecessor and the then prior and convent of Christ church, with many other orders and re gulations mentioned in them, (fn. 20) all which were confirmed and ordered to be inrolled in chancery, by an act passed in the 27th year of that reign, (fn. 21) by the means of which, the rights of this hospital have been preserved to this time.

 

There have been some few modern benefactors to this hospital.

 

Mr. Avery Sabin, sometime an alderman of this city, by his will in 1648, gave a rent charge out of his estate at Monkton, in Thanet, of 20l. per annum, for charitable uses to the poor of this city, of which, ten marcs were assigned yearly to be paid to the five in-brothers and five in-sisters of this hospital. (fn. 22)

 

Mrs. Elizabeth Lovejoy, widow, by her will in 1694, gave, out of her personal estate, the sum of five pounds yearly to this hospital, to be shared and divided among the poor of it, in like manner as her gift to Cogan's hospital, above-mentioned. Besides which, this hospital receives yearly the sixth part of the interest, due from 1631. 16s. 3d. being the sum due from Mrs. Masters's legacy, who died in 1716, which is vested in the mayor and commonalty, in trust, for the several hospitals in Canterbury, of which a full account may be seen among the charitable benefactions to this city.

 

In 1708 John Battely, D. D. archdeacon of Canterbury, and master of this hospital, new built three of the sisters lodgings, and did several other great repairs, and at his death left by his will, to the in-brothers and sisters, one hundred pounds, the interest of which he ordered should be proportioned by Mr. John Bradock, of St. Stephen's, and Mr. Somerscales, vicar of Doddington.

 

Mr. John Bradock, master of this hospital, in 1719 gave by his will, 25l. 13s. 4d. for the better payment of the poor people, at Lady-day and Michaelmas.

 

Mr. Matthew Brown, of St. Peter's, in Canterbury, in 1721, gave by his will 10s. per annum for ever, to the in brothers and sisters of this hospital.

 

In 1768, Thomas Hanson, esq. of Crosby-square, London, gave by will, the interest of 500l, for ever, to the in brothers and sisters of this hospital; which being now invested in the 3 per cents. reduced Bank Annuties, produces 17l. 1os. per annum.

 

Besides these, the hospital had many temporary benefactors, as well towards the repairs of it, as in money; among which were, the archbishops Juxon, Sheldon and Sancrost. The yearly tenths of this hospital amounting to 2l. 7s. 10d. are payable to the archbishop.

 

In 1691, the yearly revenues of this hospital amounted in the whole to 101l. 5s. 9d. besides which were the fines upon the renewals of the leafes, and alderman Sabine's gift of 13s 4d. a piece, by the year, which came not into the master's hands, but was paid by one of the aldermen of the city.

 

The present building is antient; it has a decent hall and chapel, where the schoolmaster, who has a good apartment in the house, and is called the reader, instructs twenty boys gratis, in reading, writing, and arithmetic. There are rooms also for five in brothers, and five in-sisters, but some of these rooms are subject to be flooded in a very wet season. (fn. 23) The master has a neat handsome house, sitauted in a court near the hospital, but on the western or opposite side of the river.

 

¶The antient common seal of this hospital having been for a long time missing, the late master, Dr. Backhouse, at his own expence, supplied the hospital with another in the year 1783.

 

www.british-history.ac.uk/survey-kent/vol12/pp115-135

Second weekend of the annual Heritage event. It seems wrong to call it a weekend as it now compromises two weekends and many meedweek events too.

 

And scanning the events, there were some in Canterbury, so we decide to head to the city for a wander: jools would go shopping while I would go and do some snapping.

 

Of course there is always shopping first. Off to Tesco to fill the car, then fill the fridge and larder. I am away for three days, nearly four, so not much needed on top of some ready meals for Jools. Still came to seventy quid, mind.

 

A tub of cheese footballs did fall into the trolley, which helped.

 

Back home for breakfast of fruit and more coffee, and then off to Canterbury, parking near St Augustine's Abbey, walking to the centre via a subway. We parted, Jools went to Body Shop and a couple of other shops, while I walked down High Street, past the Eastbridge Hospital, Westgate Tower, Canterbury West station to St Dunstan's.

 

I could say I walked straight there, but I had a quarter of an hour to play with, so when I walked past a pasty shop, I went in for a coffee, and although wasn't really hungry, I did have a pasty anyway.

 

Once fed and watered, I walk on, up the hill past the station, and on the left was the church, the door already open despite it being only five to nine.

 

I went in, and found I had the church to myself.

 

Last time I was here, the Roper Chapel was being renovated and so I couldn't get inside. Important as it is in the chapel that the head of Thomas Moor, beheaded on Tower Hill on orders of Henry VIII. The windows of the chapel have several representation of him and scenes from his life. I snap them all.

 

I go round with the wide angle lens, now the church is fully open again.

 

That done, I walk back down into the centre heading for Eastbridge Hospital.

 

I have been here before, a decade ago, when I went round with just my wide angle lens, and go a few poor shots. So, with it being open for the Heritage Event, it seemed a good idea to go.

 

The hospital is ancient, it goes without saying, and is still in use.

 

I have walked up and down High Street in Canterbury dozens of times, and never really thought about what lay behind buildings on the west side.

 

At Eastbridge the ancient hospital straddles the Stour, or one branch of it, on the other is the timber framed house, Weavers, with the ducking stool further downstream.

 

I re-visited the hospital, and on the way out was told I could visit the gardens and Greyfriars Chapel at the same time.

 

A shop, former pawnbrokers, is now a charity shop for the gardens, and through the shop there is an exit to a path beside the river.

 

This opens out into two acres of gardens, still used to feed the patients in the hospital, and the monks who still live and work here.

 

There used to be a large priory church here, and there are parts of ancient walls and ruins to be seen, as well as a bridge of the same age.

 

Over the river, a former lodging building from the 13th century, as been converted into a chapel, Greyfriars, with pillars supporting the building as the river passes through a tunnel under it.

 

It was rather like walking through a wardrobe into a magical place, with the Stour gently flowing through it, and a few other visitors making their was to the Chapel and surrounding gardens.

 

We sat for 45 minutes in the meadow waiting for a service to end, so I could get shots. So, we people watched and delighted in Migrant Hawkers flying by.

 

Franciscan Gardens, Canterbury, Kent The sounds of the city seemed a hundred miles away.

 

I got the shots once the group of ladies left, and once I had the three shots, we followed sign to the exit, leaving the garden through a plane gate beside the old post office.

 

Two hundred and sixty Now what?

 

Well, nothing. Really.

 

So, we walk back slowly to the car, pay for three hours parking and drive back out of the city, down the A2 to the coast and home.

 

Back in time to listen to the footy, have a brew and try to avoid eating as we were going out in the evening. As, on Monday, it will be 14 years since we married, and as I will be in another country Monday, we celebrated it two days early.

 

Or would do come six.

 

Norwich were going for seven wins in a row, but never really got going against WBA, and fell a goal behind early on. Better in the second half, and drew level thanks to a deflection, but no win. But also, no defeat either.

 

Franciscan Gardens, Canterbury, Kent I had a shower and put on some clean clothes and a splash of aftershave.

 

Ready.

 

I drive us to Jen's, picked her up, then drove slowly to Sandwich, then over the marshes through Preston to Stourmouth.

 

We were not the only customers; there was a wedding reception, and there were gentlement and boys in three piece suits, and ladies and girls in glamourous gowns and neck-breaking heels. Occasionally the bride would literally sweep through the bar, the train of her dress cleaning as it went. Not sure if what was the right colour.....

 

We had ordered when I booked the table, a huge pan of paella with chorizo, chicken, ham and shrimp. Jen and I shared a bottle of red, and we ate and watched the comings and goings as the wedding party got ever more rauocus.

 

We rounded off with a cheeseboard between the three of us, and that was it.

 

Jools drove us back to Jen's, dropping her off, then back home.

 

I had decided to open the bottle of port once home, and did. This has been on the shelf since my last trip to Denmark and I saw it at the airport duty free.

 

It was every bit of good that I hoped it would be.

 

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The Hospital of St Thomas the Martyr of Eastbridge was founded in the 12th century in Canterbury, England, to provide overnight accommodation for poor pilgrims to the shrine of St Thomas Becket. It is now one of the ten almshouses still providing accommodation for elderly citizens of Canterbury[1] and is a grade I listed building.

 

The hospital is situated on the King's-bridge, near the Westgate, in Canterbury. It was established sometime after the death of Thomas Becket (1170), possibly as early as 1176, when Canterbury Cathedral became a site of pilgrimage; the hospital provided accommodation for the pilgrims. The earliest name recorded as founder is that of Edward FitzOdbold c. 1190, with further endowments by Archbishop Hubert Walter about 1203.[1] For many years, no special statutes were enacted, nor were any rules laid down for the treatment of pilgrims.

 

The original building consists of an entrance hall, undercroft, refectory and chapel, all built in around 1190. Like the ancient Entrance Hall beneath it, the Pilgrims’ Chapel dates from the twelfth century, but assumed its present proportions in the fourteenth century. The roof of the Pilgrims’ Chapel is a fine example of its kind: the style of woodwork and joinery indicate that it was built around 1285. The Undercroft's original function was as a dormitory, and architecturally shows the period of time where the round-headed arch was giving way to the Gothic style of pointed arch.

 

The Refectory is a large open room originally used as a dining space. On the north wall is a painting of Our Lord in Glory between the symbols of the four Evangelists dating from the thirteenth century. This fresco was only uncovered when the chimney and fireplace installed around the time of the dissolution were removed in 1879, and it has been conserved since its revelation.

 

Approval for the funding of a Chantry Chapel was sanctioned by Archbishop Sudbury in 1375; the original document confirming this endowment is housed in the Canterbury Cathedral archives. (Chantries were abolished in 1547, and this fell into disrepair until it was reclaimed and restored for its original use in 1969.)

  

Hospital of St. Thomas, Canterbury, old engraving.

In the fourteenth century the hospital was reformed by Archbishop John de Stratford, during the reign of Edward III; he created ordinances, as well as a code of regulations to be acted on concerning pilgrims. He ruled that every pilgrim in health could rest in the hospital for one night at the cost of four pence, that weak and infirm applicants were to be preferred to those with better health, and that women "upwards of forty" should attend to the bedding and administer medicines to the sick. He also appointed a Master in priest's orders, under whose guidance a secular chaplain served. Further lands and revenues from parishes were given by Stratford and by Archbishop Simon Sudbury.[1]

 

This institution survived the Dissolution of the Monasteries and other religious houses during the reigns of Henry VIII and Edward VI, although the pilgrimage to St Thomas of Canterbury did not survive this period. In 1569 Archbishop Matthew Parker issued new ordinances governing the Hospital and its Master which specified the maintenance of twelve beds for the 'wayfaring poor' and established a school in the chapel for twenty boys. This arrangement was confirmed by Archbishop John Whitgift by Act of Parliament in 1584.[1]

 

The school survived until 1879. The chapel was then little used until its restoration by the Master in 1927. Further restoration work has taken place during the twentieth century. Much of this work was financed by sale of some of the hospital's lands at Blean at the foundation of the University of Kent in the 1960s.[1] A list of the Masters of the Eastbridge Hospital up to the end of the eighteenth century is given by Edward Hasted.

 

Between 2014–2019, extensive restoration took place to preserve those rooms situated directly over the River Stour. This work was supported by the Viridor Credits scheme, which funds community, heritage, and biodiversity projects. It was formally opened to the public by the Bishop of Dover on 23 March 2019, and named after Archbishop William Juxon, who was a generous benefactor during his tenure, and gave money for an earlier restoration of this part of Eastbridge.

 

Eastbridge is a functional almshouse to this day, providing accommodation in eight individual apartments in areas of the buildings inaccessible to the public. Eastbridge is administered by Trustees whose main aims are the maintenance of the ancient buildings, which are of national historic interest, and the welfare of the almshouse residents (Indwellers).

 

en.wikipedia.org/wiki/Eastbridge_Hospital_of_St_Thomas_th...

 

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THE HOSPITAL OF KING'S BRIDGE, ALIAS EASTBRIDGE

IS likewise situated in the same hundred, being exempt from the liberties of the city, and within the jurisdiction of the county of Kent at large. It takes its name from its situation close on the south side of King's bridge. This hospital was formerly called, by both the names of Eastbridge hospital and the hospital of St. Thomas the martyr of Eastbridge; which latter it had, from its being at first erected and endowed by the charity and piety of St. Thomas Becket, in king Henry II.'s reign. (fn. 1) For this we have the testimony of one of his successors, archbishop Stratford; who, upon his new ordination of the hospital, and in the charter of it, acknowledged archbishop Becket to be the first founder and endower of it; besides which, there is no other record extant, or to be found concerning the foundation of this hospital, or the intent why it was erected. (fn. 2) But to look back to the times intervening between these two founders, in which it is recorded, that archbishop Hubert, who sat in this see in king John's reign, was an especial benefactor to it, by the gift of several mills, tithes, and other premises, which were confirmed by the prior and convent of Christ church. In this archbishop's time there was another hospital, neighbouring to this of King's, alias Eastbridge, called Cokyn's hospital, built and en dowed by one William Cokyn, a citizen of Canterbury, whose name in his posterity long survived him, in this city. (fn. 3) This hospital was dedicated to St. Nicholas and the Virgin and martyr St. Catherine; and was situated in the parish of St. Peter, almost directly opposite to the late Black Friars-gate, having had a lane by it, once called Cokyn's lane, though long since shut up, and built upon. This hospital lastmentioned, was built on the scite of a house adjoining to the above William Cokyn's dwelling, or else was turned into one by him. Afterwards, by his charter, he united these two hospitals, and then by another charter, entitled them to all his lands, possessions and chattels, and made them his heirs. This union was confirmed by the bull of pope Innocent III. anno 1203, in which it is called the hospital of St. Thomas of Canterbury; and in Cokyn's grant of union, it is stiled the hospital of St. Nicholas, St. Catherine, and St. Thomas the Martyr of Eastbridge. (fn. 4) Eastbridge hospital becoming thus by union or consolidation possessed of and owners of Cokyn's hospital, it ceased soon afterwards, probably, to be used as one, and was hired or rented out, among the possessions of the hospital of Eastbridge; in which state it continues at this time. (fn. 5)

 

To return now again to the hospital of St. Thomas of Eastbridge, for which there being no statutes for the government of it, archbishop Stratford, anno 15 Edward III. drew up certain ordinances for that purpose, (fn. 6) the effect of which was, that the hospital being founded for the receiving, lodging and sustaining of poor pilgrims, was then, owing to the negligence of the masters, who had wasted the revenues of it, but meanly endowed, and that the buildings of it were in a ruinous condition: to remedy which, and to continue the charitable intent of it, he decreed, that the church of St. Nicholas, Harbledown, should be for ever appropriated to it; that for the government of this hospital, there should be a master in priest's orders, appointed by the archbishop and his successors, who should keep a proper secular chaplain, or vicar, under him, to be removed at the master's will and pleasure. That such poor pilgrims as happened to die within this hospital, should be buried in Christ church yard, in the place heretofore allotted to them there. That every pilgrim, in health, should have no more than one night's lodging and entertainment, at the expence of 4d. that there should be twelve beds in the hospital, and that some woman, upwards of forty years of age, should look after the beds and provide all necessaries for the pilgrims; that those who were not in health, should be preferred to such as were; that no lepers should be received into it; that if there was a smaller number of pilgrims reforting to the hospital, at any one time, a greater number should be received into it, in lieu of such deficiency, at other times, as far as the revenues of the hospital would allow of it; and further, he inhibited them from having any common seal in the hospital, with several other particular orders and injunction, as may be seen in the instrument more at large.

 

This hospital had several very liberal benefactors in early times. Among others, Hamo de Crevequer gave the church of Blean to it, which gift was afterwards confirmed by archbishop Stephen Langton, and was afterwards appropriated to it by archbishop Sudbury in 1375, Thomas, lord Roos, of Hamlake, in the 33d year of king Edward III. gave the manor of Blean to it, and the year afterwards Sir John Lee, as appears by the ledger of the hospital, gave to it a messuage, with 180 acres of land and divers rents of assize, in the same parish, for the increase of vorks of piety in it. (fn. 7)

 

In the year 1362, archbishop Islip founded a perpetual chantry in this hospital, and transferred to it, for the benefit of it, at the request of Bartholomew de Bourne, the chantry founded in the church of Livingsborne, alias Beaksborne, by his ancestor James de Bourne. (fn. 8)

 

By the instruments of the archbishops Islip and Sudbury, dated in the above year, it appears, by the former, that there was founded in this hospital, a perpetual chantry for divine services; the priest of which was to receive a yearly stipend of ten marcs, of the master of the hospital, out of the revenues of it; for which he was to celebrate divine service, and minister the sacraments and sacramentals in it, to such poor and infirm as should resort hither; and that the priest and his successors should possess the mansion, within the bounds of the hospital, between the infirmary and the great gate of it, and the chamber over it. After which king Edward III, having given a messuage, called the Chaunge, at the time almost wholly in ruins, to Thomas Newe de Wolton, then master of this hospital, and his successors, in aid of the maintenance of the priest who should celebrate in it for his health, for his soul afterwards, and that of John at Lee, who in part founded the chantry, &c. and the said messuage having been repaired and rebuilt by the executors, and at the cost, though charity, of his predecessor, the value of the rent amounted to seven marcs yearly, and would, as it was presumed, amount still higher in future; and it being difficult at that time to find a proper priest, who would undergo the duty and residence required in it, for the salary of ten marcs, the king's piety in augmenting the priest's stipend, was as yet frustrated—Archbishop Simon Sudbury, therefore, by his instrument dated in 1375, in which he recited the above ordination of his predecessor, ordained and decreed, in addition to that before-mentioned, and by the consent of the said Thomas, master of this hospital, and the executors of his predecessor, that the endowment of this chantry of ten marcs, should be augmented with five marcs and an half out of the seven marcs of rent of the messuage given by the king as aforesaid, with power of distress, &c. and whereas the presentation of the chantry of Bourne, united to this hospital, as in the ordination of the first chantry aforesaid made by his predecessor, more plainly appeared, belonged to Bartholomew de Bourne, his heirs, or assigns, before the union; he therefore decreed and ordained, that the presentation and collation to be made to the same, when vacant, should belong to him and his successors, and to the said Bartholomew de Bourne, his heirs, or assigns, alternately; the first turn to belong to the archbishop, because the assigns of Bartholomew de Bourne (fn. 9) had presented the then incumbent to it, &c. (fn. 10)

 

Though the revenues of this hospital lay chiesly in the parish of Blean, yet it was possessed of other rents, lands and tenements in Canterbury, Harbledown, and in Birchington. It was likewise possessed of lands in Herne, Reculver, Swaycliffe, Chistlet, and Bekesborne, belonging to the before-mentioned chantry, which at the suppression of it were seized on, as such.

 

By a bull of pope Honorius III. this hospital had the privilege of not paying tithes of their gardens. (fn. 11)

 

By the return made to the king's commissioners in king Henry VIII.'s reign, it appears, that there was here a neat handsome chapel, dedicated to the Virgin Mary, to which had belonged two bells, to ring to service, as was reported to them by the parson and churchwardens of All Saints; who said further, that this hospital was a parish church, in which there was ministred all sacraments and sacramentals, to the poor people resorting thither, and to the keeper of it, and his household, and all others remaining within the precinct of it, by the chantry priest; the matter of fact was, that this chapel was formerly served by the chantry priest of the chantry in it, mentioned before, to have been transferred to it, who had 10l. 6s. 8d. yearly stipend or wages, besides his mansion or dwelling, which was at the west end of the hospital, of all which it was deprived at the suppression of it by the statute of the 1st year of king Edward VI. (fn. 12) when a pension of six pounds per annum was granted to Nicholas Thompson, alias Campion, the incumbent of it, which was remaining anno 1553. (fn. 13)

 

The value of the revenues of the hospital itself, as returned anno 26 Henry VIII. according to both Dugdale and Speed, were 23l. 18s. 9⅓d. per annum, but this must have been the clear income, for according to Sancrost's manuscript valor, they amounted in the whole to 43l. 12s. 3d. (fn. 14)

 

The state of this hospital, as it stood in the time of cardinal Pole, at archdeacon Harpsfield's visitation in 1557, was, as appears by the entry in the book of it; that they were bound to receive way faring and hurt men, and to have eight beds for men, and four for women; to remain for a might, and more, if they were not able to depart; and the master of the hospital to be charged with their burial, and they had twenty lords of wood yearly allowed, and 26s. a year for drink, that there was 10l. land a year, with a mansion, which the priest always had for officiating in the chapel, taken away by the king, and that it was the head church to St. Cosmus and St. Damian Blean, but that they had no ornaments but organs. (fn. 15)

 

This hospital, though it outlasted the general suppression of most of the foundations of the like sort in the reigns of king Henry VIII. and king Edward VI. yet in the beginning of queen Elizabeth's reign, the lands and tenements belonging to it, as well as the hospital itself, then converted into tenements, were occu pied and possessed by private persons, until archbishop Parker, in the 10th year of that reign, recovered, by his prudent care, some of the lands and possessions, and restored the house again to pious and charitable uses. He framed new ordinances for the government of it, which he wisely contrived should be suitable to those times, as well as agreeable to the first foundation of the hospital, and the former statutes of archbishop Stratford, as far as might be; reserving nevertheless, a power to his successors, archbishops of Canterbury, to revise, alter, abolish and new make all, or any part of them; they are dated May 20, 1569. (fn. 16)

 

In them it appears, that in consequence of the ordinances of archbishop Stratford, the master of the hospital might take all the profits of it to his own use, bestowing only for the relief of wandering and wayfaring brethren, and poor, in bread and drink, after the rate of 4d. a day, and one night's lodging for twelve persons, if so many came there at one time, in the whole not above 6l. 2s. 6d. per annum, but the archbishop (Parker) by the authority in the above former ordinance concerning the disposition of the profits of this hospital, to him and his successors reserved, to alter and change the same, did by these ordinances in that behalf made, under his hand and seal, not only increase the above sum, to be from thenceforth bestowed on certain poor inhabiting within the county of the city of Canterbury, but also appointed other sums of money thereout, yearly to be paid towards the keeping of a freeschool, for a certain number of poor children of the county of the said city, to be taught to write and read freely within the hospital.

 

By the same ordinance, as well as by an indenture, between the master of this hospital and the master of Corpus Christi, or Benet college, in Cambridge, dated May 22, anno 11th Elizabeth, the archbishop founded out of the revenues of this hospital, two scholarships, each of the yearly value of 3l. 6s. 8d. that sum to be paid yearly from thence, by the master of the hospital to the master of the college; the two scholars to be chosen, named, examined and approved by the master of this hospital and the dean of Canterbury, if any such there should be; if not, then by the master only, and to be taken from the free-school in Canterbury, being such of the scholars there as were born within Kent, and being sent to Cambridge, should be called Canterbury scholars; who, after their admittance and receipt there, should remain and continue in that college, according to the orders and statutes of it, and should have of the provision of it, convenient chambers, commons, reading and other necessaries, as other scholars in it, according to common custom, for the term of two hundred years next, from the date of the indenture, with other rules and regulations in it relating to them. (fn. 17)

 

Not long after this, queen Elizabeth issued a commission of charitable uses, to enquire into the state and condition of this hospital, which was done, and a return thereof made accordingly; and again, soon after the death of archbishop Parker, there was a second commission, directed to Sir James Hales and others, who certisied, that the hospital house stood ruinated, and neither master nor brethren were resident, or dwelling of long time. The house was let out into tenements for yearly rent. The beds that were wont to lodge and harbour poor people resorting thither, were gone and sold, contrary to the old order and foundation of the same; and that the hospital was relinquished and concealed from the queen, &c. Upon which, she granted it, with all its revenues, by letters patent, dated July 20, in her 18th year, to John Farnham, one of her gentlemen pensioners, to hold in see farm for ever. —He soon afterwards conveyed his interest in it for 550l. and the release beside of a debt owing by him, to Geo. Hayes. After this, archbishop Whitgift recovered this hospital, with the revenues of it, from Hayes, and then settled it upon a new foundation, so firm and sure, that it has continued to the present time, and remains a perpetual monument of the archbishop's piety and prudence, who may be justly reputed the sounder and restorer of it; (fn. 18) and he framed new ordinances and statutes, for the better government of it, by which the hospital is now ruled. In these it is, among other things, ordered and decreed, that the archbishop should collate the master, who should be in holy orders, and should be instituted and inducted according to the usual form and custom, who should have the lodging known by the name of the master's lodging, in the hospital; and a yearly stipend of 61. 13s. 4d. and twenty loads of wood from the lands belonging to it, to be delivered cost free. That the master should appoint a school-master, who by himself or deputy, should freely instruct twenty poor children of this city, above the age of seven years, to write, read and cast accompts, and to have books, paper, &c. provided for them, out of the prosits of the hospital, and not to remain in the school above three years. The school-master to have a lodging in the hospital, and a stipend of four pounds, and for his further relief, if the master approved of it, to be receiver of the rents, &c. of the hospital; for which he should receive 26s. 8d. and two loads of wood yearly, to be delivered cost free, and one summer livery cloth. That out of the prosits of the hospital, there should be paid for ever, to the two scholars to be taken out of the common school at Canterbury, commonly called the mynte, by the master of the hospital, with the consent of the archbishop, and placed in Benet college, 3l. 6s. 8d. each, according to the former ordinances made of it. That whereas by former ordinances, the master of the hospital was only tied to pay in time of peace, unto the poor passengers, or to such other poor people as the master should think good, thirty pence a week; and in time of war that payment ceasing, to provide twelve beds for the lodging of poor soldiers, passing through this city, within the hospital, for the space of one night only, which is now grown wholly out of use, especially since the loss of Calais; therefore, for the better relief of the poor inhabiting within this city and the suburbs of it, it was ordered, that the former last recited orders should cease, and instead of them, there should be five inbrothers, and five in-sisters, to be permanent and have their habitation in the hospital; and after the space of twenty years next ensuing, there should be five other out-brothers, and five others called out-sisters; each of the said in-brothers and in-sisters to have a several dwelling and lodging within the hospital, and 26s. 8d. by the year, and one load of wood to be delivered cost free, between Midsummer and Michaelmas; and each of the out brothers and out-sisters to have 26s. 8d. by the year only; that the mayor of this city should from time to time, nominate to the master of the hospital for every of the brothers and sisters rooms, when they should be void and unfurnished, two poor persons, men or women, as the places should require, being lame, impotent, blind, or aged, above fifty years of age, who should have inhabited within the city, of suburbs, seven years before; of which two, the master should chuse and admit one; and in default of the mayor's nomi nating for the space of three months, the master to make choice, and admit any, qualisied as above-mentioned. That in the room of every out-brother and sister, the mayor should nominate such persons as above specisied, whereof one at least should be such as had dwelt in the city or suburbs, by the space of three whole years at least, to the end that such as dwelt there, and not within the county of the city, should receive the whole benefit of these ordinances. That the master, out of the profits of the hospital, should repair and sustain it, and every part within the precincts of it, and also sufficiently sustain and maintain the bridge, called the king's bridge, alias Eastbridge, within the city of Canterbury; (fn. 19) and pay to the queen, her heirs and successors, 7l. 10s. yearly, due to her for the pension of a chantry, sometime within the hospital, and all other dues and payments going out of it. That the master should not let for years or lives, the lands or tenements, nor make any woodsales of the wood, without the express consent, in writing, of the archbishop, and should yearly make an accompt to him, if demanded, so that of the surplusage all charges deducted, the portions of the brethren and sisters might be increased at the will of the archbishop, as theretofore had been used. That the in-brethren or sisters, master or schoolmaster, who should die within the precincts of the hospital, might be buried within the church-yard of the cathedral, according to a former agreement made between the archbishop, his predecessor and the then prior and convent of Christ church, with many other orders and re gulations mentioned in them, (fn. 20) all which were confirmed and ordered to be inrolled in chancery, by an act passed in the 27th year of that reign, (fn. 21) by the means of which, the rights of this hospital have been preserved to this time.

 

There have been some few modern benefactors to this hospital.

 

Mr. Avery Sabin, sometime an alderman of this city, by his will in 1648, gave a rent charge out of his estate at Monkton, in Thanet, of 20l. per annum, for charitable uses to the poor of this city, of which, ten marcs were assigned yearly to be paid to the five in-brothers and five in-sisters of this hospital. (fn. 22)

 

Mrs. Elizabeth Lovejoy, widow, by her will in 1694, gave, out of her personal estate, the sum of five pounds yearly to this hospital, to be shared and divided among the poor of it, in like manner as her gift to Cogan's hospital, above-mentioned. Besides which, this hospital receives yearly the sixth part of the interest, due from 1631. 16s. 3d. being the sum due from Mrs. Masters's legacy, who died in 1716, which is vested in the mayor and commonalty, in trust, for the several hospitals in Canterbury, of which a full account may be seen among the charitable benefactions to this city.

 

In 1708 John Battely, D. D. archdeacon of Canterbury, and master of this hospital, new built three of the sisters lodgings, and did several other great repairs, and at his death left by his will, to the in-brothers and sisters, one hundred pounds, the interest of which he ordered should be proportioned by Mr. John Bradock, of St. Stephen's, and Mr. Somerscales, vicar of Doddington.

 

Mr. John Bradock, master of this hospital, in 1719 gave by his will, 25l. 13s. 4d. for the better payment of the poor people, at Lady-day and Michaelmas.

 

Mr. Matthew Brown, of St. Peter's, in Canterbury, in 1721, gave by his will 10s. per annum for ever, to the in brothers and sisters of this hospital.

 

In 1768, Thomas Hanson, esq. of Crosby-square, London, gave by will, the interest of 500l, for ever, to the in brothers and sisters of this hospital; which being now invested in the 3 per cents. reduced Bank Annuties, produces 17l. 1os. per annum.

 

Besides these, the hospital had many temporary benefactors, as well towards the repairs of it, as in money; among which were, the archbishops Juxon, Sheldon and Sancrost. The yearly tenths of this hospital amounting to 2l. 7s. 10d. are payable to the archbishop.

 

In 1691, the yearly revenues of this hospital amounted in the whole to 101l. 5s. 9d. besides which were the fines upon the renewals of the leafes, and alderman Sabine's gift of 13s 4d. a piece, by the year, which came not into the master's hands, but was paid by one of the aldermen of the city.

 

The present building is antient; it has a decent hall and chapel, where the schoolmaster, who has a good apartment in the house, and is called the reader, instructs twenty boys gratis, in reading, writing, and arithmetic. There are rooms also for five in brothers, and five in-sisters, but some of these rooms are subject to be flooded in a very wet season. (fn. 23) The master has a neat handsome house, sitauted in a court near the hospital, but on the western or opposite side of the river.

 

¶The antient common seal of this hospital having been for a long time missing, the late master, Dr. Backhouse, at his own expence, supplied the hospital with another in the year 1783.

 

www.british-history.ac.uk/survey-kent/vol12/pp115-135

A fleeting visit on Sunday as I was here mainly to look for Hawfinches. But it such a fine church, and with history linking it to Jane Austen, whose brother is buried here and the memorial a thing that people come from over the world to see.

 

Another dull day, but bright and airy in the church, which I entered after it was opened in preparation for the eleven o'clock service.

 

As I was having computer problems last time I was here, some were unedited so are blurry, so all the better to redo some and post those.

 

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A simple, well-cared-for church which has an extremely complicated building history. The nave and western half of the chancel are Saxon in date, although there are no surviving architectural details of this period. Early in the twelfth century a northern tower with small apsidal chapel was added to the north of the nave. This has recently been restored and its round headed windows may be clearly seen. From the same period dates the remarkable stone carving of an archbishop that is now displayed in the chancel. It may be Archbishop Theobold (d. 1162) or Becket (d. 1170) and could have formed part of a tomb in Canterbury Cathedral. The church was restored by William Butterfield in the 1860s. His is the nice rood screen (painted by Gibbs) the angular font of Devonshire marble and the design for the east window. The screen is supported on thin columns so as not to destroy the congregation's view of the High Altar which the Victorians held so dear, although it is definitely in the medieval tradition. Fine Minton tiles were put in the sanctuary - the medieval tiles gathered up and carefully placed on the window-sill to preserve them. The twentieth century has done much to build upon Butterfield's restoration, including the fine south aisle east window by C.E. Kempe and Co. Ltd of 1923.

 

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

 

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LOCATION: The church is situated close to the River Stour at c. 115 ft. above O.D. just south of the now - demolished (1955) Godmersham Court Lodge. This is in the gap where the river cuts through the North Downs.

 

DESCRIPTION: I have written a very full history of this church (published in Arch Cant 106 (1988), 45-81), which includes a full description of the fabric, so only a summary is needed here.

 

The earliest part of the church is the nave and western half of the chancel, which have quoins of Roman bricks and ferruginous sandstone. This is almost certainly the church mentioned in Domesday Book, but whether it was built just before, or just after, the Norman Conquest in uncertain.

 

In the early 12th century, a west door was inserted (blocked in 1865) and three rounded-headed windows were put into the north side of the nave. A north transept chapel (with apsidal east end) and tower was also constructed at this time. Though heavily restored in 1865-6, this still continues its hemidome over the apse. The arch into the east end of the nave was blocked in the later Middle Ages.

 

By the end of the 12th century a new south aisle and arcade had been added to the nave, but this was destroyed after the Reformation. The fine mid-12th century font (similar to that at Westwell) was also destroyed, but a few fragments of it are walled up in the west doorway.

 

In the mid - 13th century, at about the time when the fine new Court Lodge to the north was built, the chancel was extended to the east and given three fine new lancets, as well as a sedilia. There are some fine capitals, columns and bases on the inside of these features (The sedilia also has a moulded trefoil head).

 

In 1363 a new Chantry chapel of St Mary was built on the south-east side of the nave, but this too was demolished after its abolition as a Chantry at the Reformation (The final traces were removed when the family pew extensions were built in the early 18th century).

 

In the later 14th century a piscina, various new two-light windows were put into the chancel, as well as some new oak stalls (on the ends of three of these were carved TCP Ann. Dom. 1409). These were recorded in the early 18th century, but have long since disappeared.

 

The west window in the nave, and the surviving crown-post roof probably date from the 15th century. The fine three-light window towards the east end of the north side of the nave probably dates to the early 16th century. A new north doorway into the chancel was perhaps also built at this time.

 

The doors into the Rood stair at the north-east corner of the nave (now blocked) can also be seen. These were perhaps also made in the later 15th century when a new loft was built (fragments of the screen - now gone - were found in the West gallery in 1865).

 

In the 1720's the south side of the nave was rebuilt in brick, and the earlier south aisle disappeared and two new brick family pews (over vaults) were built projecting southwards over the side of the former chantry chapel. All of this, however, was swept away in 1865. Various drawings of these before 1865 are available). Two new diagonal buttresses to the chancel were also built at about that time, which survive, as well as a west gallery in the nave and west and north porches (demolished 1865).

 

As we have seen, a very major restoration of the church took place in 1865-6 under William Butterfield. A new south aisle, porch and south transept were built, as well as an organ - chamber south of the chancel. Much earth was dug away from the western and southern sides of the church at this time. The vicar and instigator of this work (Revd. Walter Field) made very useful notes and sketches of the state of the church before the restoration (in the parish records). Most of the windows were restored at this time, and the north (chancel) and west doorways were blocked after their 'mean' porches were removed. The top stage of the tower was rebuilt in brick with a flint external face, and a pyramid roof on top. There was also a new chancel roof and screen (painted 1875), and many new pews (to re-place the box ones), as well as a new pulpit and font.

 

BUILDING MATERIALS (incl. old plaster, paintings, glass, tiles etc.):

Flint rubble (with ferruginous sandstone and Roman brick quoins) is used for the earliest church with Caen stone dressings from the early 12th century. Some Reigate stone was used for jambs, etc., in the 13th century chancel extension. There is also some Ragstone for later windows.

 

Red brick was used for 18th century repairs and buttresses (and the family pews), and the large amounts of Bath stone was used for the 1865-6 repairs, restoration, Saisle, etc.

 

EXCEPTIONAL MONUMENTS IN CHURCH:

Bas-relief figure of Archbishop (12th cent.) on S. wall of chancel, put here in 1933. It came from the neighbouring Court-Lodge, but was probably originally from Canterbury.

 

1516 brass of W. Geoffrey on S. wall of chancel.

 

R. Bun memorial (1682) on N.E. side of nave, and T Knight (1894) by Shout in S. aisle.

 

CHURCHYARD AND ENVIRONS:

Size & Shape: The churchyard of c. 1½ acres is a rough square around the church, extending down to the river on the east.

 

Condition: Good

 

Boundary walls: c. 19th cent. stone & brickwalls around it.

 

Building in churchyard or on boundary: Small 19th cent. shed on boundary immediately N. of the tower with Medieval gravelmarker reused in gable.

 

Ecological potential: Good

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book, 3,13.

 

Evidence of pre-Norman status (DB, DM, TR etc.): Paid 28d, Chrisin in D.M.

Challock was a chapel-of-ease to Godmersham.

 

Late med. status (vicarage/appropriation): Vicarage with formal appropriation to the Priory in 1400 (the vicarage was endowed from 1380).

 

Patron: Canterbury Cathedral Priory (given by Archbishop in c. 1037) till Dissolution, then, from 1546, the Dean and Chapter of Canterbury.

 

Other documentary sources: For wills, (Test. Cant. (E. Kent 1907), 136-8. They mention various lights, the Roodloft, 'Holy Cross before the door' etc. For the Chantry of St. Mary, see Kent Chantries (ed. A Hussey) Kent Records XII (1932-6), 131.

 

See also Hasted (2nd ed. 1799), 328-32.

 

ARCHAEOLOGICAL RECORD:

Reused materials: - Roman bricks.

 

Finds from church\churchyard: Some Roman bricks and pottery found by the Revd. S G Brade-Birks. One discoid grave-marker still exists to the S. of the church, by the path. Old hand-bells were also found in the churchyard in 1865.

 

Finds within 0.5km: Grave-marker found in Court Lodge excavation to N.

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS: Good. The chancel floor was apparently just covered up in 1865-6.

 

Outside present church: ? Quite good, but disturbed in 1865-6.

 

RECENT DISTURBANCES\ALTERATIONS:

To structure: In 1986 the c. 1687 bell-frame was removed from the tower (this is now stored at the Canterbury Archaeologist Trust). In 1992 the later N-S cross wall in the N. apsidal chapel was demolished.

 

To graveyard: None (but shed in churchyard to be restored as W.C. in 1993).

 

Quinquennial inspection (date\architect): Feb. 1989 - George Denny.

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: Despite very heavy restoration work in 1865-6, there are important remains here of an 11th century church with added north tower/transept with apsidal chapel of the early 12th century. Also an extended mid - 13th century chancel.

 

The wider context: Apsidal chapels in Kent parish churches are a very rare survival, as is the unique 12th century bas-relief now in the chancel.

 

REFERENCES: T. Tatton-Brown, 'The parish church of St. Lawrence, Godmersham: a history' Arch. Cant. 106 (1988), 45-81.

 

Guide Book: None, though there was one by an early long-serving vicar S G Brade-Birks (1930-77).

 

Plans & drawings: Plans before + after 1865-6 restorations, and 1865 sketches of church are in the parish records - see art. by Tim Tatton-Brown above.

 

DATE VISITED: 21/12/92 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/GOD.htm

 

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GODMERSHAM

LIES the next parish south-westward from Chartham, and is written in antient records, Godmersham, and in Domesday, Gomersham.

 

IT LIES in the beautiful Stour valley, a situation healthy and pleasant to the extreme, the river Stour glides through it from Ashford, in its course towards Canterbury; Godmersham house and park are the principal objects in it, both elegant and beautiful, the Ashford high road encircles the east side of the park, along which there is a sunk sence, which affords an uninterrupted view of the whole of it, and adds greatly to the beauty of this elegant scene, and leads through the village of Godmersham close to it, the whole village which contains about twenty houses, belongs to Mrs. Knight, excepting one house, as does the greatest part of the parish, excepting the lands belonging to the dean and chapter of Canterbury. There are about twenty more houses in the parish, and about two hundred and forty inhabitants in all. The church, and vicarage, a neat dwelling, pleasantly situated, stand at a small distance from the village, on the left side of the road, with the antient manor-house near the former, close to the bank of the river; the meadows in the vale are exceeding fertile, the uplands are chalk, with some gravel among them, the hills rise high on each side, those on the west being the sheep walks belonging to Godmersham-house, the summits of which are finely cloathed with wood, at proper intervals; the opposite ones are the high range of uninclosed pasture downs of Wye and Braborne. Among these hills, in the eastern part of the parish, is the seat of Eggerton, situated in a wild and bleak country of barren lands and flints.

 

At the southern boundary of the parish, on the Ashford road, is the hamlet of Bilting, part of which is in Wye parish. There was a family of this name who once resided here, as appears by their wills so early as 1460. Richard Mocket, gent. of Challock, died in 1565, possessed of the manor of Biltyng-court, in Godmersham, which by his will he directed to be sold. At length this estate of Bilting came into the possession of the Carters. Thomas Carter, gent. of Bilting, second son of George Carter, gent. of Winchcombe, died possessed of it in 1707, s.p. After which it at length came to his nephew Thomas Carter, gent. of Godmersham, who dying in 1744, left two daughters his coheirs, the eldest of whom Mary, marrying Mr. Nicholas Rolfe, of Ashford, he became in her right possessed of her father's estate at Bilting. After which it became the residence of Mrs. Jane, the sister of the late Mr. Knight, and after her death in 1793, of Thomas Monypenny, esq. who afterwards removing from hence sold it in 1797, to Mr. Richard Sutton, who now resides at it.

 

There is no fair, nor is there any one alehouse within this parish.

 

From the high road above-mentioned, which runs along the lower side of the western hills there is a most pleasing view over the valley beneath, in which the various beautiful objects of both art and nature combine to make it the most delightful prospect that can be imagined.

 

BEORNULPH, king of Mercia, in the year 822, gave Godmersham to Christ-church, in Canterbury, to the use of their refectory and cloathing, at the request of archbishop Wlfred, L.S.A. that is, Libere sicut Adisham, endowed with the same liberties and privileges that Adisham, which had been given to that church, originally was. But it appears afterwards to have been wrested from the church, and to have been again restored to it by archbishop Egelnoth, who made a new grant of it in the year 1036, having purchased it of duke Sired, for seventy-two marcs of pure silver, for the use of the monks in Christ-church; in whose possession Godmersham remained at the taking the general survey of Domesday, in which it is entered as follows, under the general title of Terra Monachorum Archiepi, i.e. the lands of the monks of the archbishop, as all the lands belonging to the monastery of Christ-church were.

 

In Feleberg hundred, the archbishop himself holds Gomersham. It was taxed at eight sulings. The arable land is twelve carucates. In demesne there are two, and sixty villeins, with eight cottagers, having seventeen carucates. There is a church, and two servants, and one mill of twenty-five shillings, and twelve acres of meadow. Wood for the pannage of forty hogs. 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.

 

In the 7th year of king Edward I. the prior claimed a fair here, on the day of St. Laurence, which was allowed; and king Edward III. in his 38th year granted to the prior another fair here on the Thursday and Friday in every Whitsun-week, together with a market to be held here on a Tuesday weekly. In the 10th year of king Edward II. the prior obtained a charter of free-warren for this manor; about which time it was, with its appurtenances, valued at thirty-six pounds. The priors of Canterbury frequently resided at the manor-house here, which appears by the present state of it to have been a mansion large and suitable to their dignity. Prior Chillenden, at the latter end of king Richard II.'s reign, made large additions and repairs here, as did prior Sellyng in that of Edward IV. The house is situated on the bank of the river, a small distance northward from the church. It appears to have been a very large mansion formerly. The old hall of it is yet remaining, with the windows, door-cases, and chimney of it, in the gothic stile. Over the porch, at the entrance of the house, is the effigies of the prior, curiously carved in stone, sitting richly habited, with his mitre and pall, and his crosier in his left hand, his right lifted up in the act of benediction, and his sandals on his feet. This, most probably, represents prior Chillenden, above mentioned, who had the privilege of wearing those ornaments, granted to him and his successors by pope Urban, and repaired this mansion as before related. In which state this manor continued till the dissolution of the priory in the 31st year of king Henry VIII. when it came, with the rest of the possessions of the monastery, into the king's hands, who in his 37th year, granted the manor, rectory, and advowson of Godmersham, in exchange for other premises, to the dean and chapter of Canterbury, in pure and perpetual alms, at the yearly rent of 10l. 1s. 8d. (fn. 1) being then valued at 80l. 11s. in exchange for which they gave the king seven valuable manors in this and other counties; Canterbury college, in Oxford, and other premises, a scandalous bargain of plunder, like most others of the king's making; and yet in the deed it is said to have been made through his most gracious favor. Since which this manor has remained part of their possessions to the present time.

 

The court-lodge, with the demesne lands of this manor, are let to Mrs. Coleman, who resides in it, on a beneficial lease, but the manor itself, with the profits of the courts, &c. the dean and chapter retain in their own hands. A court baron is regularly held for it.

 

THE MANORS OF FORD AND YALLANDE were antiently part of the inheritance of the family of Valoigns, one of whom, Robert de Valoigns, died possessed of them and much other land in this neighbourhood, in the 19th year of king Edward II. and in his descendants they continued till the latter end of king Edward III.'s reign, when Waretius de Valoigns leaving by his wife, daughter of Robert de Hougham, two daughters his coheirs, one of them, married to Thomas de Aldon, entitled her husband to these manors as part of her inheritance; and in this name of Aldon they continued for some space of time. At length they became the property of Austen, or Astyn, as they afterwards spelt their name, and they continued possessors of it, till Richard Astyn, gent. of West Peckham, conveyed them, with all lands and tenements called Halton, in Godmersham and other parishes, to Thomas Broadnax, gent. late of Hyth, though there were descendants of that family, who wrote themselves gentlemen, remaining here in the beginning of king George I.'s reign, as appears by their wills in the prerogative-office. He afterwards resided at Ford-place, as his descendants, possessors of these manors, afterwards did, without intermission, to Thomas Broadnax, esq. (fn. 2) who in the 13th year of king George I. anno 1727, pursuant to the will of Sir Thomas May, and under the authority of parhament, changed his name to May, and in 1729 kept his shrievalty here. In 1732 he rebuilt this seat, and in 1738, pursuant to the will of Mrs. Elizabeth Knight, widow of Bulstrode Peachy Knight, esq. (who was her second husband, her first being William Knight, esq. of Dean, in that county); and under the authority of another act, he again changed his name to Knight, and in 1742 inclosed a park round his seat here, afterwards called Ford park, which name it seems since entirely to have lost, this seat and park being now usually called Godmersham-park. Thomas May Knight, esq. beforementioned, died here, far advanced in years, in 1781, a gentleman, whose eminent worth is still remembered by many now living; whose high character for upright conduct and integrity, rendered his life as honorable as it was good, and caused his death to be lamented by every one as a public loss. He married Jane, eldest daughter and coheir of William Monk, esq. of Buckingham in Shoreham, in Sussex, by whom he had several children, of whom only four survived to maturity, Thomas, his heir, and three daughters, who died unmarried. Thomas Knight, esq. the son, succeeded his father in estates, and was of Godmersham, the seat and park of which he greatly improved. He married Catherine, daughter of Dr. Wadham Knatchbull, late prebendary of Durham, and died in 1794, s.p. leaving her surviving. He bore for his arms, the coat of Knight, vert, a bend fusilly, in base, a cinquefoil, argent, quartered with nineteen others; the second being, Broadnax, or, two chevronels, gules, on a chief of the second, three cinquefoils, argent; and the third, May, gules, a fess between three billets, or. By his will Mr. Knight gave this seat, with the park, the manors before-mentioned, and the lands belonging to it, to his widow Mrs. Catherine Knight, for her life, with remainder to Edward Austen, esq. of Rolling-place. She afterwards resided here, but removing to the White Friars, in Canterbury, she gave up the possession of Godmersham house and park to Edward Austen, esq. before-mentioned, who now resides at it.

 

EGGARTON is another manor, situated on the opposite side of the river, at the south-east boundaries of this parish, among the hills, near Crundal. It was antiently the estate of the noble family of Valence, earls of Pembroke. Aymer de Valence, earl of Pembroke, held this manor at his death in the 17th year of king Edward II. He died s.p. and John, son of John de Hastings, by Isabel his wife, one of the earl's sisters, and John, son of John Comyn, of Badenagh, by Joane, another of his sisters, were found to be his coheirs; and upon the division of their estates, John de Hastings the son seems to have become wholly possessed of it. He died s.p. next year, leaving Joane, wife of David de Strabolgie, earl of Athol, and Elizabeth her sister, sisters and coheirs of John Comyn, of Badenagh, his next of kin. David de Strabolgie, earl of Athol, before-mentioned, died possessed of this manor, as appears by the inquisition taken after his death, in the 1st year of Edward III. leaving it to his son of the same name, who in the 7th year of Edward III. by deed settled it on his kinsman Sir Henry de Hills; which gift was confirmed by the countess his widow, in the 20th year of that reign. Gilbert de Hills, who lies buried in this church, with the marks of his figure in armour on his grave-stone, was a person of eminence in the age in which he flourished, and from him and Sir Henry de Hills, issued many worthy successors, who were proprietors of this manor till the reign of queen Elizabeth, when it was sold to Charles Scott, esq. eldest son of Sir Reginald Scott, of Scotts-hall, by his second wife. His grandson Thomas Scott, esq. of Eggarton, left a son Thomas, who died s.p. and a daughter Dorothy, married to Mr. Daniel Gotherson, who in her right at length became possessed of this manor, (fn. 3) though not without several contests at law by some collateral claimers to it. He afterwards sold it to Sir James Rushout, bart. who had been so created in 1661, and bore for his arms, Sable, two lioncels passant, guardant, within a bordure engrailed, or. He died in 1697, and by his will devised it to trustees, to sell for payment of his debts, which they accordingly soon afterwards did, to Peter Gott, esq. of Sussex, whose arms were, Per saltier argent and sable, a bordure counterchanged. His descendant Maximilian Gott, esq. resided at Eggarton, where he died in 1735; upon which this manor, with the rest of his estates in this county and in Sussex, came to his three sisters, Elizabeth, Mary, and Sarah; and on the death of the former, the two latter became entitled to the whole fee of it, as coparceners; Mrs. Sarah Gott usually residing at this mansion of Eggarton. Mary Gott died in 1768, and by will devised her moiety of her estates to Henry Thomas Greening, gent. of Brentford, in Middlesex, who afterwards, by act of parliament, assumed the name of Gott. Sarah Gott, the other sister, died at Eggarton, in 1772, and by will devised her moiety of her estates to the children of William Western Hugessen, esq. of Provender, deceased, to be equally divided between them. (fn. 4) Mr. Hugessen left three daughters his coheirs, of whom the two surviving ones, Dorothy, was afterwards married to Sir Joseph Banks, bart. and K. B. Mary, to Edward Knatchbull, esq. now Sir Edward Knatchbull, bart. who in their wives right became entitled to one moiety of this estate, they afterwards, together with Henry-Thomas Gott, esq. before-mentioned, possessor of the other moiety, joined in the sale of the entire property of this manor to Thomas Knight, esq. of Godmersham, who purchased it for the residence of his sister Jane, since deceased. He died in 1794, s. p. and by his will gave this seat, with the estate and manor, to Edward Austen, esq. before-mentioned.

 

Charities.

MARTIN MAYE, yeoman, of Godmersham, ordered by will in 1614, that his executors should pay to Thomas Scott, gent. and five others therein mentioned, 100l on condition that they should enter into a bond of 200l. to his executors, to settle 8l. per annum towards the maintenance of twenty of the poorest persons householders, in Godmersham, that from time to time should be there dwelling; which sum should be a perpetual payment of 8s. per annum to each of them. This charity is now vested in Mrs. Knight.

 

THOMAS SCOTT, ESQ. of Canterbury, by will in 1635, devised the house which he lately built in Godmersham, and ten perches of land adjoining to it, to such poor persons, born and living in Godmersham, as the heirs of his body, and for want of such heirs as the right heirs of his kinsman, Sir Edward Scott, K. B. should nominate from time to time, for ever. And if such heirs should neglect such nomination, for the space of three months, then that the churchwardens for the time being, should nominate in their room; and if they or he should fail to nominate, within one month, then that the archbishop of Canterbury should in such case nominate from time to time. And he willed one other house, with its appurtenances, which he had lately built in Godmersham, adjoining to that before limited, and 10 perches of land adjoining, in like manner as the other before-mentioned, with like nomination and limitation; and so from time to time for ever. This charity is now lost.

 

THOMAS CARKERIDGE. of Maidstone, by will in 1640, devised all those lands and tenements which he bought in Wye, Godmersham, and Crundal, to William Cooper and his heirs for ever, he paying out of them 6l. per annum, to the overseers of the poor of the parish of Wye, 3l. and to the overseers of the parish of Godmersham. the other 3l. for ever; and he willed that this 6l. should be every year bestowed to cloath four poor widows, two of Wye, and two of Godmersham; and if there were not such poor widows, then to cloath other poor women, each of them to have five yards and an half of good country kersey, to make a petticoat and a waistcoat, and so much lockram or other country cloth as would make every of them two smocks, and every of them a pair of hose and a pair of shoes. And he willed that this cloth and other things be given to those poor women the first Thursday in November every year; with power to distrain in any of his lands lying in Wye, Godmersham, and Crundall, &c. until the same should be paid accordingly.

 

JOHN FINCHE, gent. of Limne, by will in 1707, devised his messuage, tenement, and lands, containing 36 acres, in Bilting, and his messuage and tenement, and seven acres of land, and 9 acres of woodland, in Wye, Godmersham, and Crundall, and all those his six cowshares, lying in a meadow called Laines, between Ollantigh and Tremworth, in Wye and Godmersham, and a piece of meadow-ground called Temple-hope, adjoining, in Wye and Crundall, to the ministers, churchwardens, and overseers of the parishes of Wye and Godmersham, and their successors for ever, in trust, that the minister, &c. of Wye, and their successors, should dispose of the rents and profits of that land which lay in Wye, as is therein mentioned; and that the minister, &c. of Godmersham, and their successors, should dispose of the rents and profits of that land, with its appurtenances in Godmersham and Crundall, to six of the poorest and eldest people of Godmersham, or any other, half-yearly for ever. But that there should be paid out of the rents and profits of his last-mentioned lands, 40s. yearly upon Christmas-day for ever, without any deduction, to poor people of the like sort, being men; that is to say, 20s. to each of them yearly for ever. And further, that if any of the trustees, the ministers, &c. of these parishes, should at any time alter, contradict, or misapply these charities, or the rents and profits of the estates, that then the devise to such parish, the minister, &c. of which had so done, should cease and determine. And he willed that none of the said charities should be distributed to any other poor, but such as should be members of the church of England, as then by law established. This charity is now of the annual produce of 24l. 1s. 6d. and produces on an average 18l. per annum.

 

The present alms-houses in Godmersham-street, were erected by the father of the last Thomas Knight, esq. on the ground before devised to the parish. The building contains dwellings for eight poor people.

 

There is a school here, for reading and writing, supported by the voluntary benefaction of Mrs. Knight, in which about 20 children are daily taught.

 

The poor constantly relieved are about nineteen, casually as many.

 

THIS PARISH is within the ELESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Laurence, is a plain building, consisting of a body and a chancel, having a square low tower on the north side of the body, on which was formerly a steeple. There are five bells in it. The chancel is large and handsome. There were formerly eight stalls in it. On three of the upright end-boards of these stalls were these letters and date:P/TC An. Dom. 1409, in memory of Thomas Chillenden, prior A. D. 1409, for the use of the prior and monks of Christ church, when they came to reside at their manor here, and the other clergy who might be present at divine services, the like as they had usually in other churches where they had manors. On the south side of the church was formerly a chantry, which was dedicated to St. Mary, as appears by the will of William Geffrye, chaplain of it in 1517, who directed to be buried in it on the south side. It was suppressed in the 1st year of king Edward VI. There was a house and garden belonging to it in Godmersham-street. This chantry has been rebuilt, and is now made use of as two large pews, for the use of the owners of the mansion-houses of Ford and Eggarton. Underneath these pews, which are raised considerable higher than the level of the pavement, are vaults for the owners of these houses. In that of Eggarton lie many of the Hilles's, Scotts, and Gotts; and in that of Forde, several of the Broadnax's. The two monuments now against the south wall of the body of the church, for Thomas Carter and James Christmas, were formerly in the chantry, on the pulling down of which, they were removed hither. In the body of the church, near the steeple, is another vault for the Broadnax's, which is quite full, and the entrance closed up; and in the body of the church there are several grave-stones of them, the inscriptions of which are gone. In the church-yard, close to the wall of Mr. Knight's pew, is a small vault, built by the late Mr. Knight's father, in which he lies, with his wife and daughter Anne; and leaving only room for one more in it, in which his son was afterwards buried.

 

The church of Godmersham, with the chapel of Challock annexed to it, was antiently an appendage to the manor of Godmersham, and as such was part of the possessions of the priory of Christ-church, in Canterbury, to which it was appropriated in the 21st year of king Richard II. anno 1397, with the king's and pope's licence, towards the support of the fabric of their church, to which archbishop Arundel consented; for which the prior gave up to him the advowson of the two churches of St. Vedast and Amand, and St. Michael, Crooked-lane, London. (fn. 5) After which the rectory and advowson of the vicarage of this church remained with the priory of Christ church till its dissolution, in the 31st year of Henry VIII. when they were, with the manor of Godmersham, and the rest of the possessions of that priory, surrendered into the king's hands, where they remained till the 37th year of that reign, when the king granted the manor, rectory, and advowson of the vicarage of Godmersham, as has been already mentioned, to the dean and chapter of Chanterbury, in exchange for other premises, with whom the rectory remains at this time. But the advowson of the vicarage of Godmersham, with the chapel of Challock appendant to it, is now in the patronage of his grace the archbishop of Canterbury.

 

In the year 1254, Hugh de Mortimer, rector of this church, confirmed the exemption of the manor of Godmersham, belonging to the prior and convent of Christchurch, from the payment of small tithes arising from it; with a saving to the right of his successors.

 

Before the appropriation of this church archbishop Sudbury had in 1330, endowed a vicarage here, which with the chapel of Challock, is valued in the king's books at 9l. 3s. 9d. and the yearly tenths at 18s. 4¼d. It is exempt from the jurisdiction of the archdeacon.

 

¶In 1640 here were communicants two hundred and forty-three, and it was then valued at fifty pounds. In 1649 the parsonage was valued at one hundred and twenty pounds per annum.

 

There is a pension of ten pounds to the vicar yearly paid out of the parsonage.

 

www.british-history.ac.uk/survey-kent/vol7/pp319-332

Ash is a large village, now almost a town, now bypassed by the Canterbury to Sandwich road.

 

St Nicholas is a large church, and sits on a low mound above the High Street and houses.

 

The church itself is cruciform in shape, and previously stated, large.

 

It is furnished with serval monuments and brasses, all of a very high standard.

 

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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.

 

www.kentchurches.info/church.asp?p=Ash+2

 

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ASH

LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.

 

The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.

 

There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.

 

William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.

 

In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.

 

¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.

 

f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.

 

This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.

 

Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.

 

The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.

 

In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.

 

Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.

 

It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.

 

The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.

 

The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.

 

During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."

 

The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.

 

The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.

 

The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.

 

It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.

 

Charities.

A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.

 

Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.

 

John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.

 

Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.

 

Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.

 

The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.

 

There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.

 

There is a charity school for boys and girls, who are educated, but not cloathed.

 

The poor constantly relieved are about seventy-five, casually fifty-five.

 

This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.

 

In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.

 

John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)

 

The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.

 

¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.

 

www.british-history.ac.uk/survey-kent/vol9/pp191-224

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

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

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.

 

St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.

 

We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.

 

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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.

 

After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.

 

This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.

 

The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.

 

In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).

 

The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.

 

www.faversham.org/community/churches/throwley.aspx

 

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TQ 95 NE THROWLEY THROWLEY

ROAD

(west side)

4/181

Church of

St. Michael

and All

24.1.67 Angels

 

GV I

 

Parish Church. C12, C13 north chapel, C14 south chapel, C15

nave arcades, restored 1866 and tower heightened. Flint and

plain tiled roofs. Chancel, north and south chapels, nave and

aisles, south tower and south porch. West doorway, C12, with

attached shafts and 3 orders, the outer panelled with X's on

circles, the centre roll moulded with the blocks offset and

alternately projecting, the inner with more X's on circles,

with 2 offset buttresses either side of doorway. South aisle

with plinth, string course and parapet, 3 offset buttresses and

C15 Perpendicular windows. South tower of 2 stages with square

south-eastern stair turret and C16 moulded brick surround

sundial. Water spouts on each corner in the 4 Evangelical

symbols. Half-timbered C19 south porch, south doorway with

rolled and double hollow chamfered surround, and outer surround

with label and quatrefoil spandrels. North aisle under 1 roof

with nave, with C15 fenestration, and C19 chimney to north west.

North and south chapels with C14 cusped 'Y' tracery fenestration,

with hollow chamfered and ogee drip moulds. Chancel east

window C19 curvilinear style. Interior: 2 bay nave arcades,

double hollow chamfered arches on octagonal piers. C12 single

arches to north and south eastern bay, that to south recessed

and double chamfered through tower wall. Barrel roof.

Chamfered arch on corbels from south aisle to tower, itself

with corbel table on south wall, and triple arch through to south

chapel C19 chancel arch. Chancel with 2 bay double chamfered

arcade to north chapel with octagonal capitals on round piers, and

single double chamfered arch on round responds to south chapel.

Fittings: hollow chamfered piscina and sedile in window reveal in

chancel and cusped recess in north wall. C19 reredos and altar

rail. Cusped piscina and four centred arched wall recess in

south chapel. Choir stalls, some C19, the four on the south C15

with carved misericords. Monuments: south chapel C16 chest tomb,

with shields in panelled sides, moulded plinth, lozenge-shaped

flowers, fluting and frieze. Chest tomb, Sir George Sondes,

Earl of Faversham, d.1677. Black marble with blank panelled sides.

Inscription on the top panel (made 1728). Standing monument,

Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with

achievements on side panels. Kneeling alabaster figures of

knight and his Lady on opposite sides of central prayer desk,

carrying inscription. Mary Sondes, died 1603. Smaller and

identical to Sir Thomas Sonde's monument, with 2 adults and 2

infant sons and daughters on either side of sarcophagus. Misplaced

scrolled and enriched carved achievement on floor to east of

those monuments. Wall plaque, Captain Thomas Sondes, died 1668.

Black and white marble, with draped apron, swagged and draped

sides with military trophies. Broken segmental pediment with male

bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).

North chapel C16 chest tomb, moulded plinth, panelled sides with

shields (1 panel reset in south chapel south wall). Early C16

tomb recess with moulded jambs, with rope work, crenellated,

with late Perpendicular motifs in spandrels, and tomb with 3

panelled recesses with 2 shields on each panel. Wall plaque,

Charles Harris, d.1814, by Flaxman. White plaque on white

background; dead soldier lifted from the grave by Victory, with

palms and cannon in background. Statue, to George, first Lord

Harris, life size soldier with sword and plans, on four foot

plinth. By George Rennie, 1835. Nave, wall plaque, Stephen

Bunce, d.1634. Black plaque on coved base and apron. Foliated

sides. Scrolled nowy cornice and pediment with achievement.

(See B.O.E. Kent II, 1983, 476-7.)

  

Listing NGR: TQ9883454254

 

www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...

 

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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.

 

THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)

 

There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.

 

About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.

 

THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.

 

The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.

 

In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.

 

MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.

 

THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:

 

Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.

 

On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.

 

After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.

 

In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.

 

William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.

 

His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.

 

He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.

 

Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.

 

Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.

 

The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.

 

WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.

 

On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.

 

On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.

 

There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.

 

BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)

 

John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.

 

IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.

 

There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.

 

The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)

 

In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.

 

The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)

 

This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.

 

The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.

 

THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.

 

The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.

 

Charities.

 

CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.

 

THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.

 

The poor constantly relieved are about thirty, casually double that number.

 

THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.

 

There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.

 

In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.

 

It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.

 

An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.

 

¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.

 

A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)

 

It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.

 

In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.

 

www.british-history.ac.uk/survey-kent/vol6/pp445-461

I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.

 

St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.

 

We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.

 

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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.

 

After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.

 

This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.

 

The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.

 

In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).

 

The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.

 

www.faversham.org/community/churches/throwley.aspx

 

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TQ 95 NE THROWLEY THROWLEY

ROAD

(west side)

4/181

Church of

St. Michael

and All

24.1.67 Angels

 

GV I

 

Parish Church. C12, C13 north chapel, C14 south chapel, C15

nave arcades, restored 1866 and tower heightened. Flint and

plain tiled roofs. Chancel, north and south chapels, nave and

aisles, south tower and south porch. West doorway, C12, with

attached shafts and 3 orders, the outer panelled with X's on

circles, the centre roll moulded with the blocks offset and

alternately projecting, the inner with more X's on circles,

with 2 offset buttresses either side of doorway. South aisle

with plinth, string course and parapet, 3 offset buttresses and

C15 Perpendicular windows. South tower of 2 stages with square

south-eastern stair turret and C16 moulded brick surround

sundial. Water spouts on each corner in the 4 Evangelical

symbols. Half-timbered C19 south porch, south doorway with

rolled and double hollow chamfered surround, and outer surround

with label and quatrefoil spandrels. North aisle under 1 roof

with nave, with C15 fenestration, and C19 chimney to north west.

North and south chapels with C14 cusped 'Y' tracery fenestration,

with hollow chamfered and ogee drip moulds. Chancel east

window C19 curvilinear style. Interior: 2 bay nave arcades,

double hollow chamfered arches on octagonal piers. C12 single

arches to north and south eastern bay, that to south recessed

and double chamfered through tower wall. Barrel roof.

Chamfered arch on corbels from south aisle to tower, itself

with corbel table on south wall, and triple arch through to south

chapel C19 chancel arch. Chancel with 2 bay double chamfered

arcade to north chapel with octagonal capitals on round piers, and

single double chamfered arch on round responds to south chapel.

Fittings: hollow chamfered piscina and sedile in window reveal in

chancel and cusped recess in north wall. C19 reredos and altar

rail. Cusped piscina and four centred arched wall recess in

south chapel. Choir stalls, some C19, the four on the south C15

with carved misericords. Monuments: south chapel C16 chest tomb,

with shields in panelled sides, moulded plinth, lozenge-shaped

flowers, fluting and frieze. Chest tomb, Sir George Sondes,

Earl of Faversham, d.1677. Black marble with blank panelled sides.

Inscription on the top panel (made 1728). Standing monument,

Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with

achievements on side panels. Kneeling alabaster figures of

knight and his Lady on opposite sides of central prayer desk,

carrying inscription. Mary Sondes, died 1603. Smaller and

identical to Sir Thomas Sonde's monument, with 2 adults and 2

infant sons and daughters on either side of sarcophagus. Misplaced

scrolled and enriched carved achievement on floor to east of

those monuments. Wall plaque, Captain Thomas Sondes, died 1668.

Black and white marble, with draped apron, swagged and draped

sides with military trophies. Broken segmental pediment with male

bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).

North chapel C16 chest tomb, moulded plinth, panelled sides with

shields (1 panel reset in south chapel south wall). Early C16

tomb recess with moulded jambs, with rope work, crenellated,

with late Perpendicular motifs in spandrels, and tomb with 3

panelled recesses with 2 shields on each panel. Wall plaque,

Charles Harris, d.1814, by Flaxman. White plaque on white

background; dead soldier lifted from the grave by Victory, with

palms and cannon in background. Statue, to George, first Lord

Harris, life size soldier with sword and plans, on four foot

plinth. By George Rennie, 1835. Nave, wall plaque, Stephen

Bunce, d.1634. Black plaque on coved base and apron. Foliated

sides. Scrolled nowy cornice and pediment with achievement.

(See B.O.E. Kent II, 1983, 476-7.)

  

Listing NGR: TQ9883454254

 

www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...

 

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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.

 

THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)

 

There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.

 

About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.

 

THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.

 

The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.

 

In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.

 

MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.

 

THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:

 

Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.

 

On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.

 

After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.

 

In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.

 

William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.

 

His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.

 

He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.

 

Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.

 

Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.

 

The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.

 

WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.

 

On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.

 

On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.

 

There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.

 

BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)

 

John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.

 

IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.

 

There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.

 

The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)

 

In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.

 

The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)

 

This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.

 

The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.

 

THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.

 

The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.

 

Charities.

 

CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.

 

THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.

 

The poor constantly relieved are about thirty, casually double that number.

 

THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.

 

There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.

 

In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.

 

It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.

 

An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.

 

¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.

 

A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)

 

It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.

 

In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.

 

www.british-history.ac.uk/survey-kent/vol6/pp445-461

The days drag and the weeks fly by.

 

It has been a grim week at work, and yet the weekend is here once again.

 

The cold snap is still here; thick frosts and icy patches, but Sunday afternoon storms will sweep in from the west and temperatures will soar by day to 13 degrees.

 

But for now it is cold, and colder at nights, the wood burner makes the living room toasty warm, though the rest of the house seems like a fridge in comparison.

 

Even though we went to bed at nine, we slept to nearly half seven, which meant we were already later than usual going to Tesco.

 

We had a coffee first, then got dressed and went out into the winter wonderland.

 

Tesco was more crowded mainly because we were an hour later. There were no crackers for cheese, a whole aisle empty of cream crackers and butter wafers.

 

There is only so much food you can eat even over Christmas, so the cracker-shortage won't affect us, we have two Dundee cakes, filling for two lots of mince pies and pastry for five lots of sausage rolls.

 

We won't starve.

 

We buy another bag of stuff for the food bank, try to get two weeks of stuff so we wont need to go next weekend, just to a farm shop for vegetables, and the butcher for the Christmas order, though on the 25th we are going out for dinner to the Lantern.

 

Back home for fruit, then bacon butties and another huge brew. Yes, smoked bacon is again in short supply, with just the basic streaky smoked available, but we're not fussy, so that does the trick.

 

Also, Jools picked up her inhalers for her cough, and so, we hope, the road to recovery begins.

 

What to do with the day?

 

Although a walk would have been good, Jools can do no more than ten minutes in freezing conditions before a coughing fits starts, so a couple of churches to revisit and take more shots of.

 

First on the list was St Leonard in Upper Deal. A church I have only have been inside once. As it was just half ten, there should have been a chance it was open, but no. We parked up and I walked over the road to try the porch door, but it was locked.

 

No worries, as the next two would certainly be open.

 

Just up the road towards Canterbury is Ash.

 

Ash is a large village that the main roads now bypass its narrow streets, and buses call not so frequently.

 

The church towers over the village, its spire piercing the grey sky. We park beside the old curry hours than burned down a decade ago, is now a house and no sign of damage.

 

indeed the church was open, though the porch door was closed, it opened with use of the latch, and the inner glass door swung inwards, revealing an interior I had forgotten about, rich Victorian glass let in the weak sunlight, allowing me to take detailed shots. It was far better and more enjoyable than I remembered.

 

Once I took 200 or so shots, we went back to the car, drove back to the main road, and on to Wingham, where the church there, a twin of Wingham, would also be open too.

 

And it was.

 

The wardens were just finishing trimming the church up, and putting out new flowers, it was a bustle of activity, then one by one they left.

 

got my shots, and we left, back to the car and to home, though we did stop at he farm shop at Aylsham, and all we wanted was some sweet peppers for hash.

 

We went in and there was the bakery: I bought two sausage rolls, four small pork pies and two Cajun flavours scotch eggs. We got cider, beer, healthy snacks (we told ourselves) and finally found the peppers.

 

Three peppers cost £50!

 

Then back home, along the A2.

 

And arriving back home at one. We feasted on the scotch eggs and two of the pork pies.

 

Yummy.

 

There was the third place play off game to watch on the tellybox, the Football league to follow on the radio. We lit the woodburner and it was soon toasty warm.

 

At half five, Norwich kicked off, and hopes were high as Blackburn had not beaten us in over a decade.

 

And, yes you guessed it, Norwich lost. Played poorly, and in Dad's words, were lucky to get nil.

 

Oh dear.

 

Oh dear indeed.

 

We have Christmas cake for supper, and apart from the football, as was well with the world.

 

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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.

 

www.kentchurches.info/church.asp?p=Ash+2

 

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ASH

LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.

 

The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.

 

There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.

 

William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.

 

In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.

 

¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.

 

f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.

 

This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.

 

Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.

 

The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.

 

In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.

 

Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.

 

It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.

 

The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.

 

The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.

 

During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."

 

The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.

 

The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.

 

The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.

 

It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.

 

Charities.

A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.

 

Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.

 

John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.

 

Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.

 

Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.

 

The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.

 

There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.

 

There is a charity school for boys and girls, who are educated, but not cloathed.

 

The poor constantly relieved are about seventy-five, casually fifty-five.

 

This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.

 

In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.

 

John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)

 

The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.

 

¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.

 

www.british-history.ac.uk/survey-kent/vol9/pp191-224

LEGO Star Wars Imperial Star Destroyer Fleet

ship structure, without the hull, to start the construction of the reactors base.

Postcard from H.P. LOVECRAFT to E. Hoffman Price, July 7, 1934, Christ Church Where Washington Worshipped, Alexandria, VA Postmarked Providence, Rhode Island.

 

This postcard is postmarked July 7, 1934 (or so it appears to be a "7", the postmark is partially obstructed by HPL's writing). It is postmarked from Providence at 6:00am (or so it appears, again, Lovecraft's extensive writing obstructs parts of the postmark). Postmark is from Providence, Rhode Island.

 

The postcard is of "Christ Church where Washington Worshipped. Alexandria, VA." Probably picked up on one of Lovecraft's excursions.

There is an additional note below Lovecraft's, "Greetings and alutations from the green and serpent haunted sea to Malik Taus ..." Signed "B". Someone (possibly Price?) has added a note that "Second signature probably "B" = Barlow" (for RH Barlow, friend of Lovecraft, and literary executor -- they also had a few story collaborations).

 

HIGHLIGHTS INCLUDE:

A Typical Opening Lovecraftian Flourish: "Greetings, O Right Hand of Sulliman ...." Lovecraft also mentions the San Francisco area that Price Lives in, the Gates of an Old Mission and the Friars; Chinese Delicasies; Price's plan for a MA and PhD; A Two-Day Trip Lovecraft took to Virginia (where the postcard was no doubt acquired): Charleston, Richmond, and Fredericksburg; Philadelphia where he saw Poe's House; and more.

 

The card is signed in one of Lovecraft's favorite renditions of his initials,

 

Arabic: "E'ch-Pi-El".

 

Provided by Chris Perridas and his wonderful H. P. Lovecraft And His Legacy blog at chrisperridas.blogspot.com

 

Many Thanks for this item Chris!

 

Transcriptions from Henry Paget-Lowe (Juha-Matti Rajala) and Chris Perridas:

 

Henry Paget-Lowe:

 

The card seems to read something like this in full:

Greetings, O Right Hand of Suleiman ben Daoud! Glad to hear of your present pilgrimages, but regret that sordid work closed the gates of the old mission to you. In the old days the friars were not so mercenary! Commiserations also on the new price of Juggernaut-fodder! Glad you had a good sight of San Francisco—which I suppose you know well. Yes—you’ll have to train young {???} in the appreciation of velocity. He talks of dizzy {??} at 35 mi. per hour! Congratulations on the sea-horse bargain—Belknap & I have paid 35¢ for such! Were the Chinese delicacies up to expectations? I’ve tried tamales, & liked them vastly—but fear they were not really representative ones! ¶ Congratulations on the cheque & the 20-{??}. ¶ Your plan for an M.A. or Ph.D. sounds magnificent—with such a distinction you can undoubtedly command a vastly increased range of opportunities—especially in the teaching line. And to a quick & thorough learner like yourself the work would really be inconsiderable. May Eblis & all the {?preadamite} Sultans grant you the gold—& the ability to stay in one place long enough & finish your course! The Semitics course ought to be great for your Arabic soul! ¶ Trust you got my card from old St. Augustine. Took 2 days in Charleston, 1½ in Richmond, 1 afternoon in Fredericksburg, 2 d. in Washington, & 1 in Phila. Saw Poe’s house in Phila., now open as museum. Nearly broke. I hit N.Y. Thursday night, & am now on a 3 d. trip to Asbury Pk. & Ocean Grove with our young friend Belknap. He will add his greetings to mine. Expect to be home before long now. ¶ Blessings—

[Frank Belknap Long:] Greetings and Salutations from the ‘green and serpent haunted sea’ to Malik Taus. I have been meaning to write for Ages but the exigencies of pulp-hackin have virtually {???} me as a {???} {???}. I’ll write soon, however. B.

 

Chris Perridas, Chrispy's take on the "illegible":

 

...He talks of dizzy {speeds} at 35 mi. per hour!

...Congratulations on the cheque & the 20-{??}. ... no clue, can't even tell if it starts with an E, v, or w? Might be per the Weird Tales collaboration that had just come out.

... but the exigencies of pulp-hackin have virtually {effaced} me as a {civilized correspondent} . I’ll write soon, however ...

 

Henry Paget-Lowe:

 

Good work Chrispy, you are undoubtedly correct about "speed" (without a final s, though) and the ending of Long's PS.

That word after "cheque" might logically enough, I guess, read "20-earner", although the first letter forms of the word don't quite seem to fit that. A bit more head-scratching might solve the puzzle, it's probably something fairly obvious.

The remaining illegible name could be "Barlovius" -- I thought so earlier but hesitated on the grounds that EHP could not have met him in CA. But on reflection, I suppose R. H. Barlow 's aversion to high speeds was known to both HPL and Price and the latter had merely commented on it in a general way in the letter that Lovecraft is here answering.

 

See and hear more Lovecraftian Items at the sister sites to these Flickr collections at:

cthulhuwho1.com

and

www.youtube.com/user/CthulhuWho1

 

(Extract from Macedon Ranges cultural heritage and landscape study/Trevor Budge and Associates. 4 v. 1994.).

.

Henry Suetonius Officer reputedly aquired the Duneira site from

1872-1877 (Blocks 4,5,10,11,14) paying some £84 for 38 acres but

rate listings give Robert Officer as the owner. .

.

Suetonius Henry Officer (1830-1883).

Officer was born in Hullgreen, New Norfolk, Tasmania 1830, the

son of Sir Robert & Lady Officer. He was educated in Edinburgh

with his brother, Charles, and returned to the colonies, seeking

gold in Victoria but eventually settling for pastoralism in

company with his brothers and Charles Miles{ ibid.}. They managed

stations in the Wimmera and the Riverina, James marrying in 1866

and commencing construction of a 20 room homestead at Murray

Downs & Willakool, two adjoining properties fronting the Murray

River. After experimentation with irrigation, via steam pumps and

windmills, he was able to develop extensive orchards and crops. He was also, like his brother, interested in

acclimatisation, having developed an ostrich farm on his property

(Charles was a council member of the Zoological & Acclimatisation

Society for 10 years, president in 1887). .

.

Blighted by illness, Suetonius reputedly moved to Leighwood,

Toorak (Melbourne) in 1881, having erected the first stage of

Duneira at Mount Macedon, but died two years later. However his son, Henry jnr. was

born at South Yarra in 1869 and his next child, Jessie, was born

at Macedon in 1877, indicating that he was in residence at both

places prior to the dates previously supposed..

.

Suetonius probably commissioned the first stage of Duneira to be

erected as a summer house between c1874-6. The architect Levi

Powell is thought to have designed a house for him there around

that date. The first improvements listed on the site were

stables in 1874 when Robert Officer was rated as owning the site. The house was reputedly not occupied regularly

until c1881 when Suetonius moved to Toorak.

However it appears he and his family were in residence at Duneira

by 1877..

.

When Suetonius died in 1883 his wife, Mary Lillias Rigg Officer

(nee Cairns), of Glenbervie, Glenferrie Road, Toorak was the

co-executor of the estate, with merchant Robert Harper; she is

the rate occupier in 1888. Mrs Officer was the

sister of Mrs Robert Harper (Huntly Burn) and Mrs John C lloyd

(Montpelier, later Timsbury): all three houses were reputedly

built in the same period... .

.

The house bricks for the first stage were said to have come from

the Macedon Brick Kiln (once near the Macedon railway station,

set up in c1888-9?) with external walls built in 14" Flemish bond

from slop-moulded bricks (9 inch by 2.1/2). The bricks were reputedly carted

from Macedon by Cogger. The footings were of bluestone

and reputedly dressed sandstone blocks also survive, suggesting

that the first stage was face brick with stone quoins and the

next renovation c1888 added wings and a cement coating to the

whole complex. Floor frames were reputedly supported on stone

dwarf walls and joists were 6x2.1/2 inch jarrah, with flooring

being 6 inch pine}. Seaweed was apparently used for

ceiling insulation..

.

The servants' wing verandah was skillion in form with timber

posts with classical capitals. The main verandah had coupled

posts (rebuilt with single posts) a panelled frieze and slimmer

capitals set just under the frieze rail}. The

balustrade may have been of single cast-iron balusters..

.

Just prior to the sale to the speculator, James Smith Reid in

1890, and during the occupation of Edward Dyer, major additions

were made to the house complex and a reputedly a caretaker's

lodge was placed at the gate (survives, altered c1920s) but this

appears to have been added by Reid in the early 1890s. .

.

The added rooms were reputedly: billiard (32'x24') and dining

rooms, kitchen, servants bathroom, service block with 5 rooms

(engine room, dairy, pantry, store, boiler room, built of

Northcote machine made 9" brickwork). Damp proof coursing was

used in these additions compared to the slate of the first stage

and acetylene gas (engine room) was thought used for lighting

from this period, as reticulated in 1.1.2" mains and 1/2 inch

branches to internal and some external verandah lights.

Cast-iron elaborately detailed water radiators were also used,

with hot water pumped from the boiler room, and later a duplicate

boiler allowed hot water to be reticulated taps in the house{

ibid.}..

.

The description in rate books expands to villa and cottages (on

37 acres) for the first time under Reid in c1893 but the annual

valuation had already peeked in 1888 at £200 in the occupation of

Edward Dyer. An Edward Dyer was listed at that time as a fruiterer in

Burwood Road, Hawthorn..

.

The water supply is from a concrete tank fed by a spring.

Outbuildings include timber clad stables, storerooms,

blacksmith's shop, coachman's room, milking bails, hay shed and a

green house. The stables (extended) were described as having had

a shingled gabled roof (rear skillion) with loft entered via an

external stair at the north end. It had a blacksmith's

shop (altered for garage c1941), carriage and coachman's rooms,

two stores and vertically boarded main doors{ ibid.,p24}. The

milking and hay sheds had hipped roof forms and timber cladding

and frame. The interior was white-washed. The greenhouse

in the secret hedged garden is of a later date, with a timber

frame built up on 11" cavity brickwork walls, with a brick floor

and heated water pipes under each shelf. The boiler is near the

entry..

.

The `Gisborne Gazette' reported on Duneira in 1903 under the

heading of `A Popular Health Resort':.

`Duneira certainly merits a few remarks though beautiful

residences and grounds are by no means rare in that locality..

(when Reid purchased it, it was `little better than a wilderness'

and he had spared no expense to restore it).. After passing the

lodge at the main entrance, a broad serpentine drive leads up to

the house and from there the grounds are laid out in broad

sloping lawns surmounted with choice borders and fringed with

trees which however do not interfere to any great extent with the

view. There is of course no lack of flowers which grow

luxuriantly on the mount but the great feature of Duneira is the

lawns, those open green expanses which delight the eye at all

times of the year. the secret of this perennial verdure is to be

found in the copious water supply with which Macedon is blessed

(spring at rear of house, tapped by tunnelling 40m into the hill,

ie. grass grows up to base of Monterey pines)..

.

During Reid's time there, the valuation increased marginally in

1899-1900 and again soon after, with Reid's address being given

as care of Rosstrevor Magill, South Australia, in c1909-10. JS Reid died in 1922, leaving

the property to the management of JS Reid jun..

.

The main garden elements are: sweeping lawns, box hedges, weeping beech and cherry, extensive hedges (holly, laurel), a hedged

`secret garden' with green house, mature firs, elm and chestnut ì

avenues. There is also a fountain and a wide spreading weeping elm to the rear of the house, near the tennis court..

.

Significant Trees:.

`Ulmus x hollandica'.

`Prunus' "shirotae".

`Albies procera'.

`Ilex kingiana'.

 

A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.

 

Arms:

 

(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).

 

(ii) The same.

 

(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.

 

(iv) As (i).

 

(v) (i) impaling (iii).

 

(vi) As (iii).

 

Crests: (a) a falcon rising; (b) a lion's head razed.

 

In the left-hand recess behind the recumbent effigies:

 

Hic sitvs est Ioannes Spencer

Eqves avratvs, civis, & senator

Londinensis, eivsdemq civitatis

prætor anno d'ni mdxciiii

qvi ex Alicia Bromfeldia

vxore vnicam reliqvit filiam

Elizabeth Gvilielmo Baroni

Compton envptam, obiit 3o

die martii anno salvtis mdcix

 

In the right-hand recess:

 

Socero bene merito

Gvilielmvs baro Compton

gener posvit

 

An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.

 

"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.

 

*

 

SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).

 

Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).

 

He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.

 

By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.

 

He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.

 

*

 

In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.

Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.

  

Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...

And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...

Myra Clark Gaines (ca. June 30, 1804 – January 9, 1885) was an American socialite and plaintiff in the longest-running lawsuit in the history of the United States court system. From 1834 to 1891, Gaines was at the center of a legal battle to recognize her legal status as the sole heir of her deceased father’s estate and recover valuable land in New Orleans. During its 57-year history in the courtroom, the Gaines cases appeared before the Supreme Court seventeen times and Louisiana state and federal court at least seventy times. The Gaines cases are notable not only because of their length and complexity but also due to the controversial image and perseverance of Myra Clark Gaines herself, particularly at a time when women were confined to a domestic, dutiful ideal of femininity.

 

Gaines was born to a mercantile businessman Daniel Clark and French socialite Zulime Carrière. During his lifetime, Clark was considered one of the richest men and most influential of New Orleans. Originally from Ireland, Clark was named after his uncle, another very successful businessman, who immigrated to New Orleans in the 1770s. After years of paying for his nephew’s education, Clark Sr. eventually invited him to take part in his business ventures in New Orleans. Against his parent’s will, Clark accepted his uncle’s offer and moved to the United States in 1787 at the age of twenty. Once there, Clark built up a decent fortune running his uncle’s mercantile house and investing those profits in New Orleans real estate. Aside from his various commercial projects, Clark also had ambitious political aspirations. Although Clark ultimately secured an official appointment as the vice consul to New Orleans from President Thomas Jefferson in 1801, he was unsuccessful in obtaining an appointment for the governorship of Louisiana.

 

While Clark was a well-known figure of society, much less is known about Gaines’ mother. Born in Louisiana in 1781, Carrière was an attractive woman from a modest upbringing. At thirteen, she entered her first marriage with Frenchmen Jerome DesGrange, who, at forty years old, described himself as a “wealthy nobleman. Carrière then met Clark through her husband, who had an ongoing business partnership with him. In 1802, once a relationship had already developed between Carrière and Clark, Gaines claimed that the two were secretly married because Carrière was still married to DesGrange. It was further alleged that Carrière’s marriage to DesGrange was illegal because he was a bigamist who had several wives before moving to New Orleans. Indeed, records showed that an ecclesiastical court condemned and arrested DesGrange for bigamy. As a result, in 1806, Carrière left Philadelphia where she and Clark resided for New Orleans to find enough proof to annul her first marriage. Still, the circumstances that ended her first marriage are somewhat contested since a transcript of Carrière’s testimony to an ecclesiastical court reveals that she did not believe DesGrange was a bigamist.

 

Whatever may have been the truth, Carrière’s relationship with Clark also began to crumble around this time. In Carrière’s absence, Clark courted another socialite, Louisa Canton, granddaughter of Charles Carroll, one of the signers of the Declaration of Independence. According to Gaines, Clark destroyed every document proving his marriage to Carrière in order to marry Caton. The other reported reasons for their separation included rumors of Carrière’s infidelity while Clark was in Washington working as Louisiana’s territorial legislator as well as Clark’s fears that his clandestine marriage threatened his political aspirations. By the time Carrière and Clark separated, Gaines was an infant and put in the care of Clark’s close friend, Colonel Samuel Davis and his wife Marian.

 

Gaines had some interaction with her parents once she moved in with the Davis family. Clark often visited her as child and provided some financial support. However, at the time of his death in 1813, he never publicly acknowledged his paternity. Gaines did not receive much more support from her mother. After the break-up of her second marriage, Carrière married prominent dentist Dr. James Gardette and had other children. Her visits became more infrequent as Gaines got older, though both were in cordial contact later in life and until her death in 1853. Still, Carrière stayed away enough to never appear as a witness during any of Gaines’ trials.

 

Once the War of 1812 began, the Davis family and Gaines left New Orleans and migrated to Philadelphia. Making a new life up North, Gaines was also never told about her real father’s identity or her close ties to New Orleans.

 

When Colonel Davis first learned of Clark’s death, he contacted Clark’s executors, Richard Relf and Beverly Chew to know if Clark had left anything for Gaines. Relf and Chew, however, affirmed that Clark’s last will (“the 1811 will”) named his mother, Mary Clark, as his only heir.

 

According to Davis, Gaines learned about the will and her father’s identity in 1830 when she supposedly found correspondence from Clark that acknowledged her as his daughter. Davis confessed the truth up on her discovery of these letters. Other evidence puts into doubt this chain of events, but regardless Gaines never asked Davis to make further demands upon Relf and Chew or attempted to write them on her own behalf. Circumstances and familial relationships changed after Gaines’ marriage to a young lawyer named William Wallace Whitney in 1832. Davis had a strained relationship with Whitney and did not approve of Gaines’ marriage to him for unconfirmed reasons, though it somehow involved Clark’s estate. Over time, Gaines became more distant from Davis, whom she only referred as “the Colonel” in her correspondence. Her relationship with the Colonel did not improve once she and Whitney decided to pursue the information found in the various correspondences between Davis and Clark. After locating and visiting Clark’s old friends and residents who knew Clark, Gaines and Whitney confirmed that Clark had made a second will right before his death (“the 1813 will”) that recognized Gaines as his legitimate child and heir. Under the will of 1813, Clark left Gaines his entire estate less several minor inheritances.

 

Following this investigation, Whitney filed a preliminary lawsuit in February 1834 to contest the validity of the 1811 will in the Eastern District Court of Louisiana. In the beginning, Gaines’s lawsuits were filed by Whitney because, for most of the nineteenth century, women had no legal standing before U.S. courts. Thus, Gaines could only fight for her inheritance on behalf of her husband’s name. Although Louisiana followed civil law, which gave women more flexibility and power in controlling their own property, Gaines’s claims were primarily filed in U.S. federal courts.

 

The preliminary suit went after Clark’s executors, Relf and Chew, accusing them of fraudulent mismanagement of Clarks’s estate assets. The specific claims alleged Relf and Chew had acted fraudulently by pretending that Clark endorsed to them a loan made to Davis. Another claim also accused Relf and Chew of destroying the 1813 will that left most of Clark’s fortune to Gaines. In response, the executors denied the allegations and further argued that Clark had never been married to Carrière, had no legitimate descendants, and left his estate to his mother. Additionally, they presented evidence that Mary Clark granted power of attorney to Relf and Chew to act on her behalf in all matters that related to Clark’s estate. Finally, they explained that managing Clark’s estate was complicated as a result of defective land titles. A few months later, in December 1834, Federal District Court judge Samuel Harper ruled in this preliminary suit in favor of Relf and Chew. Adding to the couple’s loss, Relf and Chew filed a libel suit against Whitney that was also successful. Whitney was convicted of criminal libel and sentenced to prison for a month.

 

Despite the setbacks, Gaines and Whitney were not deterred in moving forward with their claims. On June 18, 1834, Whitney initiated the first of a long chain of lawsuits on behalf of Gaines: W.W. Whitney v. Eleanor O’Bearn, et al. This new suit asked the Court of Probates of New Orleans to declare Gaines the true heir of the 1813 will and order Relf and Chew to transfer all property belonging to Clark’s estate to Gaines. The defendants named in the suit were the heirs of Mary Clark, including daughter Eleanor O’Bearn, as well as Relf and Chew.

 

The Gaines case posed a serious threat to not only the named defendants and but to the dozens of property owners in New Orleans. Indeed, over the last twenty years since Clark’s death, Relf and Chew had sold property from Clark’s estate to various third parties. Many of these transactions involved the executors and prominent figures of New Orleans society. In effect, the case claimed title to their plantations, hundreds of slaves, bank deposits, bank stocks, rents, and profits from Clark’s properties. Over the course of subsequent suits, the couple widened the scope of their litigation to include as defendants at least twenty-five purchasers of property from Clark’s estate.

 

Whitney offered as witnesses two of Clark’s close confidants. First, Harriet Harper Smythe, the nurse who cared for Gaines as an infant, testified about the contents of the 1813 will, which Clark signed only a month before his death. Clark’s friend Colonel Joseph Bellechasse also confirmed the existence of the 1813 will and recalled how Clark had confessed that Gaines was his legitimate daughter and heir. The defense’s answer was similar to the arguments presented in the prior suit and would continue to be used in the suits that followed: Clark and Carrière were never legally married; Clark had no legitimate children; the 1811 will was the only will Clark made; and if there was a subsequent will, Clark had gotten rid of it himself.

 

Outside of the contested legal issues, Gaines and Whitney faced other types of challenges in the courtroom. In presenting their case in New Orleans courts, the couple, who were not fluent in French, had to navigate through complicated courtroom procedures that continued to heavily rely on the use of the French language. For example, when an argument was presented in English, French-speaking jurors were excused from the jury box. Similarly, English-speaking jurors were removed from the jury box whenever it was time to listen to the French counsel. As a result, the jurors had to come up with a verdict based on an incomplete record when a case involved both French- and English-speaking litigants.

 

A few years into what would be decades of litigation, Gaines overcame another significant obstacle: the unexpected death of Whitney. He died from a yellow fever epidemic that hit New Orleans in 1837. His death was sudden and unexpected, succumbing to the illness after only three days. Gaines, as a result of his passing, was pushed into serious financial difficulties. Most of Whitney’s personal fortunate went into the legal expenditures for Gaines’s cases. In spite of economic strain, Gaines chose not only to pursue the lawsuits but also to file them under her own name. By 1848, more federal courts practicing under the common law were adopting the Married Women’s Property Act, which protected the inherited property and money of married women.

 

Gaines finally argued her case in front of a trial in Barnes v. Gaines (1843), a suit filed in a Louisiana District Court by Gaines’s alleged half-sister, Caroline Barnes. At issue was Gaines’s unlawful possession of a land under Clark’s estate. The case took an unexpected turn when her attorney withdrew from the courtroom after an argument with the judge. Gaines, consequently, argued her own claims in front of the jury at the risk of losing another suit. During the nineteenth century, her move was almost unprecedented since judges typically refused that women act even as witnesses. The accepted view was that women were less able to speak rationally or reasonably as compared to men. Gaines, however, took the opportunity to act as her own attorney and demonstrate her command over the intricacies of her claims. Barnes became the first victory ever for any Gaines case. In light the intense public scrutiny over the trial, the judge refused to grant Barnes a new trial and be forced to conduct an extraordinary search for an unbiased jury..

 

Gaines’s most important victory came in 1858 when the Louisiana Supreme Court admitted Clark’s 1813 will to probate. Upon Gaines’s return to the Supreme Court in 1860 and again 1867, the Court finally declared Gaines to be the legitimate child and only heir of Daniel Clark.] By this time, the reported value of the properties Gaines had claims over but did not yet control topped $35 million of prime New Orleans real estate. However, Gaines’s challengers fiercely defended the property they had purchased, and none proved to be more difficult than the City of New Orleans.

 

The Supreme Court issued its final ruling on the Gaines case in City of New Orleans v. Whitney (1891). Six year after Gaines’ death, the Court ordered the city of New Orleans to pay her estate $923,788. Before this decision, the city had been contesting the decrees from both the U.S. and Louisiana Supreme Court that awarded damages and the contested property to Gaines. Although the city lost the courtroom battle, the Gaines family did not fare much better. Gaines’s creditors quickly filed claims with the administrators of her estate for repayment of attorney fees and loans.[38] After deducting more than $860,000 in prior debts and legal expenses, Gaines’s heirs were left with a small fraction of the original settlement.

 

Gaines’s plight in the courtroom led to extensive media coverage that propelled her into a celebrity status that few women had in the late nineteenth century. A popular series of books during that time, for example, published a novel inspired by her life and the romance between Clark and Carrière called Myra: The Child of Adoption, A Romance in Real Life.

 

Philadelphia, New York, and New Orleans newspapers[which?] also published recurring stories on Gaines and her lawsuits. However, the relationship the litigants had with the media was a mutually beneficial one. From the beginning, the parties took their claims to newspapers, which would publish their story but not without its own commentary. Immediately, New Orleans papers were in firm support of Relf and Chew while Gaines received a strong backing from the Northern press. The Southern papers often questioned Gaines’s true motivations and praised Relf and Chew’s determination to rise above any speculation. On the other hand, the Northern papers were moved by elements of romance and tragedy marking Gaines’s life, often referring to her case as the cause of an injured orphan.

 

Gaines garnered significant attention from her second marriage in 1839 to war hero General Edmund Pendleton Gaines. In fact, the General’s courtship of then Myra Clark Whitney made national headlines. At the time they married, the General was known as the “Hero of Fort Erie” from his victories in the War of 1812 and celebrated in various states with medals for bravery. The marriage proved successful not only in bringing more attention to her case but also in alleviating much of the financial burden from her cases. Like Whitney, the General also contributed most of his wealth to defending Gaines’s claims.

 

Gaines became a famous yet controversial figure just as much for her appearances outside courtroom. In 1840, Gaines set out with the General on an extensive lecture tour throughout the Atlantic to discuss his plan of national defense, which promoted the use of floating batteries over fleets of steam-powered warships. In support of the General, Gaines spoke after him about the horrors of war to packed town halls in St. Louis, Cincinnati, New York City, Baltimore, and Philadelphia. Her decision to speak went contravened the common view women could not be taken seriously in a public forum. While the lectures were also a way to keep the public eye on her lawsuits, she was also outspoken about other legal causes such as the post-Civil War campaign for women’s suffrage. Gaines’s celebrity status finally reached its zenith in the 1860s.

 

After General Gaines’ death in 1849, Gaines did not remarry. She died on January 9, 1885 in New Orleans due to pneumonia and lung congestion. Although by this time, Gaines had retreated from the media limelight, her death was widely covered by national newspapers.

The Burgtheater on the 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. 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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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 .

www.mariachiproductions.org/basel2012/index.php/tournamen...

The Burgtheater on the 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. 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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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 .

www.mariachiproductions.org/basel2012/index.php/tournamen...

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 .

 

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

 

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

 

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

 

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

 

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

 

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

 

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

 

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

I visit Stockbury a lot in the spring and early summer, to see the local orchids and other wild flowers. But have only been inside the church once before, and only taken wide angle shots.

 

So, long overdue for a return.

 

Stockbury overlooks the northern end of the A249, just before it reaches the Medway towns and the M2, but is set high on the wooded down above the traffic, and although the noise never quite fades away, it is a distant hum.

 

St Mary sits on the very edge of the down, as the lane tumbles down to join the main road below, but the churchyard, and church are an oasis of calm and tranquility.

 

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A fire of 1836 and a restoration of 1851 have left their marks on this prominent Downland church. The east wall of the chancel contains three lancets, of nineteenth-century origin, which contain some lovely glass of the early years of the twentieth century. To the north and south of the chancel are transepts separated by nicely carved screens. The southern transept is the more picturesque, for its roof timbers are exposed and below, in its east wall, are three sturdy windows of which the centre one is blocked. The west end of the nave is built up to form a platform upon which stands the organ. On either side of the chancel arch are typical nineteenth-century Commandment Boards, required by law until the late Victorian era, with good marble shafting to mirror the medieval work in the chancel.

 

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

 

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STOCKBURY

IS the next parish northward from Hucking. It is called in the survey of Domesday, Stochingeberge, in later records, Stockesburie, and now Stockbury.

 

The western, which is by far the greatest part of it, lies in the hundred of Eyhorne, and division of West Kent, the remainder of it in that of Milton, and division of East Kent, over which part that manor claims, but the church and village being in the former district, the parish is esteemed as being in the former division of the county.

 

This parish lies on each side of the valley, called from it Stockbury valley, along which the high road leads from Key-street to Detling-hill, and thence to Maidstone; hence it extends on the hills on each side, for more than a mile. It lies mostly on high ground, and though exposed to the northern aspect, is not, especially on the northern side of the valley, near so bleak and cold as the parishes on the hills, lately before-described, nor is the soil, though much like them, and very flinty in general, quite so poor; and on the north side next to Hartlip and Newington, there is some land much more fertile, partaking more of the loam, and much less mixed with flints; the sides of the valley are covered with coppice woods, which extend round the western boundary of the parish, where there is some uninclosed. downe, being poor ruffit land, and a wild and dreary country.

 

On the north side of the valley, close to the summit of the hill, is the church, with the court-lodge near it, and a small distance further, on the north side of the parish, the village called Stockbury-street, in which stands the parsonage, and a little further Hill-greenhouse, the residence of William Jumper, esq. having an extensive prospect northward over the neighbouring country, and the channel beyond it, the former owners of which seat will be mentioned in the description of Yelsted manor hereafter; at a small distance southward from hence are the two hamlets of Guilsted and South-streets, situated close to the brow of the hill adjoining to the woods.

 

On the south side of the valley the woodland continues up the hills, westward of which is the hamlet of Southdean-green adjoining the large tract of woodland called Binbury wood. The manor of Southdean belongs to Mr. John Hudson, of Bicknor. On the eastern side of the woodland first mentioned is the hamlet of Pett, at the south-east boundary of the parish, which was formerly the property and residence of a family of that name, Reginald atte Pett resided here, and by his will in 1456 gave several legacies to the church towards a new beam, a new bell called Treble, the work of the new isle, and the making a new window there. Near it is a small manor called the Yoke of Hamons atte Deane, and upon these hills the small manors are frequently called Yokes.

 

There is a fair for pedlary, toys, &c. formerly on St. Mary Magdalen's day, July 22, but now by the al teration of the style, on August 2, yearly, which is held by order of the lord of the manor on the broad green before the Three Squirrels public-house in Stockbury valley.

 

On June 24, 1746, hence called the Midsummer storm, the most dreadful tempest happened that was ever remembered by the oldest man then living. The chief force of it was felt in the northern part of the middle of the county, and in some few parts of East Kent. It directed its course from the southward, and happily spread only a few miles in width, but whereever it came, its force was irresistible, overturning every thing in its way, and making a general desolation over every thing it passed. The morning was very close and hot, with a kind of stagnated air, and towards noon small, bright, undulated clouds arose, which preceded the storm, with a strong south wind; it raised a torrent, and the flashes of lightning were incessant, like one continued blaze, and the thunder without intermission for about fifteen or twenty minutes. When the tempest was over, the sky cleared up, and the remainder of the day was remarkably bright and serene. From an eminence of ground the passage of the storm might easily be traced by the eye, by the destruction it had made, quite to the sea and the waters of the Swale to which it passed. Neither the eastern or western extremities of the county felt any thing of it.

 

This place, at the time of taking the general survey of Domesday, in the year 1080, was part of the extensive possessions of Odo, the great bishop of Baieux, the Conqueror's half brother, under the general title of whose lands it is thus described:

 

The same Ansgotus, de Rochester, holds of the bishop (of Baieux) Stockingeberge. It was taxed at two sulings. The arable land is. In demesne there are two carucates, and five villeins, with nine borderers having two carucates. There is a church, and two servants, and one mill of sixty-four pence. Wood for the pannage of fifteen hogs. In the time of king Edward the Consessor, and afterwards, it was worth four pounds, now six pounds. Elveva held it of king Edward.

 

After the bishop's forfeiture of all his lands, which happened about four years afterwards, this place came into the possession of the family of Auberville, being held by them of Roger de St. John, as one knight's fee. Roger de Aubervill, for de Albrincis, was a man who held large possessions at the time of the general survey before-mentioned. William de Aubervill, his descendant, in 1192, anno 4 Richard I. founded the priory of Langdon, in this county, and his descendant of the same name died possessed of the manor of Stokinburie in the 36th year of Henry III. holding it by knight's service.

 

He left an only daughter and heir Joane, who carried it in marriage to Nicholas de Criol, a man of eminence in his time, who attending Edward I. at the siege of Carlaverock, in Scotland, was there made a knight banneret for his services performed at it, and in the 21st year of it he was allowed, by the justices itinerant, to have free-warren for all his estate here, except one plough-land, which was called Stannerland. He died possessed of this manor in the 31st year of that reign, and Philipott says many of their deeds bore teste, from their castle of Stockbury, which means no more, than its being one of the castellated seats of the family, as did his grandson John, in the 9th year of king Edward III. at which time he spelt his name Keryell.

 

After which it remained in his descendants down to Sir Thomas Kiriell, knight of the garter, eminent for his services to the house of York, during the reign of Henry VI. but being taken prisoner at the battle of Bernards-heath, near St. Albans, sought anno 38 king Henry VI. in which the Yorkists were defeated, he was, by the queen's order, beheaded, notwithstanding the king had granted him his life, when it was found by inquisition, that he held this manor of the king in capite by knight's service, by homage, and paying to the ward of Rochester castle yearly, and to the king's court of Mylton. He died without male issue, leaving two daughters his coheirs, one of whom, Elizabeth, carried this manor in marriage to John Bourchier, whom she survived, and afterwards died possessed of it in the 14th year of Henry VII. holding it in manner as before-mentioned. Soon after which it appears to have been alienated to Robert Tate, who died possessed of it in the 16th year of that reign, holding it by the like service. His descendant William Tate, who in the reign of James I. alienated it to Sir Edward Duke, of Cosington, in Aylesford, whose widow held it in jointure at the time of the restoration of king Charles II.

 

Her son, George Duke, esq. alienated it to John Conny, surgeon, and twice mayor of Rochester, and son of Robert Conny, of Godmanchester, in Huntingdonshire. John Conny, together with his son Robert Conny, of Rochester, M. D. conveyed it in 1700 to Thomas Lock, gent. of Rochester, who bore for his arms, Parted per fess, azure, and or, a pale counterchanged, three falcons, volant of the second, and his widow Prudentia, together with her three sons and coheirs in gavelkind, Robert, Thomas, and Henry, in 1723, passed it away by sale to Sir Roger Meredith, bart. of Leeds-abbey, who dying s.p. in 1738, left it by will to his niece Susanna Meredith, in tail general, with divers remainders over, in like manner as Leedsabbey before-described, with which it came at length, by the disposition of the same will, the intermediate remainders having ceased, to William Jumper, esq. of Hill-green-house, in this parish, who resided at Leeds-abbey, and afterwards joined with Sir Geo. Oxenden, bart. in whom the fee of it, after Mr. Jumper's death without male issue, was become vested, in the conveyance of this manor in fee to John Calcraft, esq. of Ingress, who died in 1772, and by his will devised it to his son John Calcraft, and he sold it in 1794 to Flint Stacey, esq, of Maidstone, the present owner of it.

 

YELSTED, or as it is spelt, Gillested, is a manor in this parish, which was formerly part of the possessions of the noted family of Savage, who held it of the family of Auberville, as the eighth part of one knight's fee. John de Savage, grandson of Ralph de Savage, who was with Richard I. at the siege of Acon, obtained a charter of free-warren for his lands here in the 23d year of Edward I. Roger de Savage, in the 5th year of Edward II. had a grant of liberties for his demesne lands here, and Arnold, son of Sir Thomas Savage, died possessed of it in the 49th year of king Edward III. and left it to his son Sir Arnold Savage, of Bobbing, whose son Arnold dying s.p. his sister Elizabeth became his heir. She was then the wife of William Clifford, esq. who in her right became possessed of this manor among the rest of her inheritance, and in his descendants it continued till the latter end of king Henry VIII.'s reign, when Lewis Clifford, esq. alienated it to Knight, whose descendant Mr. Richard Knight, gent, of Helle-house, in this parish, died possessed of it in 1606, and was buried in this church; his descendant William Knight leaving an only daughter and heir Frances, widow of Mr. Peter Buck, of Rochester, who bore for his arms, Argent, on a bend, azure, between two cotizes, wavy, sable, three mullets, or. He died soon after the death of Charles I. when she entered into the possession of this manor, after whose death her heirs passed it away by sale to Sir William Jumper, commissioner of his Majesty's navy at Plymouth. He had been knighted in 1704, for his services, as well at he taking of Gibraltar, as in the naval engagement with the French afterwards, being at both commander of the Lenox man of war, who died at Plymouth, where he was buried in 1715. He bore for his arms, Argent, two bars gemelles, sable, between three mullets of six points, pierced, gules. His son, William Jumper, esq. was of Hill-green-house, as it is now called, and died in 1736, leaving by Jane his wife, daughter of Thomas Hooper, gent. one son, William Jumper, esq. of Hill-green, likewise, who sold it, about 1757, to the Rev. Pierce Dixon, master of the mathematical free school at Rochester, and afterwards vicar of this parish, who died possessed of it in 1766, leaving it in the possession of his widow, Mrs. Grace Dixon, (daughter of Mr. Broadnax Brandon, gent. of Shinglewell), who soon afterwards remarried with Mr. Richard Hull, of London, who resided at Hill-green-house, and afterwards sold this manor, together with that seat, to William Jumper, esq. the former owner of it, who now resides here, and is the present possessor of both of them.

 

COWSTED is another manor in Stockbury, which was antiently written Codested, and was possessed by a family who took their surname from it, and resided here. They bore for their arms, Gules, three leopards heads, argent; which coat was afterwards assumed by Hengham. William de Codested died possessed of this manor in the 27th year of Edward I. holding it of the king in capite by the service of one sparrow-hawk, or two shillings yearly at the king's exchequer, as did his son William de Codestede in the 3d year of king Edward III. when it was found by inquisition, that he held this manor by the above-mentioned service, and likewise a burgage in Canterbury, of the king, of the serme of that city, and that Richard de Codestede was his brother and next heir, whose son John de Codestede, vulgarly called Cowsted, about the beginning of king Richard II.'s reign, leaving an only daughter and heir, married to Hengham, he became in her right possessed of it, and assumed her arms likewise.

 

His descendant, Odomarus de Hengham, resided here, who dying in 1411, anno 13 Henry IV. was buried in Christ-church, Canterbury, and it continued in his name till the reign of Henry. VI. when it was car ried, partly by marriage and partly by sale, by Agnes, a sole daughter and heir to John Petyte, who afterwards resided here, and dying in 1460, lies buried with her within the Virgin Mary's chapel, or south chancel, in this church. One of his descendants, in the reign of queen Elizabeth, sold it to Osborne, and Edward Osborne, gent. died possessed of it in 1622, and lies buried in the north chancel of this church. He bore for his arms, Quarterly, argent, and azure, in the first and fourth quarter, an ermine spot, sable; over all, on a cross, or, five annulets, sable; whose son, of the same name, leaving an only daughter and heir Mary, she entitled her husband, William Fagg, to the possession of it.

 

His descendant, John Fagg, esq. of Wiston, in Sussex, was created a baronet on December 11, 1660, and died in 1700, leaving three sons, Sir Robert, his successor; Charles, ancestor of the present baronet, of whom an account will be given under Chartham; and Thomas, who married Elizabeth, widow of John Meres, esq. by whom he left a son John Meres Fagg, esq. of whom an account will be given under Brenset. (fn. 1) Sir Robert Fagg, bart. his successor, left one son Robert, and four daughters, one of whom married Gawen Harris Nash, esq. of Petworth, in Sussex, and Elizabeth, another daughter, was the second wife of Sir Charles Mathews Goring, bart. of that county. Sir Robert Fagg, bart. the son, dying s.p. in 1740, devised this manor, with that of Cranbrooke, in Newington, and other estates in these parts, and in Sussex, to his sister Elizabeth, who entitled her husband Sir Charles Mathews Goring, bart. above-mentioned, to the possession of them. He left by her a son Charles Goring, esq. of Wiston, in Sussex, who sold this manor, with his other estates in this parish and Newington, to Edward Austen, esq. who is the present possessor of them.

 

IT APPEARS by the antient ledger book of the abbey of St. Austin's; near Canterbury, that the abbot and convent were antiently possessed of A PORTION OF TITHES issuing from the manor of Cowsted in Stockbury, which portion continued part of the possessions of the monastery till the dissolution of it, in the 30th year of Henry VIII. when the abbey, with all its revenues, was surrendered up into the king's hands.

 

This portion of tithes, or at least part of it, consisting of the great tithes of two hundred and thirty five acres of land, was afterwards granted in fee to Petytt, from which name it was alienated, with the manor of Cowsted, to Osborne, and it passed afterwards with it in like manor down to Sir Robert Fagg, bart. on whose death s. p. in 1740, one of his sisters entitled her husband Gawen Harris Nash, esq. by his will, to the possession of it, whose son alienated it to Charles Goring, esq. before-mentioned, and he sold it to Edward Austen, esq. the present owner of it.

 

NETTLESTED is an estate here, which by the remains of the antient mansion of it, situated in Stockburystreet, appears to have been once a seat of some note. The family of Plot, ancestors to that eminent naturalist Dr. R. Plot, possessed it, at least as early as the reign of Edward IV. when William Plot resided here, where his descendants continued till Robert Plot, gent. of Nettlested, having, in the 2d year of queen Elizabeth, purchased Sutton barne in the adjoining parish of Borden, removed thither. His heirs alienated Nettlested to Mr. Richard Allen, of Stockbury, whose descendant Thomas Allen, afterwards, with Gertrude his wife, anno 9 George I. alienated it to Mr. John Thurston, of Chatham, whose son Mr. Thomas Thurston, of that place, attorney-at-law, conveyed it to that learned antiquary John Thorpe, M. D. of Rochester, who died possessed of it in 1750, and was buried in the chancel belonging to this estate, on the north side of Stockbury church. He left one son John Thorpe, esq. of Bexley, whose two daughters and coheirs, Catherina-Elizabeth married to Thomas Meggison, esq. of Whalton near Morpeth, in Northumberland, and Ethelinda-Margaretta married to Cuthbert Potts, esq. of London, are the present possessors of it. (fn. 2)

 

THERE is a portion of tithes, which consists of those of corn and hay growing on forty acres of the lands belonging to the estate of Nettlested, which formerly belonged to the almonry of St. Augustine's monastery, and is called AMBREL TANTON, corruptly for Almonry Tanton. After the dissolution of the above-mentioned monastery, this portion was granted by Henry VIII. in his 36th year, to Ciriac Pettit, esq. of Colkins, who anno 35 Elizabeth, passed it away to Robert Plot; since which it has continued in the same succession of owners, that Nettlested, above-described, has, down to the two daughters and coheirs of John Thorpe, esq. of Bexley, before-mentioned, who are the present owners of it.

 

Charities.

A PERPETUAL ANNUITY of 2l. 10s. per annum was given in 1721, by the will of Mrs. Jane Bentley, of St. Andrew's, Holborne, and confirmed by that of Edward Bentley, esq. (fn. 3) her executor, payable out of an estate in the parish of Smeeth. which was, in 1752, the property of Mrs. Jane Jumper, and now of Mr. Watts; to be applied for the use of three boys and three girls, to go to school to some old woman in this parish, for four years, and no longer, and then 40s. more from it to buy for each of them a bible, prayer-book, and Whole Duty of Man.

 

MR. JAMES LARKIN, of this parish, gave by will an annuity, payable out of the lands of Mr. James Snipp, to the poor of this parish, of 1l. per annum produce.

 

SIX ACRES OF LAND, near South-street, were given by a person unknown to the like use, of the yearly produce of 2l. 8s. vested in the minister and churchwardens.

 

AN UNKNOWN PERSON gave for the use of the poor a cottage on Norden green, in this parish, vested in the same, of the annual produce of 1l.

 

AN UNKNOWN PERSON gave for the like use a field; containing between two and three acres, lying near Dean Bottom, in Bicknor, now rented by Robert Terry, vested in the same, and of the annual produce of 12s.

 

A COTTAGE in the street was given for the use of the poor, by an unknown person, vested in the same, and of the annual produce of 1l.

 

The number of poor constantly relieved are about thirty-six, casually fifteen.

 

STOCKBURY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

The church, which is both large and losty, is very antient, and consists of a middle and two narrow side isles, a high chancel, and two cross ones. The pillars and arches in it are more elegant than is usual in country churches, and the former, on the north side, are of Bethersden marble, rude and antient. It has a square tower at the west end, in which hangs a peal of six bells, and is dedicated to St. Mary Magdalen. In the great chancel lie buried several of the Hoopers, Knights, Bentleys, and Jumpers. The south chancel belongs to the Cowsted estate, in which lie buried the Pettits and Osbornes, and in the north chancel belonging to the Nettlested estate, Dr. Thorpe and his wife, formerly owners of it.

 

The church of Stockbury was part of the antient possessions of the priory of Leeds, to which it was given, soon after its foundation, by William Fitzhelt, the patron of it.

 

Hubert Walter, archbishop of Canterbury, in the reign of king Richard I. confirmed this gift, and appropriated this church to the use of the priory, reserving, nevertheless, from the perpetual vicar of it, the annual pension of one marc, to be paid by him to the prior and convent. Edmund, archbishop of Canterbury, confirmed the above in 1237, anno 22 Henry III. and granted to them the further sum of ten marcs from it, to be paid half yearly by the vicar of it, (fn. 4) which grants were further confirmed by the succeeding archbishops.

 

The church and vicarage of Stockbury remained part of the possessions of the above-mentioned priory till the dissolution of it, in the reign of Henry VIII. when it came, with the rest of the revenue of that house, into the king's hands.

 

After which, the king, by his donation-charter, in his 33d year, settled both the parsonage and advowson of the vicarage of the church of Stockbury on his newerected dean and chapter of Rochester, with whom they now remain.

 

¶On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed, by order of the state, in 1649, when it was returned, that the rectory or parsonage of Stockbury, late belonging to the dean and chapter of Rochester, consisted of a fair dwelling-house, dove house, and other necessary buildings, yards, &c. and the tithes belonging to it, all which were valued at eighty pounds per annum, and the glebe-lands, containing one hundred and forty-four acres, were worth, with the above, 132l. 10s. all which premises were let by the dean and chapter, anno 16 king Charles I. to John Hooper, for twenty-one years, at the yearly rent of 14l. 5s. 4d. That the lesse was bound to repair the chancel; and that the vicarage was excepted, worth fifty pounds per annum. (fn. 5)

 

The presentation to the vicarage of this church is reserved by the dean and chapter, in their own hands; (fn. 6) but the parsonage continued to be leased out to the family of Hooper, who resided there; several of whom lie buried in this church, particularly John, son of James Hooper, gent. of Halberton, in Devonshire, which John was receiver of the fines, under king Philip and queen Mary, for the Marches, of Wales, and died in 1548. He married Frances, daughter of Sir Thomas Roberts, of Glassenbury. At length, by marriage of one of the daughters of Walter Hooper, esq. it passed to William Hugessen, esq. eldest son of John Hugessen, esq. of Stodmarsh. He resided here till his father's death, when he removed to Stodmarsh, and he is the present lessee of this parsonage, under the dean and chapter.

 

www.british-history.ac.uk/survey-kent/vol5/pp572-585

A fleeting visit on Sunday as I was here mainly to look for Hawfinches. But it such a fine church, and with history linking it to Jane Austen, whose brother is buried here and the memorial a thing that people come from over the world to see.

 

Another dull day, but bright and airy in the church, which I entered after it was opened in preparation for the eleven o'clock service.

 

As I was having computer problems last time I was here, some were unedited so are blurry, so all the better to redo some and post those.

 

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A simple, well-cared-for church which has an extremely complicated building history. The nave and western half of the chancel are Saxon in date, although there are no surviving architectural details of this period. Early in the twelfth century a northern tower with small apsidal chapel was added to the north of the nave. This has recently been restored and its round headed windows may be clearly seen. From the same period dates the remarkable stone carving of an archbishop that is now displayed in the chancel. It may be Archbishop Theobold (d. 1162) or Becket (d. 1170) and could have formed part of a tomb in Canterbury Cathedral. The church was restored by William Butterfield in the 1860s. His is the nice rood screen (painted by Gibbs) the angular font of Devonshire marble and the design for the east window. The screen is supported on thin columns so as not to destroy the congregation's view of the High Altar which the Victorians held so dear, although it is definitely in the medieval tradition. Fine Minton tiles were put in the sanctuary - the medieval tiles gathered up and carefully placed on the window-sill to preserve them. The twentieth century has done much to build upon Butterfield's restoration, including the fine south aisle east window by C.E. Kempe and Co. Ltd of 1923.

 

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

 

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LOCATION: The church is situated close to the River Stour at c. 115 ft. above O.D. just south of the now - demolished (1955) Godmersham Court Lodge. This is in the gap where the river cuts through the North Downs.

 

DESCRIPTION: I have written a very full history of this church (published in Arch Cant 106 (1988), 45-81), which includes a full description of the fabric, so only a summary is needed here.

 

The earliest part of the church is the nave and western half of the chancel, which have quoins of Roman bricks and ferruginous sandstone. This is almost certainly the church mentioned in Domesday Book, but whether it was built just before, or just after, the Norman Conquest in uncertain.

 

In the early 12th century, a west door was inserted (blocked in 1865) and three rounded-headed windows were put into the north side of the nave. A north transept chapel (with apsidal east end) and tower was also constructed at this time. Though heavily restored in 1865-6, this still continues its hemidome over the apse. The arch into the east end of the nave was blocked in the later Middle Ages.

 

By the end of the 12th century a new south aisle and arcade had been added to the nave, but this was destroyed after the Reformation. The fine mid-12th century font (similar to that at Westwell) was also destroyed, but a few fragments of it are walled up in the west doorway.

 

In the mid - 13th century, at about the time when the fine new Court Lodge to the north was built, the chancel was extended to the east and given three fine new lancets, as well as a sedilia. There are some fine capitals, columns and bases on the inside of these features (The sedilia also has a moulded trefoil head).

 

In 1363 a new Chantry chapel of St Mary was built on the south-east side of the nave, but this too was demolished after its abolition as a Chantry at the Reformation (The final traces were removed when the family pew extensions were built in the early 18th century).

 

In the later 14th century a piscina, various new two-light windows were put into the chancel, as well as some new oak stalls (on the ends of three of these were carved TCP Ann. Dom. 1409). These were recorded in the early 18th century, but have long since disappeared.

 

The west window in the nave, and the surviving crown-post roof probably date from the 15th century. The fine three-light window towards the east end of the north side of the nave probably dates to the early 16th century. A new north doorway into the chancel was perhaps also built at this time.

 

The doors into the Rood stair at the north-east corner of the nave (now blocked) can also be seen. These were perhaps also made in the later 15th century when a new loft was built (fragments of the screen - now gone - were found in the West gallery in 1865).

 

In the 1720's the south side of the nave was rebuilt in brick, and the earlier south aisle disappeared and two new brick family pews (over vaults) were built projecting southwards over the side of the former chantry chapel. All of this, however, was swept away in 1865. Various drawings of these before 1865 are available). Two new diagonal buttresses to the chancel were also built at about that time, which survive, as well as a west gallery in the nave and west and north porches (demolished 1865).

 

As we have seen, a very major restoration of the church took place in 1865-6 under William Butterfield. A new south aisle, porch and south transept were built, as well as an organ - chamber south of the chancel. Much earth was dug away from the western and southern sides of the church at this time. The vicar and instigator of this work (Revd. Walter Field) made very useful notes and sketches of the state of the church before the restoration (in the parish records). Most of the windows were restored at this time, and the north (chancel) and west doorways were blocked after their 'mean' porches were removed. The top stage of the tower was rebuilt in brick with a flint external face, and a pyramid roof on top. There was also a new chancel roof and screen (painted 1875), and many new pews (to re-place the box ones), as well as a new pulpit and font.

 

BUILDING MATERIALS (incl. old plaster, paintings, glass, tiles etc.):

Flint rubble (with ferruginous sandstone and Roman brick quoins) is used for the earliest church with Caen stone dressings from the early 12th century. Some Reigate stone was used for jambs, etc., in the 13th century chancel extension. There is also some Ragstone for later windows.

 

Red brick was used for 18th century repairs and buttresses (and the family pews), and the large amounts of Bath stone was used for the 1865-6 repairs, restoration, Saisle, etc.

 

EXCEPTIONAL MONUMENTS IN CHURCH:

Bas-relief figure of Archbishop (12th cent.) on S. wall of chancel, put here in 1933. It came from the neighbouring Court-Lodge, but was probably originally from Canterbury.

 

1516 brass of W. Geoffrey on S. wall of chancel.

 

R. Bun memorial (1682) on N.E. side of nave, and T Knight (1894) by Shout in S. aisle.

 

CHURCHYARD AND ENVIRONS:

Size & Shape: The churchyard of c. 1½ acres is a rough square around the church, extending down to the river on the east.

 

Condition: Good

 

Boundary walls: c. 19th cent. stone & brickwalls around it.

 

Building in churchyard or on boundary: Small 19th cent. shed on boundary immediately N. of the tower with Medieval gravelmarker reused in gable.

 

Ecological potential: Good

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book, 3,13.

 

Evidence of pre-Norman status (DB, DM, TR etc.): Paid 28d, Chrisin in D.M.

Challock was a chapel-of-ease to Godmersham.

 

Late med. status (vicarage/appropriation): Vicarage with formal appropriation to the Priory in 1400 (the vicarage was endowed from 1380).

 

Patron: Canterbury Cathedral Priory (given by Archbishop in c. 1037) till Dissolution, then, from 1546, the Dean and Chapter of Canterbury.

 

Other documentary sources: For wills, (Test. Cant. (E. Kent 1907), 136-8. They mention various lights, the Roodloft, 'Holy Cross before the door' etc. For the Chantry of St. Mary, see Kent Chantries (ed. A Hussey) Kent Records XII (1932-6), 131.

 

See also Hasted (2nd ed. 1799), 328-32.

 

ARCHAEOLOGICAL RECORD:

Reused materials: - Roman bricks.

 

Finds from church\churchyard: Some Roman bricks and pottery found by the Revd. S G Brade-Birks. One discoid grave-marker still exists to the S. of the church, by the path. Old hand-bells were also found in the churchyard in 1865.

 

Finds within 0.5km: Grave-marker found in Court Lodge excavation to N.

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS: Good. The chancel floor was apparently just covered up in 1865-6.

 

Outside present church: ? Quite good, but disturbed in 1865-6.

 

RECENT DISTURBANCES\ALTERATIONS:

To structure: In 1986 the c. 1687 bell-frame was removed from the tower (this is now stored at the Canterbury Archaeologist Trust). In 1992 the later N-S cross wall in the N. apsidal chapel was demolished.

 

To graveyard: None (but shed in churchyard to be restored as W.C. in 1993).

 

Quinquennial inspection (date\architect): Feb. 1989 - George Denny.

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: Despite very heavy restoration work in 1865-6, there are important remains here of an 11th century church with added north tower/transept with apsidal chapel of the early 12th century. Also an extended mid - 13th century chancel.

 

The wider context: Apsidal chapels in Kent parish churches are a very rare survival, as is the unique 12th century bas-relief now in the chancel.

 

REFERENCES: T. Tatton-Brown, 'The parish church of St. Lawrence, Godmersham: a history' Arch. Cant. 106 (1988), 45-81.

 

Guide Book: None, though there was one by an early long-serving vicar S G Brade-Birks (1930-77).

 

Plans & drawings: Plans before + after 1865-6 restorations, and 1865 sketches of church are in the parish records - see art. by Tim Tatton-Brown above.

 

DATE VISITED: 21/12/92 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/GOD.htm

 

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GODMERSHAM

LIES the next parish south-westward from Chartham, and is written in antient records, Godmersham, and in Domesday, Gomersham.

 

IT LIES in the beautiful Stour valley, a situation healthy and pleasant to the extreme, the river Stour glides through it from Ashford, in its course towards Canterbury; Godmersham house and park are the principal objects in it, both elegant and beautiful, the Ashford high road encircles the east side of the park, along which there is a sunk sence, which affords an uninterrupted view of the whole of it, and adds greatly to the beauty of this elegant scene, and leads through the village of Godmersham close to it, the whole village which contains about twenty houses, belongs to Mrs. Knight, excepting one house, as does the greatest part of the parish, excepting the lands belonging to the dean and chapter of Canterbury. There are about twenty more houses in the parish, and about two hundred and forty inhabitants in all. The church, and vicarage, a neat dwelling, pleasantly situated, stand at a small distance from the village, on the left side of the road, with the antient manor-house near the former, close to the bank of the river; the meadows in the vale are exceeding fertile, the uplands are chalk, with some gravel among them, the hills rise high on each side, those on the west being the sheep walks belonging to Godmersham-house, the summits of which are finely cloathed with wood, at proper intervals; the opposite ones are the high range of uninclosed pasture downs of Wye and Braborne. Among these hills, in the eastern part of the parish, is the seat of Eggerton, situated in a wild and bleak country of barren lands and flints.

 

At the southern boundary of the parish, on the Ashford road, is the hamlet of Bilting, part of which is in Wye parish. There was a family of this name who once resided here, as appears by their wills so early as 1460. Richard Mocket, gent. of Challock, died in 1565, possessed of the manor of Biltyng-court, in Godmersham, which by his will he directed to be sold. At length this estate of Bilting came into the possession of the Carters. Thomas Carter, gent. of Bilting, second son of George Carter, gent. of Winchcombe, died possessed of it in 1707, s.p. After which it at length came to his nephew Thomas Carter, gent. of Godmersham, who dying in 1744, left two daughters his coheirs, the eldest of whom Mary, marrying Mr. Nicholas Rolfe, of Ashford, he became in her right possessed of her father's estate at Bilting. After which it became the residence of Mrs. Jane, the sister of the late Mr. Knight, and after her death in 1793, of Thomas Monypenny, esq. who afterwards removing from hence sold it in 1797, to Mr. Richard Sutton, who now resides at it.

 

There is no fair, nor is there any one alehouse within this parish.

 

From the high road above-mentioned, which runs along the lower side of the western hills there is a most pleasing view over the valley beneath, in which the various beautiful objects of both art and nature combine to make it the most delightful prospect that can be imagined.

 

BEORNULPH, king of Mercia, in the year 822, gave Godmersham to Christ-church, in Canterbury, to the use of their refectory and cloathing, at the request of archbishop Wlfred, L.S.A. that is, Libere sicut Adisham, endowed with the same liberties and privileges that Adisham, which had been given to that church, originally was. But it appears afterwards to have been wrested from the church, and to have been again restored to it by archbishop Egelnoth, who made a new grant of it in the year 1036, having purchased it of duke Sired, for seventy-two marcs of pure silver, for the use of the monks in Christ-church; in whose possession Godmersham remained at the taking the general survey of Domesday, in which it is entered as follows, under the general title of Terra Monachorum Archiepi, i.e. the lands of the monks of the archbishop, as all the lands belonging to the monastery of Christ-church were.

 

In Feleberg hundred, the archbishop himself holds Gomersham. It was taxed at eight sulings. The arable land is twelve carucates. In demesne there are two, and sixty villeins, with eight cottagers, having seventeen carucates. There is a church, and two servants, and one mill of twenty-five shillings, and twelve acres of meadow. Wood for the pannage of forty hogs. 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.

 

In the 7th year of king Edward I. the prior claimed a fair here, on the day of St. Laurence, which was allowed; and king Edward III. in his 38th year granted to the prior another fair here on the Thursday and Friday in every Whitsun-week, together with a market to be held here on a Tuesday weekly. In the 10th year of king Edward II. the prior obtained a charter of free-warren for this manor; about which time it was, with its appurtenances, valued at thirty-six pounds. The priors of Canterbury frequently resided at the manor-house here, which appears by the present state of it to have been a mansion large and suitable to their dignity. Prior Chillenden, at the latter end of king Richard II.'s reign, made large additions and repairs here, as did prior Sellyng in that of Edward IV. The house is situated on the bank of the river, a small distance northward from the church. It appears to have been a very large mansion formerly. The old hall of it is yet remaining, with the windows, door-cases, and chimney of it, in the gothic stile. Over the porch, at the entrance of the house, is the effigies of the prior, curiously carved in stone, sitting richly habited, with his mitre and pall, and his crosier in his left hand, his right lifted up in the act of benediction, and his sandals on his feet. This, most probably, represents prior Chillenden, above mentioned, who had the privilege of wearing those ornaments, granted to him and his successors by pope Urban, and repaired this mansion as before related. In which state this manor continued till the dissolution of the priory in the 31st year of king Henry VIII. when it came, with the rest of the possessions of the monastery, into the king's hands, who in his 37th year, granted the manor, rectory, and advowson of Godmersham, in exchange for other premises, to the dean and chapter of Canterbury, in pure and perpetual alms, at the yearly rent of 10l. 1s. 8d. (fn. 1) being then valued at 80l. 11s. in exchange for which they gave the king seven valuable manors in this and other counties; Canterbury college, in Oxford, and other premises, a scandalous bargain of plunder, like most others of the king's making; and yet in the deed it is said to have been made through his most gracious favor. Since which this manor has remained part of their possessions to the present time.

 

The court-lodge, with the demesne lands of this manor, are let to Mrs. Coleman, who resides in it, on a beneficial lease, but the manor itself, with the profits of the courts, &c. the dean and chapter retain in their own hands. A court baron is regularly held for it.

 

THE MANORS OF FORD AND YALLANDE were antiently part of the inheritance of the family of Valoigns, one of whom, Robert de Valoigns, died possessed of them and much other land in this neighbourhood, in the 19th year of king Edward II. and in his descendants they continued till the latter end of king Edward III.'s reign, when Waretius de Valoigns leaving by his wife, daughter of Robert de Hougham, two daughters his coheirs, one of them, married to Thomas de Aldon, entitled her husband to these manors as part of her inheritance; and in this name of Aldon they continued for some space of time. At length they became the property of Austen, or Astyn, as they afterwards spelt their name, and they continued possessors of it, till Richard Astyn, gent. of West Peckham, conveyed them, with all lands and tenements called Halton, in Godmersham and other parishes, to Thomas Broadnax, gent. late of Hyth, though there were descendants of that family, who wrote themselves gentlemen, remaining here in the beginning of king George I.'s reign, as appears by their wills in the prerogative-office. He afterwards resided at Ford-place, as his descendants, possessors of these manors, afterwards did, without intermission, to Thomas Broadnax, esq. (fn. 2) who in the 13th year of king George I. anno 1727, pursuant to the will of Sir Thomas May, and under the authority of parhament, changed his name to May, and in 1729 kept his shrievalty here. In 1732 he rebuilt this seat, and in 1738, pursuant to the will of Mrs. Elizabeth Knight, widow of Bulstrode Peachy Knight, esq. (who was her second husband, her first being William Knight, esq. of Dean, in that county); and under the authority of another act, he again changed his name to Knight, and in 1742 inclosed a park round his seat here, afterwards called Ford park, which name it seems since entirely to have lost, this seat and park being now usually called Godmersham-park. Thomas May Knight, esq. beforementioned, died here, far advanced in years, in 1781, a gentleman, whose eminent worth is still remembered by many now living; whose high character for upright conduct and integrity, rendered his life as honorable as it was good, and caused his death to be lamented by every one as a public loss. He married Jane, eldest daughter and coheir of William Monk, esq. of Buckingham in Shoreham, in Sussex, by whom he had several children, of whom only four survived to maturity, Thomas, his heir, and three daughters, who died unmarried. Thomas Knight, esq. the son, succeeded his father in estates, and was of Godmersham, the seat and park of which he greatly improved. He married Catherine, daughter of Dr. Wadham Knatchbull, late prebendary of Durham, and died in 1794, s.p. leaving her surviving. He bore for his arms, the coat of Knight, vert, a bend fusilly, in base, a cinquefoil, argent, quartered with nineteen others; the second being, Broadnax, or, two chevronels, gules, on a chief of the second, three cinquefoils, argent; and the third, May, gules, a fess between three billets, or. By his will Mr. Knight gave this seat, with the park, the manors before-mentioned, and the lands belonging to it, to his widow Mrs. Catherine Knight, for her life, with remainder to Edward Austen, esq. of Rolling-place. She afterwards resided here, but removing to the White Friars, in Canterbury, she gave up the possession of Godmersham house and park to Edward Austen, esq. before-mentioned, who now resides at it.

 

EGGARTON is another manor, situated on the opposite side of the river, at the south-east boundaries of this parish, among the hills, near Crundal. It was antiently the estate of the noble family of Valence, earls of Pembroke. Aymer de Valence, earl of Pembroke, held this manor at his death in the 17th year of king Edward II. He died s.p. and John, son of John de Hastings, by Isabel his wife, one of the earl's sisters, and John, son of John Comyn, of Badenagh, by Joane, another of his sisters, were found to be his coheirs; and upon the division of their estates, John de Hastings the son seems to have become wholly possessed of it. He died s.p. next year, leaving Joane, wife of David de Strabolgie, earl of Athol, and Elizabeth her sister, sisters and coheirs of John Comyn, of Badenagh, his next of kin. David de Strabolgie, earl of Athol, before-mentioned, died possessed of this manor, as appears by the inquisition taken after his death, in the 1st year of Edward III. leaving it to his son of the same name, who in the 7th year of Edward III. by deed settled it on his kinsman Sir Henry de Hills; which gift was confirmed by the countess his widow, in the 20th year of that reign. Gilbert de Hills, who lies buried in this church, with the marks of his figure in armour on his grave-stone, was a person of eminence in the age in which he flourished, and from him and Sir Henry de Hills, issued many worthy successors, who were proprietors of this manor till the reign of queen Elizabeth, when it was sold to Charles Scott, esq. eldest son of Sir Reginald Scott, of Scotts-hall, by his second wife. His grandson Thomas Scott, esq. of Eggarton, left a son Thomas, who died s.p. and a daughter Dorothy, married to Mr. Daniel Gotherson, who in her right at length became possessed of this manor, (fn. 3) though not without several contests at law by some collateral claimers to it. He afterwards sold it to Sir James Rushout, bart. who had been so created in 1661, and bore for his arms, Sable, two lioncels passant, guardant, within a bordure engrailed, or. He died in 1697, and by his will devised it to trustees, to sell for payment of his debts, which they accordingly soon afterwards did, to Peter Gott, esq. of Sussex, whose arms were, Per saltier argent and sable, a bordure counterchanged. His descendant Maximilian Gott, esq. resided at Eggarton, where he died in 1735; upon which this manor, with the rest of his estates in this county and in Sussex, came to his three sisters, Elizabeth, Mary, and Sarah; and on the death of the former, the two latter became entitled to the whole fee of it, as coparceners; Mrs. Sarah Gott usually residing at this mansion of Eggarton. Mary Gott died in 1768, and by will devised her moiety of her estates to Henry Thomas Greening, gent. of Brentford, in Middlesex, who afterwards, by act of parliament, assumed the name of Gott. Sarah Gott, the other sister, died at Eggarton, in 1772, and by will devised her moiety of her estates to the children of William Western Hugessen, esq. of Provender, deceased, to be equally divided between them. (fn. 4) Mr. Hugessen left three daughters his coheirs, of whom the two surviving ones, Dorothy, was afterwards married to Sir Joseph Banks, bart. and K. B. Mary, to Edward Knatchbull, esq. now Sir Edward Knatchbull, bart. who in their wives right became entitled to one moiety of this estate, they afterwards, together with Henry-Thomas Gott, esq. before-mentioned, possessor of the other moiety, joined in the sale of the entire property of this manor to Thomas Knight, esq. of Godmersham, who purchased it for the residence of his sister Jane, since deceased. He died in 1794, s. p. and by his will gave this seat, with the estate and manor, to Edward Austen, esq. before-mentioned.

 

Charities.

MARTIN MAYE, yeoman, of Godmersham, ordered by will in 1614, that his executors should pay to Thomas Scott, gent. and five others therein mentioned, 100l on condition that they should enter into a bond of 200l. to his executors, to settle 8l. per annum towards the maintenance of twenty of the poorest persons householders, in Godmersham, that from time to time should be there dwelling; which sum should be a perpetual payment of 8s. per annum to each of them. This charity is now vested in Mrs. Knight.

 

THOMAS SCOTT, ESQ. of Canterbury, by will in 1635, devised the house which he lately built in Godmersham, and ten perches of land adjoining to it, to such poor persons, born and living in Godmersham, as the heirs of his body, and for want of such heirs as the right heirs of his kinsman, Sir Edward Scott, K. B. should nominate from time to time, for ever. And if such heirs should neglect such nomination, for the space of three months, then that the churchwardens for the time being, should nominate in their room; and if they or he should fail to nominate, within one month, then that the archbishop of Canterbury should in such case nominate from time to time. And he willed one other house, with its appurtenances, which he had lately built in Godmersham, adjoining to that before limited, and 10 perches of land adjoining, in like manner as the other before-mentioned, with like nomination and limitation; and so from time to time for ever. This charity is now lost.

 

THOMAS CARKERIDGE. of Maidstone, by will in 1640, devised all those lands and tenements which he bought in Wye, Godmersham, and Crundal, to William Cooper and his heirs for ever, he paying out of them 6l. per annum, to the overseers of the poor of the parish of Wye, 3l. and to the overseers of the parish of Godmersham. the other 3l. for ever; and he willed that this 6l. should be every year bestowed to cloath four poor widows, two of Wye, and two of Godmersham; and if there were not such poor widows, then to cloath other poor women, each of them to have five yards and an half of good country kersey, to make a petticoat and a waistcoat, and so much lockram or other country cloth as would make every of them two smocks, and every of them a pair of hose and a pair of shoes. And he willed that this cloth and other things be given to those poor women the first Thursday in November every year; with power to distrain in any of his lands lying in Wye, Godmersham, and Crundall, &c. until the same should be paid accordingly.

 

JOHN FINCHE, gent. of Limne, by will in 1707, devised his messuage, tenement, and lands, containing 36 acres, in Bilting, and his messuage and tenement, and seven acres of land, and 9 acres of woodland, in Wye, Godmersham, and Crundall, and all those his six cowshares, lying in a meadow called Laines, between Ollantigh and Tremworth, in Wye and Godmersham, and a piece of meadow-ground called Temple-hope, adjoining, in Wye and Crundall, to the ministers, churchwardens, and overseers of the parishes of Wye and Godmersham, and their successors for ever, in trust, that the minister, &c. of Wye, and their successors, should dispose of the rents and profits of that land which lay in Wye, as is therein mentioned; and that the minister, &c. of Godmersham, and their successors, should dispose of the rents and profits of that land, with its appurtenances in Godmersham and Crundall, to six of the poorest and eldest people of Godmersham, or any other, half-yearly for ever. But that there should be paid out of the rents and profits of his last-mentioned lands, 40s. yearly upon Christmas-day for ever, without any deduction, to poor people of the like sort, being men; that is to say, 20s. to each of them yearly for ever. And further, that if any of the trustees, the ministers, &c. of these parishes, should at any time alter, contradict, or misapply these charities, or the rents and profits of the estates, that then the devise to such parish, the minister, &c. of which had so done, should cease and determine. And he willed that none of the said charities should be distributed to any other poor, but such as should be members of the church of England, as then by law established. This charity is now of the annual produce of 24l. 1s. 6d. and produces on an average 18l. per annum.

 

The present alms-houses in Godmersham-street, were erected by the father of the last Thomas Knight, esq. on the ground before devised to the parish. The building contains dwellings for eight poor people.

 

There is a school here, for reading and writing, supported by the voluntary benefaction of Mrs. Knight, in which about 20 children are daily taught.

 

The poor constantly relieved are about nineteen, casually as many.

 

THIS PARISH is within the ELESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Laurence, is a plain building, consisting of a body and a chancel, having a square low tower on the north side of the body, on which was formerly a steeple. There are five bells in it. The chancel is large and handsome. There were formerly eight stalls in it. On three of the upright end-boards of these stalls were these letters and date:P/TC An. Dom. 1409, in memory of Thomas Chillenden, prior A. D. 1409, for the use of the prior and monks of Christ church, when they came to reside at their manor here, and the other clergy who might be present at divine services, the like as they had usually in other churches where they had manors. On the south side of the church was formerly a chantry, which was dedicated to St. Mary, as appears by the will of William Geffrye, chaplain of it in 1517, who directed to be buried in it on the south side. It was suppressed in the 1st year of king Edward VI. There was a house and garden belonging to it in Godmersham-street. This chantry has been rebuilt, and is now made use of as two large pews, for the use of the owners of the mansion-houses of Ford and Eggarton. Underneath these pews, which are raised considerable higher than the level of the pavement, are vaults for the owners of these houses. In that of Eggarton lie many of the Hilles's, Scotts, and Gotts; and in that of Forde, several of the Broadnax's. The two monuments now against the south wall of the body of the church, for Thomas Carter and James Christmas, were formerly in the chantry, on the pulling down of which, they were removed hither. In the body of the church, near the steeple, is another vault for the Broadnax's, which is quite full, and the entrance closed up; and in the body of the church there are several grave-stones of them, the inscriptions of which are gone. In the church-yard, close to the wall of Mr. Knight's pew, is a small vault, built by the late Mr. Knight's father, in which he lies, with his wife and daughter Anne; and leaving only room for one more in it, in which his son was afterwards buried.

 

The church of Godmersham, with the chapel of Challock annexed to it, was antiently an appendage to the manor of Godmersham, and as such was part of the possessions of the priory of Christ-church, in Canterbury, to which it was appropriated in the 21st year of king Richard II. anno 1397, with the king's and pope's licence, towards the support of the fabric of their church, to which archbishop Arundel consented; for which the prior gave up to him the advowson of the two churches of St. Vedast and Amand, and St. Michael, Crooked-lane, London. (fn. 5) After which the rectory and advowson of the vicarage of this church remained with the priory of Christ church till its dissolution, in the 31st year of Henry VIII. when they were, with the manor of Godmersham, and the rest of the possessions of that priory, surrendered into the king's hands, where they remained till the 37th year of that reign, when the king granted the manor, rectory, and advowson of the vicarage of Godmersham, as has been already mentioned, to the dean and chapter of Chanterbury, in exchange for other premises, with whom the rectory remains at this time. But the advowson of the vicarage of Godmersham, with the chapel of Challock appendant to it, is now in the patronage of his grace the archbishop of Canterbury.

 

In the year 1254, Hugh de Mortimer, rector of this church, confirmed the exemption of the manor of Godmersham, belonging to the prior and convent of Christchurch, from the payment of small tithes arising from it; with a saving to the right of his successors.

 

Before the appropriation of this church archbishop Sudbury had in 1330, endowed a vicarage here, which with the chapel of Challock, is valued in the king's books at 9l. 3s. 9d. and the yearly tenths at 18s. 4¼d. It is exempt from the jurisdiction of the archdeacon.

 

¶In 1640 here were communicants two hundred and forty-three, and it was then valued at fifty pounds. In 1649 the parsonage was valued at one hundred and twenty pounds per annum.

 

There is a pension of ten pounds to the vicar yearly paid out of the parsonage.

 

www.british-history.ac.uk/survey-kent/vol7/pp319-332

Lower East Side. Manhattan, New York City, New York, United StatesDesigned by a prominent German-American architect and built in 1870, the Germania Fire Insurance Company Bowery Building recalls the time when the Bowery was a major thoroughfare of America’s leading German-American neighborhood. Known as Kleindeutschland, this neighborhood was home to hundreds of thousands of New Yorkers of German descent, and was “in fullest bloom” when this building opened. The Germania Fire Insurance Company was founded in 1859, counting many prominent German-born New Yorkers among its executives and directors; the firm was prospering when it constructed this building to house its Kleindeutschland office, although it moved this office farther up the Bowery after little more than a decade. The building housed tenants from the time of its opening, and by 1880, its residents included Irish, German, and Chinese immigrants. Between 1900 and 1920, industrial tenants displaced its residents, and in 1929, the building was purchased by members of two families who manufactured barber-shop and beauty-parlor equipment in the building into the early 1970s. Residents started returning by the mid-1970s, and today, the building is entirely residential. The architect of the Germania Bowery Building, Carl Pfeiffer, studied architecture and engineering in Germany and emigrated to the United States in 1863. He completed many prominent commissions for hospitals, churches, and private residences, and designed one of the city’s earliest cooperative apartment buildings, which was constructed by a company he organized. Pfeiffer’s design for the Germania building was inspired by the grand office buildings then being constructed by the nation’s insurance companies, featuring a high basement and imitation mansard roof with dormer, as well as a cast-iron storefront. Well-preserved after 140 years, the Germania Fire Insurance Company Bowery Building remains a significant survivor from the 19th-century Bowery and the days when Kleindeutschland “was at its peak, glorying in its status as the capital of German America.” Kleindeutschland and the BoweryWhen the Germania Fire Insurance Company constructed its Bowery Building in 1870, the Bowery was one of the major thoroughfares of Kleindeutschland, a burgeoning German-American community comprising nearly all of today’s Lower East Side and East Village neighborhoods. The Bowery was originally part of a Native American trail extending the length of Manhattan; during Dutch colonization, slave laborers widened the portion of this pathway linking the city of New Amsterdam at the southern tip of Manhattan with a group of bouweries, or farms, established by the Dutch West India Company to supply its fledgling settlement.2 After 1664, when the British took control of New Amsterdam and renamed it New York, this “Bowry Lane” became a component of the Post Road linking New York and Boston.3 Bowery Lane remained on the outskirts of the city through the American Revolution, but it started to become urbanized as New York spread northward in the early 19th century, and was officially designated “The Bowery” in 1813. By the 1840s, the area including the Bowery and immediately to its east was developing into Kleindeutschland , which was also known as Deutschlandle, “Dutchtown,” or simply, “Germany.”4 This neighborhood was “the first of the giant foreign-language settlements that came to typify American cities by the end of the 19th century,” according to historian Stanley Nadel; at the dawn of the 1870s, it encompassed the entire area stretching from the Bowery and Third Avenue to the East River, and from Division Street north to 14th Street.From its founding in 1626 by Peter Minuit, a native of the German town of Wesel am Rhein, New York City has had a significant German population. During the 1820s, New York’s first German neighborhood and commercial center developed southeast of City Hall Park; by 1840, more than 24,000 Germans lived in the city. An influx of immigrants from German states began in the 1840s, as thousands arrived in New York fleeing unemployment, famine, and political and religious oppression. In 1860, more than 200,000 German-Americans lived in New York and by 1880, that number had increased to almost 400,000, or about one-third of the city’s population. The leading German-American neighborhood in the United States, Kleindeutschland was also the center of German New York, which included communities in Brooklyn and Morrisania, in what is now the Bronx; “only Vienna and Berlin had larger German populations between 1855 and 1880,” making Gotham “the third capital of the German-speaking world.”Kleindeutschland was a pluralistic neighborhood, home to Calvinists, Lutherans, Catholics, and Jews, and contained numerous sub-communities of immigrants from various German states and regions, who differed culturally from each other and tended to marry within their groups. Despite this diversity, New York’s German newspapers were cultivating an early concept of a German-American identity by the 1850s.7 This new identity was reflected in the naming of several prominent businesses founded by German-Americans in New York, including the Germania Fire Insurance Company , the Germania Life Insurance Company of New York , and the Germania Bank of the City of New York .By the middle of the 19th century, German immigrants owned and occupied many buildings along the Bowery, and by the 1870s, German was the predominant language spoken there. German New Yorkers “still clung to their old love, the Bowery” through the end of the 19th century; even in the early 1930s, traces of the Bowery’s German character remained.9 Despite the survival of German-American culture and commerce on the Bowery at the end of the 19th century, Kleindeutschland’s population had shifted considerably since the 1840s to the 17th Ward, which was bounded by the Bowery and Third Avenue on its west and extended north of Rivington Street, to 14th Street. Largely unbuilt in the 1840s, the 17th Ward was the “newest, least industrial, and best residential portion” of Kleindeutschland; it was within this ward, between East 3rd and 4th Streets, that the Germania Fire Insurance Company constructed its Bowery branch.After the Civil War, the Bowery became known for its cheap amusements—some wholesome, some not—as music halls, dramatic theaters, and German beer halls shared the street with dive bars, taxi-dance halls, pawnbrokers, medicine shows, confidence men, shady merchants staging “mock auctions,” and “museums” featuring sword swallowers, exotic animals, and scantily clad women. With the opening of the Third Avenue Elevated along the Bowery in 1878, the street was cast into permanent shadow, and pedestrians were showered with hot cinders from the steam trains running above. Nevertheless, the Bowery remained “the liveliest mile on the face of the earth” through the 19th century.Despite its honky-tonk reputation, the Bowery also functioned as “the grand avenue of the respectable lower classes,” where Federal-era residences converted to saloons and boarding houses stood cheek-by-jowl with grand architectural showpieces constructed by the neighborhood’s financial institutions, including the Bond Street Savings Bank at the northwest corner of the Bowery and Bond Street, the palatial High-Victorian-Gothic Dry Dock Savings Bank at the southeast corner of the Bowery and East 3rd Street, and the Germania Bank at the northwest corner of the Bowery and Spring Street.12 When the Germania Fire Insurance Company opened its Bowery branch in 1870, Kleindeutschland was “in fullest bloom,” and the building stood within a short distance of several of the city’s most important German-American institutions, particularly musical societies.13 These included the Liederkranz, which met on East 4th Street, just west of the Bowery; the Beethoven Mannerchor, housed in a hall constructed in 1870 on East 5th Street, just east of the Bowery; and the New York Turnverein and Aeschenbroedel Verein, which opened halls on East 4th Street in 1871 and 1873, respectively.14 At the same time, Kleindeutschland was losing its wealthier families, who had begun moving to the Manhattan neighborhood of Yorkville in the 1860s. Although Kleindeutschland remained the cultural center of German New York in 1890, its share of the city’s German-American population had fallen to 25%, and would drop further, to 10%, by 1910. Today, Germania’s Bowery Building remains a significant reminder of the time when German businesses lined the Bowery, and when “the first of America’s great foreign-language enclaves was at its peak, glorying in its status as the capital of German­America.”The Germania Fire Insurance CompanyThe Germania Fire Insurance Company was founded in 1859 during the “age of great urban fires,” which extended from the New York fire of 1835 to the San Francisco fire and earthquake of 1906.17 This period saw the maturation of the American fire insurance industry and the acceptance of fire insurance as a practical necessity of urban life. In the early 19th century, when the United States was predominantly rural, demand for fire insurance was “limited … to well-off urban dwellers who made up a small percentage of the nation’s population.”18 Demand began to grow in the 1830s, as the rapid industrialization and crowding of American cities increased the potential for fires that could rapidly destroy huge urban areas. The fire insurance industry was fragile during its early years: 23 of the 26 firms offering policies in New York City were bankrupted by the city’s 1835 fire, which ruined more than 500 buildings in Lower Manhattan. In response, many fire insurance companies, which had typically written policies only within their home cities, sought to spread their risk exposure by taking on agents in new urban markets across the country. By the 1850s, many firms had also set up their own branch offices. The industry boomed in the 1850s and again after the Civil War; by the 1860s, the fire insurance field was “characterized by medium- and large-sized firms, most operating on a national scale,” and by the 1870s, “fire insurance had become necessary for the functioning of modern commerce,” enabling property and business owners to build and accumulate capital over years and decades without fear that it could all be lost in a single fire.19 New York City was a hub of the fire insurance industry; 66 firms had offices in New York and Brooklyn by the mid-1850s, and in 1871, one industry publication noted that New York’s insurance companies were “largely instrumental in the preservation of home and property throughout the Union.” As American cities and industry grew through the end of the 19th century, the fire insurance business continued to expand. In March of 1859, Germania announced to the public that “this company … is now ready to receive applications, and issue policies of insurance….”21 The company’s president, Maurice Hilger, was a German immigrant; its secretary, Rudolph Garrigue, who was variously described as a native of Denmark or Germany, had opened a German-language bookstore in the Astor House by 1847, and was described as “a man of learning, letters, and literary experience.”22 The company’s name was reportedly inspired by “the large immigration to the United States from 1848 … of Germans who took part in the revolution against autocratic rule in their own country and came to America to obtain political freedom.”23 Its first board of directors included several prominent German-born New Yorkers, including the rubber-goods magnate Conrad Poppenhusen, and merchants Herman A. Schleicher, Clement Heerdt, and Henry G. Eilshemius. Also among the company’s first directors was Richard M. Hoe, the wealthy and well-known inventor of the rotary press, who was born in New York and whose father immigrated to the United States from England.24 The Germania Fire Insurance Company’s first offices were located at 5 Beekman Street; by 1861, they had moved to 4 Wall Street, and in 1862, the firm opened its first Kleindeutschland branch, at 327 Bowery. This branch moved farther up the Bowery in 1864, either to the present site of the Germania Bowery Building, or next door to it.During this period, most fire insurance companies were unwilling to write policies big enough to fully cover large properties; many property owners, in turn, purchased several small policies from multiple firms. In response, Germania joined three other fire insurance companies in 1864 to form the New York Underwriters’ Agency, which was organized “for the purpose of furnishing to the property owner one single policy in a combination of four companies, where the aggregate assets would afford ample protections against losses suffered through fire.”26 In late 1865 and early 1866, Germania and the Underwriters’ Agency moved to a new five-story, cast-iron-fronted building at 175 Broadway, which had been constructed by Germania at a cost of $40,000.27 This building was located in the heart of the city’s insurance district along Lower Broadway and Wall, William, Nassau, Dey, and Pine Streets.28 The Germania Fire Insurance Company prospered as a member of the Underwriters’ Agency, which had more than 520 agents in the American West and South by 1866. In 1870, Germania constructed the building at 357 Bowery to house its Kleindeutschland branch. Although approximately 100 fire insurance companies failed following the legendary Chicago fire of 1871 and the devastating Boston fire of 1872, “the companies comprising the Underwriters’ Agency stood as firm as the great Pyramids.”29 By 1877, Germania had three branches—on the Bowery, in Downtown Brooklyn, and in Hoboken—and in 1880, it increased its capital stock from $500,000 to $1 million.30 Germania left the Underwriters’ Agency in 1883 and established its own southern and western branches. The company continued to grow, and in 1887, it boasted that it was “one of 12 [fire insurance companies] that were organized in the spring of 1859 in the State of New York, and of these 12 companies only four remain to tell the tale.” In 1892, the firm moved to a new eight-story, $200,000 building it constructed at the southeast corner of William and Cedar Streets, designed by Lamb & Rich.32 Germania’s expansion continued in the early 20th century, although in 1917, it successfully petitioned the New York Supreme Court to allow it to change its name to the National Liberty Insurance Company, explaining that with the United States at war with Germany, “many policies have been canceled for the sole reason that the insurers refused to deal with a company continuing to bear a German name.”33 In 1930, the Home Insurance Company of New York acquired control of National Liberty, creating a group of 15 fire and casualty insurance companies under the Home umbrella. The National Liberty name appears to have been phased out in the late 1940s. History of the Germania Fire Insurance Company Bowery BuildingJust over a century before the Germania Fire Insurance Company constructed its Bowery branch, its site was part of an extensive estate known as the Minthorn Farm. Following the death of its owner, Philip Minthorn, in 1756, the farm was cut by his heirs into 27 pieces, including nine irregularly shaped, finger-like parcels fronting the east side of the Bowery between East 1st and East 5th Streets. Minthorn’s most prominent son was Mangle Minthorn, a slaveholder who lived at the southeast corner of the Bowery and East 3rd Street; Mangle’s daughter Hannah and her husband, Daniel Tompkins—who served as governor of New York and as vice president under James Monroe—lived in a “fine, three-story brick mansion with marble mantels and much handsome woodwork at 349 Bowery, nearly opposite Great Jones Street.” Following Mangle Minthorn’s death, his executors sold the lot upon which the Germania Building stands to Elizabeth Stilwell , née Burtis, the wife of Samuel Stilwell , who served in the New York State Assembly, and as City Surveyor and Street Commissioner.37 In 1869, Elizabeth’s great-nephew Samuel Stilwell Doughty, also a “well-known surveyor,” acquired the lot, which had an existing building.38 The lot also had odd dimensions, largely resulting from the irregular shape of the original Minthorn farm and the boundaries created when it was subdivided. The Germania Fire Insurance Company never purchased the parcel at 357 Bowery from Doughty, but constructed and occupied its new Bowery branch while it leased the property from him.39 On June 27, 1870, architect Carl Pfeiffer filed a new building application for the Germania Building, which was to be four stories high with a 16-foot-deep shed-roofed rear extension, and about eight inches wider at its rear than its front to accommodate the irregular dimensions of its lot. Marc Eidlitz, a successful and prolific builder who was born in Austria and had “strong ties to the German immigrant community,” completed the building in three months.Germania’s application stated that the building was to be an office structure, but in all likelihood, the company intended it to be a tenement that contained Germania’s office; misrepresenting the building’s function would have enabled the company to skirt the city’s tenement laws, which required fire escapes—the Germania Building was constructed without them—and other provisions for multiple dwellings.41 Indeed, the 1870 U.S. Census, taken less than three months after the building’s completion, found nine tenants there, including a butcher, William Bennett; a whip-maker, Fred Stevens; an actress, Geneva Withers; and William Clifton, who operated a “policy shop,” probably the Germania office. All but one of the building’s tenants were born in the United States.Ten years later, 357 Bowery housed seven families, most of them headed by immigrants, including John Brown, a laborer, and his wife Margaret, both natives of Ireland; barber Henry Schalaifer and his wife Mary, both from Germany; Frank Goebles, a photographer from Prussia, and his wife, who was from Brunswick; and Wah Hing and Chung Kong, who operated a laundry and were among the city’s few-thousand Chinese immigrants.Germania kept its Kleindeutschland branch in the building for only about a decade; the company may have only had a ten-year lease, as between 1880 and 1882, Germania moved its branch northward a block to 367 Bowery. In 1886, a dentist’s office apparently occupied the former Germania building, where a dispute over a false tooth led one unhappy patron to try “to put the dentist through the window of the store.”44 Following Doughty’s 1888 death, his heirs continued to lease the property to others.45 At the turn of the century, 357 Bowery had 22 tenants, most of them immigrants, including the German-born hat manufacturer George Baumiller and his wife Catharine, who lived with their seven American-born children. Gustav Barth, a truss-maker who had also immigrated from Germany, lived with his Hungarian-born wife Katie and her immigrant brother and sister. Five of the building’s tenants had been born in Russia; likely part of the mass migration of Eastern European Jews to New York that began in the early 1880s, they included tailor Moses Wassilowitz, as well as Philip Press, a manufacturer of women’s belts, who lived with his wife Fannie, their American-born daughter, Irma, and their Russian-born servant, Louisa Eireff.46 Industrial tenants gradually displaced the building’s residents between 1900 and 1920. The 1905 New York State Census found only Gustav and Catherine Barth and their servant there, noting, “Rest of building occupied by factories.”47 Five years later, three families occupied 357 Bowery, including cook Alfred Sheppard and his five lodgers—a brushmaker, two waiters, a cook, and a horseshoer—all of whom were from Germany. Also living there were the Harbecks, a Russian-Jewish family comprising clothing manufacturer Harry Harbeck, his wife Ida, and their three American-born children.48 All of the building’s residents were apparently displaced by industry by 1915, and in 1921, the New York City Fire Department classified the building as a factory.49 In 1926, the Doughty family sold 357 Bowery.50 In 1929, when 357 Bowery housed a couple of industrial tenants, it was acquired by members of the Laraia and Pellettieri families, who demolished the building’s original rear extension, replaced it with a new, full-height extension to the rear lot line, and installed an Otis freight elevator.51 In 1931, Rocco Laraia & Company, a manufacturer of equipment for barbershops and beauty parlors, moved into the building. The firm, which was known as Laraia & Pellettieri for a brief period in the 1950s, remained at 357 Bowery into the early 1970s; over the years, it shared the building with several other tenants, including a roofer and an upholsterer in the 1940s, a mirror company in the 1950s, and a wire-products company in the 1960s. By the mid-1970s, residents had started returning to the building and were openly sharing space with commercial tenants. In 1979, Warren E. Spieker, Jr. of California and Ingo Swann, an artist who was then a resident of 357 Bowery, acquired the building.52 Swann, who is well-known among proponents of extra-sensory perception for his purported skill in “remote viewing”—the viewing of hidden objects, including interstellar bodies, through telepathy—has written several books about paranormal phenomena.Over its 140-year history, the building at 357 Bowery has changed its function from residential to industrial and back, but it remains largely intact. Its main façade retains a faded reminder of its 20th­century history: black painted lettering, just barely visible, that once spelled out “R. Laraia & Co. Inc.,” “357,” and “Barber Shop Equipment” at its second floor and in the space between the second- and third-floor windows.Design of the Germania Fire Insurance Company Bowery BuildingAlthough it primarily served as a tenement when it opened in 1870, Germania’s Bowery Building took its design cues from the grand office buildings then being constructed by the nation’s insurance companies. Eighteen years before, in 1852, one of New York’s earliest buildings constructed specifically to house insurers was completed at the southwest corner of William and Wall Streets. Designed by William Diaper with a rusticated base and pedimented lintels, and considered the “first insurance building of any architectural interest to be erected in Wall Street,” this structure was representative of bank and insurance offices of the 1850s and 1860s, which tended to be four or five stories high and inspired by Italian Renaissance palazzi.64 These buildings typically had high basements and high stoops that added to their monumentality; frequently, their basements contained storefronts that were rented out to other tenants, including other financial and insurance companies. Many of the banks and insurers that constructed these buildings also rented out their first-floor storefronts, while frugally accommodating themselves in the first-floor rear. One early photograph of the Manhattan Life Insurance Company Building, a four-story insurance palazzo at 156-158 Broadway shows Manhattan Life’s name carved into the entablature over the main entrance, while the names of three other tenants, all insurance companies, were painted above the basement storefronts and first-floor windows.From the late 1860s through the mid-1870s, the mansard roof was at the peak of its popularity in America. Literally the crowning feature of the Second Empire style, the mansard was brought to the United States from France; considered the height of fashion and modernity, mansard roofs were added to all types of buildings, and could grow to several stories atop the most imposing ones, like the United States Courthouse and Post Office at the tip of City Hall Park. At the same time, New York’s insurance companies, which were flush with capital, began constructing grand office buildings for themselves. In 1870, the Equitable Life Assurance Society opened its new headquarters at 120 Broadway ; the second-tallest structure in New York after the Trinity Church spire, it comprised three gargantuan floors topped by an enormous mansard with ornate dormers, and was “the city’s, and therefore the world’s, first modern office building.”66 Hailed by the press as a “public benefit” and one of the city’s great “ornaments,” the Equitable Building kicked off a mania for mansard roofs among New York’s largest firms, as mansards were added to the headquarters of the Mutual Life Insurance Company in 1871, the Metropolitan Life Insurance Company in 1874-75, and the Germania Life Insurance Company in 1876.Although the Germania Fire Insurance Company Bowery Building was much more modest in size and ornament than these buildings, Carl Pfeiffer’s design shows their influence, chiefly in its high basement and “mansard” roof, which was described as such in Buildings Department documents but is actually much simpler than a traditional mansard, with a sloped front and straight sides. Originally covered with slate, the roof is pierced by a tripartite central dormer composed of segmental-arch-headed window openings flanking a higher central opening, which is framed by turned mullions and rises to a peak. A 16-foot-deep rear basement-and-first-floor extension may have housed Germania’s branch office, allowing the company to rent out its first-floor storefronts, as was common at the time. The building also appears to have had a basement storefront.The design of Germania’s Bowery branch was also undoubtedly influenced by budget, as the company likely intended to control costs on a building constructed on leased property; at $15,000, its cost was about one-third of the cost of the five-story headquarters Germania had constructed five years earlier at 175 Broadway. Unlike the Broadway building, which featured a cast-iron main facade, the body of the Bowery Building was faced with Philadelphia brick laid in stretcher bond. Brick was a cheaper alternative to cast iron or stone, and while 175 Broadway was Germania’s public face, this building was primarily a tenement, making the less-expensive material a palatable choice. Pfeiffer may also have chosen brick because it blended better than other materials with the building’s surroundings. In the 1870s, the buildings along the Bowery were described as being “for the most part of brick, and in the majority of cases less than three stories in height”; many brick rowhouses dating from the Federal era remained close by the Germania building at the time of its construction, and well into the 20th century.Ornament on the brick portions of the main facade is austere, limited to a continuous molded stone sill at the second floor, plain stone windowsills at the third floor, denticulated brick window arches, and a denticulated brick cornice with four corbelled brick brackets. The ground floor features a historic, almost certainly original cast-iron storefront, which is simple in design, Italianate in style, and has panels on its piers; a foundry mark from the firm of Boyce & McIntire, which was active from approximately 1862 to 1877, is present on the storefront’s northernmost and southernmost piers.70 The building’s present fire escape likely dates from the early 20th century. The Germania Fire Insurance Company Bowery Building remains well-preserved today, with changes largely limited to sash replacement within the storefront and upper-story window openings, the removal of a round arch that formerly crowned the building’s dormer, the replacement of the original slate-and-tin roof with a non-historic material, and the replacement of most of the building’s stoop with a metal stoop. DescriptionThe main facade of the Germania Fire Insurance Company Bowery Building faces the Bowery and features a high basement, historic—almost certainly original—cast-iron storefront, and second and third floors faced in Philadelphia brick laid in stretcher bond. It is crowned by a sloped roof imitating a mansard, and pierced by a central tripartite dormer featuring two segmental-arch-headed window openings flanking a higher central opening. The building’s main entrance is reached by a high stoop. Except for its historic stone base and bottom step, the existing stoop is of metal, and is non-historic, although it matches the profile, width, and shape of the building’s historic stoop fairly closely. The stoop’s metal railings, thin newels crowned by ball finials, and gate are non-historic. Adjoining the stoop to the south is a non-historic metal fence, which wraps around a stairway that leads to the basement entrance. The front of the fence contains a non-historic metal gate; the side of the fence is mounted on a concrete curb that may date to before the 1940s. The top threshold of the basement stairway is of historic bluestone, while the basement steps are of concrete, or of stone coated with stucco. The basement stairway walls are of brick, portions of which have been coated with stucco and/or painted. The basement entrance contains a pair of non-historic metal doors with square openings, and has a plain wood reveal; the opening of the south door contains wire glass, and the opening of the north door has been covered with a wood panel on its interior. A metal transom panel is present above the doors, and a round metal alarm box is present on the south reveal. The landing in front of the basement doors is concrete and contains a non-historic metal drain cover. South of the basement entrance, at the basement level of the front facade, are a siamese connection above an additional projecting metal pipe. A historic opening, now filled with a wood panel and flanked by two unadorned metal framing elements, is present south of these pipes. Two filler pipes are present in the concrete sidewalk. The basement is headed by a wide metal lintel crowned by a continuous molding, which extends from the southern end of the facade to the stoop. A small sign referring to the building’s automatic sprinkler is attached to this lintel. The main entrance features a pair of historic wood doors, with large rectangular panes above rectangular panels. Above the doors are a historic molded wood transom bar and three-pane wood transom. The upper corners of the transom are curved to follow the profile of the main-entrance recess, which contains a historic paneled wood reveal. A non-historic metal intercom panel and light fixture with conduit have been installed on the north reveal; metal numerals have been tacked onto the front of the main-entrance enframement. The first floor features a storefront with historic cast-iron framing. This framing includes recessed panels with recessed central roundels on the storefront’s four piers, which are crowned by narrow projecting moldings. These moldings originally served as the bases for austere capitals; the moldings at the tops of these capitals have been removed. The two end piers are wider than those in between. A metal support bracket for the fire escape is bolted into the second-southernmost pier. Each of the northernmost and southernmost piers contains a foundry mark reading “BOYCE & MCINTIRE 706 E. 12 ST. NY.” These foundry marks, like the rest of the storefront, have been painted over. The storefront’s infill, which is non-historic and was installed between 1979 and 1984, includes single-pane wood transoms and paired single-pane wood sashes separated by plain wood mullions, above wood bulkheads. Each of these bulkheads contains three square panels; the three southernmost panels contain applied words executed in carved wood in a graffiti-like typeface . The storefront is crowned by three plain, narrow, metal lintels extending the full width of the facade. The second and third floors of the main facade are three bays in width and contain segmental­arch-headed window openings. These openings are crowned by denticulated brick arches, which are higher at the second floor than the third. The recessed portions of the second-floor arches appear to have been painted black, although this paint has largely faded. These openings historically contained two-over­two, double-hung windows. The second floor features a historic continuous molded stone sill. The northernmost second-floor opening contains a fire-escape door with two rectangular panes of wire glass; the central second-floor opening contains a historic two-over-two, double-hung window covered by metal mesh; and the southernmost second-floor opening contains a historic two-over-two, double-hung window and window air-conditioner covered by a metal cage. The third-floor window openings have individual, plain stone sills. Each of these openings contains a non-historic one-over-one double-hung window below a single-pane transom. Crowning the third floor is a denticulated brick cornice with four corbelled brick brackets supporting a replacement metal gutter. Faded black painted text is visible on the main facade. This text formerly read “R. LARAIA & CO. Inc.” between the second- and third-floor windows; and “Mfrs of BARBER SHOP EQUIPMENT” between the two southernmost second-floor windows. The painted numerals “357” are still clearly visible to the south of the southernmost second-floor window. Historically, a matching “357” was present between the northernmost second-floor opening and the northern edge of the building, but it is no longer visible. The main facade is crowned by a faux mansard roof, originally of slate and tin, which has a sloped front and straight sides. This fourth-floor portion of the main facade is pierced by a tripartite wood dormer. The central portion of the dormer is framed by two engaged columns supporting a projecting upper portion, which is crowned by a peaked roof with historic molding. This upper portion of the dormer was originally crowned by a round arch, which was removed between 1979 and 1984. Both of the single-pane sashes within the central portion of the dormer are non-historic, as is the wood transom bar separating them, which was originally molded, but was converted to a plain transom bar between 1979 and 1984. Each of the dormer’s sides contains a segmental-arch-headed opening containing a non-historic single-pane sash, crowned by a denticulated cornice and brackets supporting a slightly overhanging pitched roof. This roof has been covered with asphaltic material. The sloping face of the fourth floor, originally covered with slate shingles, has similarly been covered with an asphaltic material. The fourth floor is crowned by a historic molding, apparently of copper or bronze; its edges are covered with stone coping, each featuring a diamond-point block. Extending the height of the main facade is a metal fire escape. This was probably installed in the early 20th century, although a portion of the fire escape that extends from the dormer to above the roofline appears to have been installed after 1940. A television antenna is attached to the fire escape at the second floor. The south facade, visible over the rooftop of 355A Bowery, has been coated with stucco and/or painted. Two satellite dishes are attached to the facade, which is crowned by a parapet and a non-historic spiked metal railing. A rooftop metal flue is visible over the south facade, as is the roof’s elevator bulkhead, which has been coated with stucco and/or painted and has a door on its west face, as well as a skylight. The north facade of 357 Bowery, visible over the rooftop of 359 Bowery, is of common-bond brick. The rear portion of this facade has been covered with stucco and/or painted. An additional rooftop flue is visible over this facade, as is the building’s skylight, which has a metal grille covering its glass. The elevator bulkhead is also visible over this facade. From East 4th Street, a small portion of the brick rear facade, including two square-headed window openings containing one-over-one, double-hung wood sashes, is visible, as is the building’s elevator bulkhead. The visible portion of the rear facade has been coated with stucco and/or painted. - From the 2010 NYCLPC Landmark Designation Report

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

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

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

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

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

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An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

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

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

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CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.

 

St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.

 

We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.

 

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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.

 

After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.

 

This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.

 

The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.

 

In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).

 

The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.

 

www.faversham.org/community/churches/throwley.aspx

 

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TQ 95 NE THROWLEY THROWLEY

ROAD

(west side)

4/181

Church of

St. Michael

and All

24.1.67 Angels

 

GV I

 

Parish Church. C12, C13 north chapel, C14 south chapel, C15

nave arcades, restored 1866 and tower heightened. Flint and

plain tiled roofs. Chancel, north and south chapels, nave and

aisles, south tower and south porch. West doorway, C12, with

attached shafts and 3 orders, the outer panelled with X's on

circles, the centre roll moulded with the blocks offset and

alternately projecting, the inner with more X's on circles,

with 2 offset buttresses either side of doorway. South aisle

with plinth, string course and parapet, 3 offset buttresses and

C15 Perpendicular windows. South tower of 2 stages with square

south-eastern stair turret and C16 moulded brick surround

sundial. Water spouts on each corner in the 4 Evangelical

symbols. Half-timbered C19 south porch, south doorway with

rolled and double hollow chamfered surround, and outer surround

with label and quatrefoil spandrels. North aisle under 1 roof

with nave, with C15 fenestration, and C19 chimney to north west.

North and south chapels with C14 cusped 'Y' tracery fenestration,

with hollow chamfered and ogee drip moulds. Chancel east

window C19 curvilinear style. Interior: 2 bay nave arcades,

double hollow chamfered arches on octagonal piers. C12 single

arches to north and south eastern bay, that to south recessed

and double chamfered through tower wall. Barrel roof.

Chamfered arch on corbels from south aisle to tower, itself

with corbel table on south wall, and triple arch through to south

chapel C19 chancel arch. Chancel with 2 bay double chamfered

arcade to north chapel with octagonal capitals on round piers, and

single double chamfered arch on round responds to south chapel.

Fittings: hollow chamfered piscina and sedile in window reveal in

chancel and cusped recess in north wall. C19 reredos and altar

rail. Cusped piscina and four centred arched wall recess in

south chapel. Choir stalls, some C19, the four on the south C15

with carved misericords. Monuments: south chapel C16 chest tomb,

with shields in panelled sides, moulded plinth, lozenge-shaped

flowers, fluting and frieze. Chest tomb, Sir George Sondes,

Earl of Faversham, d.1677. Black marble with blank panelled sides.

Inscription on the top panel (made 1728). Standing monument,

Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with

achievements on side panels. Kneeling alabaster figures of

knight and his Lady on opposite sides of central prayer desk,

carrying inscription. Mary Sondes, died 1603. Smaller and

identical to Sir Thomas Sonde's monument, with 2 adults and 2

infant sons and daughters on either side of sarcophagus. Misplaced

scrolled and enriched carved achievement on floor to east of

those monuments. Wall plaque, Captain Thomas Sondes, died 1668.

Black and white marble, with draped apron, swagged and draped

sides with military trophies. Broken segmental pediment with male

bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).

North chapel C16 chest tomb, moulded plinth, panelled sides with

shields (1 panel reset in south chapel south wall). Early C16

tomb recess with moulded jambs, with rope work, crenellated,

with late Perpendicular motifs in spandrels, and tomb with 3

panelled recesses with 2 shields on each panel. Wall plaque,

Charles Harris, d.1814, by Flaxman. White plaque on white

background; dead soldier lifted from the grave by Victory, with

palms and cannon in background. Statue, to George, first Lord

Harris, life size soldier with sword and plans, on four foot

plinth. By George Rennie, 1835. Nave, wall plaque, Stephen

Bunce, d.1634. Black plaque on coved base and apron. Foliated

sides. Scrolled nowy cornice and pediment with achievement.

(See B.O.E. Kent II, 1983, 476-7.)

  

Listing NGR: TQ9883454254

 

www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...

 

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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.

 

THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)

 

There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.

 

About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.

 

THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.

 

The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.

 

In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.

 

MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.

 

THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:

 

Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.

 

On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.

 

After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.

 

In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.

 

William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.

 

His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.

 

He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.

 

Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.

 

Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.

 

The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.

 

WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.

 

On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.

 

On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.

 

There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.

 

BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)

 

John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.

 

IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.

 

There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.

 

The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)

 

In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.

 

The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)

 

This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.

 

The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.

 

THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.

 

The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.

 

Charities.

 

CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.

 

THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.

 

The poor constantly relieved are about thirty, casually double that number.

 

THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.

 

There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.

 

In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.

 

It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.

 

An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.

 

¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.

 

A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)

 

It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.

 

In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.

 

www.british-history.ac.uk/survey-kent/vol6/pp445-461

 

A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.

 

Arms:

 

(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).

 

(ii) The same.

 

(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.

 

(iv) As (i).

 

(v) (i) impaling (iii).

 

(vi) As (iii).

 

Crests: (a) a falcon rising; (b) a lion's head razed.

 

In the left-hand recess behind the recumbent effigies:

 

Hic sitvs est Ioannes Spencer

Eqves avratvs, civis, & senator

Londinensis, eivsdemq civitatis

prætor anno d'ni mdxciiii

qvi ex Alicia Bromfeldia

vxore vnicam reliqvit filiam

Elizabeth Gvilielmo Baroni

Compton envptam, obiit 3o

die martii anno salvtis mdcix

 

In the right-hand recess:

 

Socero bene merito

Gvilielmvs baro Compton

gener posvit

 

An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.

 

"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.

 

*

 

SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).

 

Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).

 

He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.

 

By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.

 

He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.

 

*

 

In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.

Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.

  

Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...

And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...

I had been to Mettingham once before. Well, other than passing through. Back in the 80s Mettingham had a fine trucker's cafe, which I seem to remember won awards, and nearby was the Tally Ho pub.

 

The Tally Ho are now tearooms, and the greasy spoon long gone.

 

I had gone to Mettingham to visit the village show, many of my friends at the chicken factory lived on farms and for them it was a major event. I took my whole family in our Ford Cortina. It was a low key thing, as you would imagine, but at the same time very enjoyable.

 

I drove out of Bungay, back up the hill past where the old Harley Davidson shop used to be, past where another pub used to stand, that was the Watch House if I remember. That has been knocked down and more houses built. Up the hill out of Bungay and I could see the Tally Ho ahead, but just after that there was a sign saying 'church open'. I didn't know there was a church on the road.

 

Later, as I drove further along, I saw another church at Shipmeadow, but that I discovered later is now a private house.

 

Anyway, back to Mettingham. I turned round and found a place to park just off the road, not knowing if private vehicles would be allowed up the lane.

 

The lane was very narrow, and curved to the left about 50 yards up, thus hiding the church completely.

 

I walked up and found a perfect small round-towered church, once again like in Bungay with a window set in the base of the tower.

 

Despite its rural setting, it was very tidy inside, cool and welcoming. A church I rather liked.

 

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There was a church at Mettingham in Saxon times, but the present edifice, though a very ancient structure, is of Norman foundation. It exhibits a very elegant doorway, on the north side of the nave, profusely ornamented with the chevron mouldings. The stone employed in this elaborate portal is of the very finest quality, and has braved the corroding blasts of our north-eastern gales for above seven centuries with little injury. The hand of man, however, has despoiled it of its columns, and failed to spare what time would have left unscathed.

 

The church comprises a nave, with a south aisle, a chancel, and a round tower, with a large porch on the south side, in the west wall of which is a fire-place and chimney. The tower is girded, about midway of its height, with a strong band of iron; but an examination of its interior presents no visible rent or decay, requiring such a singular appendage. It was put on about half a century ago, by the then churchwarden; who, as he was also the village blacksmith, has exemplified the truth of the fable, that there is nothing like leather. In the south aisle is an inarched monument, with a handsome canopy: there is also a good octagonal font of stone, with the remains of some very rich stalls, and portions of a once elegant screen.

 

The interior is kept in a very neat and reputable state, but is sadly disfigured by a barbarous east window. Besides the arms of De Norwich, which yet remain, the windows of this church formerly contained the following cognizances. Ufford quartering Becke; France and England quartered; and, sab. an eagle displayed or.

 

Having been early appropriated to Bungay Nunnery, this benefice became a vicarage. Upon the suppression of religious houses, the appropriation and advowson were granted, in the twenty-ninth of Henry VIII., to Thomas, Duke of Norfolk; but they were soon afterwards conveyed to Sir Nicholas Bacon, and united with the castle estates; the Rev. James Cutting Safford being the present impropriator, and patron of the vicarage.

 

The registers of this parish commence in the time of the Commonwealth; and I quote the first page from them to show what advantages were gained by the nation in consequence of the Act of Parliament which deprived the parochial clergy of their custody, and transferred it to laymen.

 

"Mettingham Register Booke.

 

"Wherein are written all the Mariages, Burths, and Burialls, accordinge to the late Act of Parlament made the 22 day of September, 1653.

 

"Richard Stannard, of the same towne, in the Countie of Suff., Gent., approved by us, whose handes are here under subscribed accordinge to the choice of him made by the Inhabitants of the said Parish, to have the keeping of the Booke, and sworne to performe the Office of a Register accordinge to an Act of Parlament made in the yeare of our Lord God one thousand sixe hundred fifty and three.

 

Simon Suckbottle

 

Nasty Nan

 

John Gingerbread

 

Halfbrickt Man

 

Jumping Jones

 

Bounty Bridg

 

Dick Devill

 

Inhabitants of Utopia.

 

Monuments.—William Gooch, Esq., died 1685. Thomas Gooch, Gent., 1688. Attached to the monument are the arms of Gooch; party per pale, arg. and sab., a chevron between 3 talbots pass., counterchanged; on a chief gules 3 leopards' faces or. These gentlemen were ancestors of the present Sir Thomas Gooch, Bart., of Benacre Hall, whose family appears to have sprung from this village. In 1537, I meet with the name of Thomas Gooch, as witness to a deed, now preserved in the parish chest.

 

Jacob Twiss, Gent., died 1706. George Robinson, died 1808, aged 79.

 

There are many monuments of the Belwards, a family of ancient descent; being derived from Hugh de Belward, who came over with the Conqueror. Their arms, which are placed over some of the monuments here, are party per pale gules and argent, 3 pheons reversed, counterchanged.

 

In the reign of William the Conqueror, Robert Fitz-Hugh was Baron of Malpas in Cheshire, and held above thirty manors under Hugh Lupus, Earl of Chester, as appears by Domesday Book; but leaving no issue male, this barony, at length, by marriage of the heir female, came into the famous and knightly family of the Belwards, as Camden styles it, of which was John le Belward de Malpas, who lived in Rufus's time: to him succeeded William his son, who was Baron of Malpas in right of his mother, who was Lætitia, daughter and heiress of Robert Fitz-Hugh, and bore for arms 3 pheons, or dart heads. William, who was Baron of Malpas, left no legitimate issue; but Philip, his next brother, and then possessed of the manor of Egerton near Malpas, took, according to the custom of that age, the surname of Egerton from the place of his residence, and spread into many eminent and flourishing families, one of whose posterity is the Duke of Bridgewater.

 

Viscount Malpas and Earl of Cholmondeley, 1706, descended from William le Belward, Baron Malpas. Robert, by the gift of his father, had the lordship of Cholmondeley, settled there, and assumed the name of the place.

 

Thomas Cholmondeley, created Earl Delamere, 1821.

 

Thomas Egerton, Earl of Wilton, descended from William le Belward, who assumed the name of Egerton. The twelfth in descent was Sir Rowland Egerton, created a Baronet in 1617.

 

The Rev. Henry Belward Belward, of Mettingham (1845) assumed the name of his mother Esther, by the will of Dr. Richard Fisher Belward, who left him his estates.

 

Maria, daughter of William Belward, Gent., died 1731. Anna, fourth daughter of William Belward, died 1736. William Belward, Gent., died 18th August, 1700, aged 54. Hannah, his fifth daughter, died 1753, aged 58. Susanna, widow of the Rev. Charles Cock, A.M., died of the small-pox, 1738, aged 72. Edmund Purdy, died 1618. William Hayward, died 1753, aged 68. John Youngs, died 1671.

 

Elizabeth, relict of the Rev. James Chartres, formerly fellow of King's College, Cambridge, and vicar of Godmanchester, and West Haddon, obt. March 20, 1840, æt. 76.

 

James Cutting, eldest son of the Rev. James Cutting, and Louisa Safford, obt. July 9th, 1842, æt. 16.

 

The town estate of Mettingham produces a rental of about £100 per annum, and is under the management of feoffees chosen by the parishioners. The lands which produce this fine income were devised some centuries ago for parochial purposes; but the exact intentions of the benefactors are not clearly understood. The proceeds of their bequests are applied to the reparation of the church; in a distribution of coals to the poor; and to other parish purposes, which are, perhaps, not altogether legitimate. Laurence Skete, of Mettingham, and others, gave several pieces of land and meadow ground for the use of the poor. Among the deeds preserved in the office of the Bishop of Norwich is the following record. "Villuta de Mettingham tenet 3 ac: et dim: terræ nativæ tenem'ti Stambornes Manerij in una pecia de Metyngham. Idem tenet 3 rodas terræ liberæ pertinentis gilde, et jac: in Metyngham inter unam semitam."

 

Richard Umfrey, or Humfrey, Clerk, vicar of Mettingham in 1517, gave to the poor of this parish, lands, now let at £32. 7s. 6d. The original deed is—or was lately—in the parish chest, and is dated "apud Metyngham, ultimo die mensis Maij Anno regni Regis Henrici septimo."

 

As the above Richard Umfrey was also a liberal benefactor to the parish in other ways, I transcribe his short will, which contains many very curious and interesting particulars, illustrative of the manners and customs of his period.

 

"In nōie Dei, Amen. in the yere of our Lorde God MCCCCCXVij, the first day of Marche, I Richarde Umfrey, Clerke, Vicar of the church of All Seynts of Metyngh'm, beying in good and hool mynde, make my testamente and laste wille undre this fourme followyng. First, I come'nde my soule to Almyghtie God, to our blyssed Ladye, and to the celestyall Courte in Hevyn. And my Bodye to be buryed in the chauncell of Metyngh'm forsad byfor the sepultur and grave of Syr John Arcente, my predecessor. And at the daye of my buryeng I will that the maist' of the College in Metyngh'm forsad shall have xxd. And every brodre of the same College, xijd. And ev'y yoman servaunte abidyng in the said College shall have iiijd, and ev'y other servaunte and childe of the Almouse ther ijd. Also I will that ev'y other priste that shalbe at my buryeng shall have iiijd. Also I will that at the same daye of my buryeng the Ladye Prioresse of the monast'ye in Bongey shall have xijd. And ev'y other Lady of the same monast'ye vjd, and their convente priste viijd. to praye for my soule. Also I bequeath to ev'y houssolder in the said p'ysshe of Metyngh'm wheras arn man and wiff, viijd. And to ev'y other p'son jd at the sad daye to praye for my soule and all crysten soules. Also I gyff and bequeth to the maist' of the forsad College and to his brodren all that my Tēnt called Pyrtewell in Metyngh'm wt the gardeyn and the cloos to the sad tēnt belongyng wt thapp'tenents, undre this condic'on, that the said maist' and his brodren shall hold my annyv'sary yerly wt placebo and dirige and masse of Requiem for my soule, my fadres and modres soules, for my fryndes soules, and all cristen soules. And moreov' the sad maist' and his brodren shall gyff to thoos p'sones that shall rynge at Metyngh'm Church forsaid in the tyme of saying or syngyng of placebo and dirige at the said daye of my annyv'sary oon caste of brede and oon gallon of drynk. Also I gyff and bequeth to the Tounesshippe of Metyngh'm forsaid oon acr of londe lyeng among the londes of the said tounesshippe, undre this condison, that the Churchwardeyns of the same p'ysshe shall gyffe yerly at the daye of my annyv'ssary to the Vicar of the sad church of Metyngh'm, or to his Depute ther saying or syngyng placebo and dirige for my soule, my fryndes soules, and for all crysten soules, iiijd. And to offer jd. at Masse. Also I will that my cooffeoffes shall dely' or cause to be delyv'ed a state and seisyne of the forsaid te'nt, and all other landes forsade to the p'fourmaunce of this my laste will, when so ev' ther shall be required by my Executors. Also I will have an honest seculer priste to syng and praye for my soule, my fryndes soules, and for all crysten soules, by the space of twoo yers and longer yf yt may extende of my Goodes. Also I gyff and bequeth to the Cathedrall Church of the hooly Trinite of Norwych, vjs viijd. Also I bequeth to the forsaid Church of Metyngh'm my vestymente of blewe Velvett powdered wt flowres. And my chalice for to remayn to the same church as long as ther shall endur. And to the gyldyng of the Tabernacle of Seynt Mychael in the sad church, xxs. Also I gyff and bequeth to the Ladye Prioresse of the monast'ye in Bongay oon Goun wt the hoode. And to Dame Anne Page oon goun wt the hoode and vjs viijd. Also I bequeth to Mr. Thomas Wylkynes wiff a goun wt the hoode: to Mr. Reeves wiff a Goun wt the Hood: to Hamonde Lynstedes wife a Goun with the Hood. And to John Rooses wife a Goun wt the Hood: Also I bequeth to Robte Arwarde my lesser ffedrebedde with the bolster. The residue of all my Goodes wt my detts not bequethed I gyff and bequeth to the Disposicon and orderyng of Mayster Richarde Shelton, Clerk, and Sir Richard Wyburgh, priste, whom I ordeyn and make my Executors of this my Testamente and lastwille, thei to distrisbute and dispose them in Dedys of Charite to the most laude and praysyng of Allmyghty God for the welth and p'fyte of my soule, my fryndes soules, and for all cristen soules.

 

www.british-history.ac.uk/no-series/suffolk-history-antiq...

The Burgtheater on the 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.

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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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 .

www.mariachiproductions.org/basel2012/index.php/tournamen...

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.

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

 

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

 

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

 

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

 

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

 

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

 

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

 

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

I visit Stockbury a lot in the spring and early summer, to see the local orchids and other wild flowers. But have only been inside the church once before, and only taken wide angle shots.

 

So, long overdue for a return.

 

Stockbury overlooks the northern end of the A249, just before it reaches the Medway towns and the M2, but is set high on the wooded down above the traffic, and although the noise never quite fades away, it is a distant hum.

 

St Mary sits on the very edge of the down, as the lane tumbles down to join the main road below, but the churchyard, and church are an oasis of calm and tranquility.

 

Looking at this shot especially, I see that the roof supports seem to have been built into the former clerestory windows?

 

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A fire of 1836 and a restoration of 1851 have left their marks on this prominent Downland church. The east wall of the chancel contains three lancets, of nineteenth-century origin, which contain some lovely glass of the early years of the twentieth century. To the north and south of the chancel are transepts separated by nicely carved screens. The southern transept is the more picturesque, for its roof timbers are exposed and below, in its east wall, are three sturdy windows of which the centre one is blocked. The west end of the nave is built up to form a platform upon which stands the organ. On either side of the chancel arch are typical nineteenth-century Commandment Boards, required by law until the late Victorian era, with good marble shafting to mirror the medieval work in the chancel.

 

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

 

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STOCKBURY

IS the next parish northward from Hucking. It is called in the survey of Domesday, Stochingeberge, in later records, Stockesburie, and now Stockbury.

 

The western, which is by far the greatest part of it, lies in the hundred of Eyhorne, and division of West Kent, the remainder of it in that of Milton, and division of East Kent, over which part that manor claims, but the church and village being in the former district, the parish is esteemed as being in the former division of the county.

 

This parish lies on each side of the valley, called from it Stockbury valley, along which the high road leads from Key-street to Detling-hill, and thence to Maidstone; hence it extends on the hills on each side, for more than a mile. It lies mostly on high ground, and though exposed to the northern aspect, is not, especially on the northern side of the valley, near so bleak and cold as the parishes on the hills, lately before-described, nor is the soil, though much like them, and very flinty in general, quite so poor; and on the north side next to Hartlip and Newington, there is some land much more fertile, partaking more of the loam, and much less mixed with flints; the sides of the valley are covered with coppice woods, which extend round the western boundary of the parish, where there is some uninclosed. downe, being poor ruffit land, and a wild and dreary country.

 

On the north side of the valley, close to the summit of the hill, is the church, with the court-lodge near it, and a small distance further, on the north side of the parish, the village called Stockbury-street, in which stands the parsonage, and a little further Hill-greenhouse, the residence of William Jumper, esq. having an extensive prospect northward over the neighbouring country, and the channel beyond it, the former owners of which seat will be mentioned in the description of Yelsted manor hereafter; at a small distance southward from hence are the two hamlets of Guilsted and South-streets, situated close to the brow of the hill adjoining to the woods.

 

On the south side of the valley the woodland continues up the hills, westward of which is the hamlet of Southdean-green adjoining the large tract of woodland called Binbury wood. The manor of Southdean belongs to Mr. John Hudson, of Bicknor. On the eastern side of the woodland first mentioned is the hamlet of Pett, at the south-east boundary of the parish, which was formerly the property and residence of a family of that name, Reginald atte Pett resided here, and by his will in 1456 gave several legacies to the church towards a new beam, a new bell called Treble, the work of the new isle, and the making a new window there. Near it is a small manor called the Yoke of Hamons atte Deane, and upon these hills the small manors are frequently called Yokes.

 

There is a fair for pedlary, toys, &c. formerly on St. Mary Magdalen's day, July 22, but now by the al teration of the style, on August 2, yearly, which is held by order of the lord of the manor on the broad green before the Three Squirrels public-house in Stockbury valley.

 

On June 24, 1746, hence called the Midsummer storm, the most dreadful tempest happened that was ever remembered by the oldest man then living. The chief force of it was felt in the northern part of the middle of the county, and in some few parts of East Kent. It directed its course from the southward, and happily spread only a few miles in width, but whereever it came, its force was irresistible, overturning every thing in its way, and making a general desolation over every thing it passed. The morning was very close and hot, with a kind of stagnated air, and towards noon small, bright, undulated clouds arose, which preceded the storm, with a strong south wind; it raised a torrent, and the flashes of lightning were incessant, like one continued blaze, and the thunder without intermission for about fifteen or twenty minutes. When the tempest was over, the sky cleared up, and the remainder of the day was remarkably bright and serene. From an eminence of ground the passage of the storm might easily be traced by the eye, by the destruction it had made, quite to the sea and the waters of the Swale to which it passed. Neither the eastern or western extremities of the county felt any thing of it.

 

This place, at the time of taking the general survey of Domesday, in the year 1080, was part of the extensive possessions of Odo, the great bishop of Baieux, the Conqueror's half brother, under the general title of whose lands it is thus described:

 

The same Ansgotus, de Rochester, holds of the bishop (of Baieux) Stockingeberge. It was taxed at two sulings. The arable land is. In demesne there are two carucates, and five villeins, with nine borderers having two carucates. There is a church, and two servants, and one mill of sixty-four pence. Wood for the pannage of fifteen hogs. In the time of king Edward the Consessor, and afterwards, it was worth four pounds, now six pounds. Elveva held it of king Edward.

 

After the bishop's forfeiture of all his lands, which happened about four years afterwards, this place came into the possession of the family of Auberville, being held by them of Roger de St. John, as one knight's fee. Roger de Aubervill, for de Albrincis, was a man who held large possessions at the time of the general survey before-mentioned. William de Aubervill, his descendant, in 1192, anno 4 Richard I. founded the priory of Langdon, in this county, and his descendant of the same name died possessed of the manor of Stokinburie in the 36th year of Henry III. holding it by knight's service.

 

He left an only daughter and heir Joane, who carried it in marriage to Nicholas de Criol, a man of eminence in his time, who attending Edward I. at the siege of Carlaverock, in Scotland, was there made a knight banneret for his services performed at it, and in the 21st year of it he was allowed, by the justices itinerant, to have free-warren for all his estate here, except one plough-land, which was called Stannerland. He died possessed of this manor in the 31st year of that reign, and Philipott says many of their deeds bore teste, from their castle of Stockbury, which means no more, than its being one of the castellated seats of the family, as did his grandson John, in the 9th year of king Edward III. at which time he spelt his name Keryell.

 

After which it remained in his descendants down to Sir Thomas Kiriell, knight of the garter, eminent for his services to the house of York, during the reign of Henry VI. but being taken prisoner at the battle of Bernards-heath, near St. Albans, sought anno 38 king Henry VI. in which the Yorkists were defeated, he was, by the queen's order, beheaded, notwithstanding the king had granted him his life, when it was found by inquisition, that he held this manor of the king in capite by knight's service, by homage, and paying to the ward of Rochester castle yearly, and to the king's court of Mylton. He died without male issue, leaving two daughters his coheirs, one of whom, Elizabeth, carried this manor in marriage to John Bourchier, whom she survived, and afterwards died possessed of it in the 14th year of Henry VII. holding it in manner as before-mentioned. Soon after which it appears to have been alienated to Robert Tate, who died possessed of it in the 16th year of that reign, holding it by the like service. His descendant William Tate, who in the reign of James I. alienated it to Sir Edward Duke, of Cosington, in Aylesford, whose widow held it in jointure at the time of the restoration of king Charles II.

 

Her son, George Duke, esq. alienated it to John Conny, surgeon, and twice mayor of Rochester, and son of Robert Conny, of Godmanchester, in Huntingdonshire. John Conny, together with his son Robert Conny, of Rochester, M. D. conveyed it in 1700 to Thomas Lock, gent. of Rochester, who bore for his arms, Parted per fess, azure, and or, a pale counterchanged, three falcons, volant of the second, and his widow Prudentia, together with her three sons and coheirs in gavelkind, Robert, Thomas, and Henry, in 1723, passed it away by sale to Sir Roger Meredith, bart. of Leeds-abbey, who dying s.p. in 1738, left it by will to his niece Susanna Meredith, in tail general, with divers remainders over, in like manner as Leedsabbey before-described, with which it came at length, by the disposition of the same will, the intermediate remainders having ceased, to William Jumper, esq. of Hill-green-house, in this parish, who resided at Leeds-abbey, and afterwards joined with Sir Geo. Oxenden, bart. in whom the fee of it, after Mr. Jumper's death without male issue, was become vested, in the conveyance of this manor in fee to John Calcraft, esq. of Ingress, who died in 1772, and by his will devised it to his son John Calcraft, and he sold it in 1794 to Flint Stacey, esq, of Maidstone, the present owner of it.

 

YELSTED, or as it is spelt, Gillested, is a manor in this parish, which was formerly part of the possessions of the noted family of Savage, who held it of the family of Auberville, as the eighth part of one knight's fee. John de Savage, grandson of Ralph de Savage, who was with Richard I. at the siege of Acon, obtained a charter of free-warren for his lands here in the 23d year of Edward I. Roger de Savage, in the 5th year of Edward II. had a grant of liberties for his demesne lands here, and Arnold, son of Sir Thomas Savage, died possessed of it in the 49th year of king Edward III. and left it to his son Sir Arnold Savage, of Bobbing, whose son Arnold dying s.p. his sister Elizabeth became his heir. She was then the wife of William Clifford, esq. who in her right became possessed of this manor among the rest of her inheritance, and in his descendants it continued till the latter end of king Henry VIII.'s reign, when Lewis Clifford, esq. alienated it to Knight, whose descendant Mr. Richard Knight, gent, of Helle-house, in this parish, died possessed of it in 1606, and was buried in this church; his descendant William Knight leaving an only daughter and heir Frances, widow of Mr. Peter Buck, of Rochester, who bore for his arms, Argent, on a bend, azure, between two cotizes, wavy, sable, three mullets, or. He died soon after the death of Charles I. when she entered into the possession of this manor, after whose death her heirs passed it away by sale to Sir William Jumper, commissioner of his Majesty's navy at Plymouth. He had been knighted in 1704, for his services, as well at he taking of Gibraltar, as in the naval engagement with the French afterwards, being at both commander of the Lenox man of war, who died at Plymouth, where he was buried in 1715. He bore for his arms, Argent, two bars gemelles, sable, between three mullets of six points, pierced, gules. His son, William Jumper, esq. was of Hill-green-house, as it is now called, and died in 1736, leaving by Jane his wife, daughter of Thomas Hooper, gent. one son, William Jumper, esq. of Hill-green, likewise, who sold it, about 1757, to the Rev. Pierce Dixon, master of the mathematical free school at Rochester, and afterwards vicar of this parish, who died possessed of it in 1766, leaving it in the possession of his widow, Mrs. Grace Dixon, (daughter of Mr. Broadnax Brandon, gent. of Shinglewell), who soon afterwards remarried with Mr. Richard Hull, of London, who resided at Hill-green-house, and afterwards sold this manor, together with that seat, to William Jumper, esq. the former owner of it, who now resides here, and is the present possessor of both of them.

 

COWSTED is another manor in Stockbury, which was antiently written Codested, and was possessed by a family who took their surname from it, and resided here. They bore for their arms, Gules, three leopards heads, argent; which coat was afterwards assumed by Hengham. William de Codested died possessed of this manor in the 27th year of Edward I. holding it of the king in capite by the service of one sparrow-hawk, or two shillings yearly at the king's exchequer, as did his son William de Codestede in the 3d year of king Edward III. when it was found by inquisition, that he held this manor by the above-mentioned service, and likewise a burgage in Canterbury, of the king, of the serme of that city, and that Richard de Codestede was his brother and next heir, whose son John de Codestede, vulgarly called Cowsted, about the beginning of king Richard II.'s reign, leaving an only daughter and heir, married to Hengham, he became in her right possessed of it, and assumed her arms likewise.

 

His descendant, Odomarus de Hengham, resided here, who dying in 1411, anno 13 Henry IV. was buried in Christ-church, Canterbury, and it continued in his name till the reign of Henry. VI. when it was car ried, partly by marriage and partly by sale, by Agnes, a sole daughter and heir to John Petyte, who afterwards resided here, and dying in 1460, lies buried with her within the Virgin Mary's chapel, or south chancel, in this church. One of his descendants, in the reign of queen Elizabeth, sold it to Osborne, and Edward Osborne, gent. died possessed of it in 1622, and lies buried in the north chancel of this church. He bore for his arms, Quarterly, argent, and azure, in the first and fourth quarter, an ermine spot, sable; over all, on a cross, or, five annulets, sable; whose son, of the same name, leaving an only daughter and heir Mary, she entitled her husband, William Fagg, to the possession of it.

 

His descendant, John Fagg, esq. of Wiston, in Sussex, was created a baronet on December 11, 1660, and died in 1700, leaving three sons, Sir Robert, his successor; Charles, ancestor of the present baronet, of whom an account will be given under Chartham; and Thomas, who married Elizabeth, widow of John Meres, esq. by whom he left a son John Meres Fagg, esq. of whom an account will be given under Brenset. (fn. 1) Sir Robert Fagg, bart. his successor, left one son Robert, and four daughters, one of whom married Gawen Harris Nash, esq. of Petworth, in Sussex, and Elizabeth, another daughter, was the second wife of Sir Charles Mathews Goring, bart. of that county. Sir Robert Fagg, bart. the son, dying s.p. in 1740, devised this manor, with that of Cranbrooke, in Newington, and other estates in these parts, and in Sussex, to his sister Elizabeth, who entitled her husband Sir Charles Mathews Goring, bart. above-mentioned, to the possession of them. He left by her a son Charles Goring, esq. of Wiston, in Sussex, who sold this manor, with his other estates in this parish and Newington, to Edward Austen, esq. who is the present possessor of them.

 

IT APPEARS by the antient ledger book of the abbey of St. Austin's; near Canterbury, that the abbot and convent were antiently possessed of A PORTION OF TITHES issuing from the manor of Cowsted in Stockbury, which portion continued part of the possessions of the monastery till the dissolution of it, in the 30th year of Henry VIII. when the abbey, with all its revenues, was surrendered up into the king's hands.

 

This portion of tithes, or at least part of it, consisting of the great tithes of two hundred and thirty five acres of land, was afterwards granted in fee to Petytt, from which name it was alienated, with the manor of Cowsted, to Osborne, and it passed afterwards with it in like manor down to Sir Robert Fagg, bart. on whose death s. p. in 1740, one of his sisters entitled her husband Gawen Harris Nash, esq. by his will, to the possession of it, whose son alienated it to Charles Goring, esq. before-mentioned, and he sold it to Edward Austen, esq. the present owner of it.

 

NETTLESTED is an estate here, which by the remains of the antient mansion of it, situated in Stockburystreet, appears to have been once a seat of some note. The family of Plot, ancestors to that eminent naturalist Dr. R. Plot, possessed it, at least as early as the reign of Edward IV. when William Plot resided here, where his descendants continued till Robert Plot, gent. of Nettlested, having, in the 2d year of queen Elizabeth, purchased Sutton barne in the adjoining parish of Borden, removed thither. His heirs alienated Nettlested to Mr. Richard Allen, of Stockbury, whose descendant Thomas Allen, afterwards, with Gertrude his wife, anno 9 George I. alienated it to Mr. John Thurston, of Chatham, whose son Mr. Thomas Thurston, of that place, attorney-at-law, conveyed it to that learned antiquary John Thorpe, M. D. of Rochester, who died possessed of it in 1750, and was buried in the chancel belonging to this estate, on the north side of Stockbury church. He left one son John Thorpe, esq. of Bexley, whose two daughters and coheirs, Catherina-Elizabeth married to Thomas Meggison, esq. of Whalton near Morpeth, in Northumberland, and Ethelinda-Margaretta married to Cuthbert Potts, esq. of London, are the present possessors of it. (fn. 2)

 

THERE is a portion of tithes, which consists of those of corn and hay growing on forty acres of the lands belonging to the estate of Nettlested, which formerly belonged to the almonry of St. Augustine's monastery, and is called AMBREL TANTON, corruptly for Almonry Tanton. After the dissolution of the above-mentioned monastery, this portion was granted by Henry VIII. in his 36th year, to Ciriac Pettit, esq. of Colkins, who anno 35 Elizabeth, passed it away to Robert Plot; since which it has continued in the same succession of owners, that Nettlested, above-described, has, down to the two daughters and coheirs of John Thorpe, esq. of Bexley, before-mentioned, who are the present owners of it.

 

Charities.

A PERPETUAL ANNUITY of 2l. 10s. per annum was given in 1721, by the will of Mrs. Jane Bentley, of St. Andrew's, Holborne, and confirmed by that of Edward Bentley, esq. (fn. 3) her executor, payable out of an estate in the parish of Smeeth. which was, in 1752, the property of Mrs. Jane Jumper, and now of Mr. Watts; to be applied for the use of three boys and three girls, to go to school to some old woman in this parish, for four years, and no longer, and then 40s. more from it to buy for each of them a bible, prayer-book, and Whole Duty of Man.

 

MR. JAMES LARKIN, of this parish, gave by will an annuity, payable out of the lands of Mr. James Snipp, to the poor of this parish, of 1l. per annum produce.

 

SIX ACRES OF LAND, near South-street, were given by a person unknown to the like use, of the yearly produce of 2l. 8s. vested in the minister and churchwardens.

 

AN UNKNOWN PERSON gave for the use of the poor a cottage on Norden green, in this parish, vested in the same, of the annual produce of 1l.

 

AN UNKNOWN PERSON gave for the like use a field; containing between two and three acres, lying near Dean Bottom, in Bicknor, now rented by Robert Terry, vested in the same, and of the annual produce of 12s.

 

A COTTAGE in the street was given for the use of the poor, by an unknown person, vested in the same, and of the annual produce of 1l.

 

The number of poor constantly relieved are about thirty-six, casually fifteen.

 

STOCKBURY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

The church, which is both large and losty, is very antient, and consists of a middle and two narrow side isles, a high chancel, and two cross ones. The pillars and arches in it are more elegant than is usual in country churches, and the former, on the north side, are of Bethersden marble, rude and antient. It has a square tower at the west end, in which hangs a peal of six bells, and is dedicated to St. Mary Magdalen. In the great chancel lie buried several of the Hoopers, Knights, Bentleys, and Jumpers. The south chancel belongs to the Cowsted estate, in which lie buried the Pettits and Osbornes, and in the north chancel belonging to the Nettlested estate, Dr. Thorpe and his wife, formerly owners of it.

 

The church of Stockbury was part of the antient possessions of the priory of Leeds, to which it was given, soon after its foundation, by William Fitzhelt, the patron of it.

 

Hubert Walter, archbishop of Canterbury, in the reign of king Richard I. confirmed this gift, and appropriated this church to the use of the priory, reserving, nevertheless, from the perpetual vicar of it, the annual pension of one marc, to be paid by him to the prior and convent. Edmund, archbishop of Canterbury, confirmed the above in 1237, anno 22 Henry III. and granted to them the further sum of ten marcs from it, to be paid half yearly by the vicar of it, (fn. 4) which grants were further confirmed by the succeeding archbishops.

 

The church and vicarage of Stockbury remained part of the possessions of the above-mentioned priory till the dissolution of it, in the reign of Henry VIII. when it came, with the rest of the revenue of that house, into the king's hands.

 

After which, the king, by his donation-charter, in his 33d year, settled both the parsonage and advowson of the vicarage of the church of Stockbury on his newerected dean and chapter of Rochester, with whom they now remain.

 

¶On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed, by order of the state, in 1649, when it was returned, that the rectory or parsonage of Stockbury, late belonging to the dean and chapter of Rochester, consisted of a fair dwelling-house, dove house, and other necessary buildings, yards, &c. and the tithes belonging to it, all which were valued at eighty pounds per annum, and the glebe-lands, containing one hundred and forty-four acres, were worth, with the above, 132l. 10s. all which premises were let by the dean and chapter, anno 16 king Charles I. to John Hooper, for twenty-one years, at the yearly rent of 14l. 5s. 4d. That the lesse was bound to repair the chancel; and that the vicarage was excepted, worth fifty pounds per annum. (fn. 5)

 

The presentation to the vicarage of this church is reserved by the dean and chapter, in their own hands; (fn. 6) but the parsonage continued to be leased out to the family of Hooper, who resided there; several of whom lie buried in this church, particularly John, son of James Hooper, gent. of Halberton, in Devonshire, which John was receiver of the fines, under king Philip and queen Mary, for the Marches, of Wales, and died in 1548. He married Frances, daughter of Sir Thomas Roberts, of Glassenbury. At length, by marriage of one of the daughters of Walter Hooper, esq. it passed to William Hugessen, esq. eldest son of John Hugessen, esq. of Stodmarsh. He resided here till his father's death, when he removed to Stodmarsh, and he is the present lessee of this parsonage, under the dean and chapter.

 

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