St. Mary's Island is a small sandstone island near the seaside resort of Whitley Bay, Tyne and Wear, England. It is a Local Nature Reserve.

 

St. Mary's Island was originally called Bates Island, Hartley Bates or Bates Hill as it was originally owned by the Bates family who were prominent locally. It is sometimes known as Bait Island, probably due to a misunderstanding of the meaning of the name. The island is opposite Curry's Point on the mainland and is connected to the coast at low tide by a rocky causeway for about 16 hours a day. The main feature of the island is St. Mary's Lighthouse which was built in 1898.

 

In medieval times there was a chapel on the island dedicated to St Helen. Within the chapel was the Lady Light, also known as St. Katherine's Light. The light was later, wrongly, ascribed to St. Mary and, as a result, the island became known as St. Mary's Island. It is debatable whether the light was used as a warning to shipping or was purely religious. Next to the chapel was a burial ground where monks and local people were interred. Traces of St. Helen's Chapel were destroyed when the lighthouse was built in 1898.

 

During the 19th century there was an inn, known as the 'Square and Compass', on the island, run by a Mr. George Ewen. In 1895, after complaints about rowdy customers trespassing on nearby land, the landlord, Lord Hastings, had Mr. Ewen and his family evicted from the island.

 

The lighthouse continued to function until 1984, when it was taken out of service.[4] The lighthouse is now open to visitors who can climb the steps to the lantern room, if they wish, or see the Visitors' Centre.

A tetramorph is a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape.Archaeological evidence exists showing that early man divided the four quarters of the horizon, or space, later a place of sacrifice, such as a temple, and attributed characteristics and spiritual qualities to each quarter. Alternatively the composite elements were carved into mythic creatures such as the Egyptian, Greek and Babylonian sphinxes of antiquity depicting bull-like bodies with birds-wings, lion’s paws and human faces. Such composite creatures are found in many mythologies.

Assyrian Lamassu dated 721 BC

Images of unions of different elements into one symbol were originally used by the Ancient Egyptians, Assyrians, and Greeks. The image of the sphinx, found in Egypt and Babylon, depicted the body of a lion and the head of a human, while the harpies of Greek mythology showed bird-like human women.

"We have frequently mentioned in this treatise the principle of our Sages "not to discuss the Maaseh Merkabah even in the presence of one pupil, except he be wise and intelligent; and then only the headings of the chapters are to be given to him." We must, therefore, begin with teaching these subjects according to the capacity of the pupil, and on two conditions, first, that he be wise, i.e., that he should have successfully gone through the preliminary studies, and secondly that he be intelligent, talented, clear-headed, and of quick perception, that is, "have a mind of his own", as our Sages termed it."— Guide for the Perplexed, ch.XXXIII

We will sanctify Thy name in the world even as they sanctify it in the highest heavens, as it is written by the hand of Thy prophet: "And they (the Seraphim) called one unto the other and said, Holy, holy, holy is the Lord of Hosts; the whole earth is full of His glory." (Isaiah 6:3)According to the Kabbalistic explanation, the Seraphim ("burning" angels) in Beriah (divine understanding) realise their distance from the absolute divinity of Atziluth. Their call, "Holy", repeated three times, means removed or separated. This causes their "burning up" continual self-nullification, ascending to God and returning to their place. Their understanding realises instead that God's true purpose (glory) for creation is with lowly man. The lower Hayyot ("living" angels) in Yetzirah (divine emotions) say, "Blessed" (etymologically in Kabbalah "drawing down" blessing) be the glory...from "His (distant-unknown to them) place" of Atziluth. Though lower than the Seraphim, their emotional self-awareness has a superior advantage of powerful desire. This causes them to be able to draw down divine vitality from a higher source, the supreme realm of Atziluth, to lower creation and man. In Ezekiel's vision, the Hayyot have a central role in the merkabah's channeling of the divine flow in creation.

Merkabah/Merkavah mysticism (or Chariot mysticism) is a school of early Jewish mysticism, c. 100 BCE – 1000 CE, centered on visions such as those found in the Book of Ezekiel chapter 1, or in the hekhalot ("palaces") literature, concerning stories of ascents to the heavenly palaces and the Throne of God. The main corpus of the Merkabah literature was composed in Israel in the period 200–700 CE, although later references to the Chariot tradition can also be found in the literature of the Chassidei Ashkenaz in the Middle Ages.[1] A major text in this tradition is the Maaseh Merkabah (Works of the Chariot).According to the verses in Ezekiel and its attendant commentaries, his vision consists of a chariot made of many heavenly beings driven by the "Likeness of a Man." The base structure of the chariot is composed of four beings. These beings are called the "living creatures" (Hebrew: חיות hayyot or khayyot). The bodies of the creatures are "like that of a human being", but each of them has four faces, corresponding to the four directions the chariot can go (East, South, North and West). The faces are that of a man, a lion, an ox (later changed to a cherub in Ezekiel 10:14) and an eagle. Since there are four angels and each has four faces, there are a total of sixteen faces. Each "Hayyot" angel also has four wings. Two of these wings spread across the length of the chariot and connect with the wings of the angel on the other side. This creates a sort of 'box' of wings that forms the perimeter of the chariot. With the remaining two wings, each angel covers its own body. Below, but not attached to, the feet of the "Hayyot" angels are other angels that are shaped like wheels. These wheel angels, which are described as "a wheel inside of a wheel", are called "Ophanim" אופנים (lit. wheels, cycles or ways). These wheels are not directly under the chariot but are nearby and along its perimeter. The angel with the face of the man is always on the east side and looks up at the "Likeness of a Man" that drives the chariot. The "Likeness of a Man" sits on a throne made of sapphire.The Bible later makes mention of a third type of angel found in the Merkabah called "Seraphim" (lit. "burning") angels. These angels appear like flashes of fire continuously ascending and descending. These "Seraphim" angels power the movement of the chariot. In the hierarchy of these angels, "Seraphim" are the highest, that is, closest to God, followed by the "Hayyot", which are followed by the "Ophanim." The chariot is in a constant state of motion, and the energy behind this movement runs according to this hierarchy. The movement of the "Ophanim" is controlled by the "Living creatures", or Hayyot, while the movement of the "Hayyot" is controlled by the "Seraphim". The movement of all the angels of the chariot is controlled by the "Likeness of a Man" on the Throne.The earliest Rabbinic merkabah commentaries were exegetical expositions of the prophetic visions of God in the heavens, and the divine retinue of angels, hosts, and heavenly creatures surrounding God. The earliest evidence suggests that merkabah homiletics did not give rise to ascent experiences – as one rabbinic sage states: "Many have expounded upon the merkabah without ever seeing it.One mention of the merkabah in the Talmud notes the importance of the passage: "A great issue—the account of the merkavah; a small issue—the discussions of Abaye and Rava [famous Talmudic sages]."[8] The sages Rabbi Yochanan Ben Zakkai (d. c. 80 CE) and later, Rabbi Akiva (d. 135) were deeply involved in merkabah exegesis. Rabbi Akiva and his contemporary Rabbi Ishmael ben Elisha are most often the protagonists of later merkabah ascent literature.One mention of the merkabah in the Talmud notes the importance of the passage: "A great issue—the account of the merkavah; a small issue—the discussions of Abaye and Rava [famous Talmudic sages]."[8] The sages Rabbi Yochanan Ben Zakkai (d. c. 80 CE) and later, Rabbi Akiva (d. 135) were deeply involved in merkabah exegesis. Rabbi Akiva and his contemporary Rabbi Ishmael ben Elisha are most often the protagonists of later merkabah ascent literature.For example, the secret doctrines might not be discussed in public: "Seek not out the things that are too hard for thee, neither search the things that are above thy strength. But what is commanded thee, think thereupon with reverence; for it is not needful for thee to see with thine eyes the things that are in secret."[9] It must be studied only by exemplary scholars: "Ma'aseh Bereshit must not be explained before two, nor Ma'aseh Merkabah before one, unless he be wise and understands it by himself,"[10] Further commentary notes that the chapter-headings of Ma'aseh Merkabah may be taught, as was done by Rabbi Ḥiyya. According to Yer. Hagigah ii. 1, the teacher read the headings of the chapters, after which, subject to the approval of the teacher, the pupil read to the end of the chapter,[11] although Rabbi Zera said that even the chapter-headings might be communicated only to a person who was head of a school and was cautious in temperament.According to Rabbi Ammi, the secret doctrine might be entrusted only to one who possessed the five qualities enumerated in Isaiah 3:3 (being experienced in any of five different professions requiring good judgement), and a certain age is, of course, necessary. When R. Johanan wished to initiate R. Eliezer in the Ma'aseh Merkabah, the latter answered, "I am not yet old enough." A boy who recognized the meaning of חשמל (Ezekiel 1:4) was consumed by fire (Hagigah 13b), and the perils connected with the unauthorized discussion of these subjects are often described .Beyond the rabbinic community, Jewish apocalyptists also engaged in visionary exegeses concerning the divine realm and the divine creatures which are remarkably similar to the rabbinic material. A small number of texts unearthed at Qumran indicate that the Dead Sea community also engaged in merkabah exegesis. Recently uncovered Jewish mystical texts also evidence a deep affinity with the rabbinic merkabah homilies.The merkabah homilies eventually consisted of detailed descriptions of multiple layered heavens (usually Seven Heavens), often guarded over by angels, and encircled by flames and lightning. The highest heaven contains seven palaces (hekhalot), and in the innermost palace resides a supreme divine image (God's Glory or an angelic image) seated on a throne, surrounded by awesome hosts who sing God's praise.When these images were combined with an actual mystical experiential motif of individual ascent (paradoxically called "descent" in most texts, Yordei Merkabah, "descenders of the chariot", perhaps describing inward contemplation) and union is not precisely known. By inference, contemporary historians of Jewish mysticism usually date this development to the third century CE. Again, there is a significant dispute among historians over whether these ascent and unitive themes were the result of some foreign, usually Gnostic, influence, or a natural progression of religious dynamics within rabbinic Judaism.Maaseh Merkabah (Working of the Chariot) is the modern name given to a Hekhalot text, discovered by scholar Gershom Scholem.[13] Works of the Chariot dates from late Hellenistic period, after the end of the Second Temple period following the destruction of the Second Temple in 70 CE[dubious – discuss] when the physical cult ceased to function. The idea of making a journey to the heavenly hekhal seems to be a kind of spiritualization of the pilgrimages to the earthly hekhal that were now no longer possible. It is a form of pre-Kabbalah Jewish mysticism that teaches both of the possibility of making a sublime journey to God and of the ability of man to draw down divine powers to earth; it seems to have been an esoteric movement that grew out of the priestly mysticism already evident in the Dead Sea Scrolls and some apocalyptic writings (see the studies by Rachel Elior).Several movements in Jewish mysticism and, later, students of the Kabbalah have focused on these passages from Ezekiel, seeking underlying meaning and the secrets of Creation in what they argued was the metaphoric language of the verses.Due to the concern of some Torah scholars that misunderstanding these passages as literal descriptions of God's image might lead to blasphemy or idolatry, there was great opposition to studying this topic without the proper initiation. Jewish biblical commentaries emphasize that the imagery of the merkabah is not meant to be taken literally; rather the chariot and its accompanying angels are analogies for the various ways that God reveals himself in this world.[15] Hasidic philosophy and kabbalah discuss at length what each aspect of this vision represents in this world, and how the vision does not imply that God is made up of these forms.Jews customarily read the Biblical passages concerning the merkabah in the synagogue every year on the holiday of Shavuot, and the merkabah is also referenced in several places in traditional Jewish liturgy.Maimonides' philosophical 12th Century work, Guide for the Perplexed is in part intended as an explanation of the passages Ma'aseh Bereshit and Ma'aseh Merkabah. In the third volume, Maimonides commences the exposition of the mystical passage of the mystic doctrines found in the merkabah passages, while justifying this "crossing of the line" from hints to direct instruction. Maimonides explains basic mystical concepts via the Biblical terms referring to Spheres, elements and Intelligences. In these chapters, however, there is still very little in terms of direct explanation."We have frequently mentioned in this treatise the principle of our Sages "not to discuss the Maaseh Merkabah even in the presence of one pupil, except he be wise and intelligent; and then only the headings of the chapters are to be given to him." We must, therefore, begin with teaching these subjects according to the capacity of the pupil, and on two conditions, first, that he be wise, i.e., that he should have successfully gone through the preliminary studies, and secondly that he be intelligent, talented, clear-headed, and of quick perception, that is, "have a mind of his own", as our Sages termed it."Kabbalah relates the Merkabah vision of Ezekiel and the Throne vision of Isaiah (Isaiah 6:1–8) describing the seraph angels, to its comprehensive Four spiritual realms. The highest World, Atziluth ("Emanation"-Divine wisdom), is the realm of absolute Divine manifestation without self-awareness, metaphorically described in the vision as the likeness of a Man on the throne. The throne of sapphire is an etymological root in Kabbalah for the Sephirot divine powers. The second World, Beriah ("Creation"-Divine understanding), is the first independent root creation, the realm of the Throne denoting God descending into Creation, as a king limits his true greatness and revealed posture when seated. The World of Beriah is the realm of the higher angels, the Seraphim ("burning" in ascent and descent as their understanding of God motivates self-annihilation).The third World, Yetzirah ("Formation"-Divine emotions), is the realm of archetypal existence, the abode of the main Hayyot angels ("alive" with divine emotion). They are described with faces of a lion, ox and eagle, as their emotional nature is instinctive like animals, and they are the archetypal origins of creatures in this World. The lowest World, Assiah ("Action"-Divine rulership), is the realm guided by the lower channels of the Ophanim (humble "ways" in realised creation).The Rabbinic Talmud compares Ezekiel and Isaiah's visions of God's Chariot-Throne, noticing that Ezekiel gives a lengthy account of details, while Isaiah is very brief. It gives an exoteric explanation for this; Isaiah prophesised in the era of Solomon's Temple, Ezekiel's vision took place in the exile of Babylonian captivity. Rava states in the Babylonian Talmud that although Ezekiel describes the appearance of the throne of God, this is not because he had seen more than Isaiah, but rather because the latter was more accustomed to such visions; for the relation of the two prophets is that of a courtier to a peasant, the latter of whom would always describe a royal court more floridly than the former, to whom such things would be familiar. Ezekiel, like all prophets except Moses, has beheld only a blurred reflection of the divine majesty, just as a poor mirror reflects objects only imperfectly.The Kabbalistic account explains this difference in terms of the Four Worlds. All prophecy emanates from the divine chokhmah (wisdom) realm of Atziluth.[20] However, in order to be perceived it descends to be enclothed in vessels of lower Worlds. Isaiah's prophecy saw the Merkabah in the World of Beriah divine understanding, restraining his explanation by realising the inadequacy of description. Ezekiel saw the Merkabah in the lower World of Yetzirah divine emotions, causing him to describe the vision in rapturous detail.We will sanctify Thy name in the world even as they sanctify it in the highest heavens, as it is written by the hand of Thy prophet: "And they (the Seraphim) called one unto the other and said, Holy, holy, holy is the Lord of Hosts; the whole earth is full of His glory." (Isaiah 6:3)

fr.wikipedia.org/wiki/Merkabah

The prophet Ezekiel was among the Jews who were exiled to Babylon in the 6th century BC. The creatures in his vision, from which the images of the tetramorph are derived, are reminiscent of ancient Assyria art.The animals associated with the Christian tetramorph originate in the Babylonian symbols of the four fixed signs of the zodiac: the ox representing Taurus; the lion representing Leo; the eagle representing Scorpio; the man or angel representing Aquarius. In Western astrology the four symbols are associated with the elements of, respectively Earth, Fire, Water, and Air. The creatures of the Christian tetramorph were also common in Egyptian, Greek, and Assyrian mythology. The early Christians adopted this symbolism and adapted it for the four Evangelists as the tetramorph, which first appears in Christian art in the 5th century,but who's interpretative origin stems from Irenaeus in the 2nd century.The elements of the Christian tetramorph first appear in the vision of Ezekiel, who describes the four creatures as they appear to him in a vision:They are described later in the Book of Revelation: "And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle." The creatures of the tetramorph, as they appear in their animal forms, are predominantly shown as winged figures. The wings, an ancient symbol of divinity, represent the divinity of the Evangelists, the divine nature of Christ, and the virtues required for Christian salvation .In regards to the depiction of St Mark in particular, the use of wings distinguish him from images of St Jerome, who is also associated with the image of a lion.The perfect human body of Christ was originally represented as a winged man, and was later adapted for St Matthew in order to symbolise Christ’s humanity.[9] In the context of the tetramorphs, the winged man indicates Christ’s humanity and reason, as well as Matthew’s account of the Incarnation of Christ.The lion of St Mark represents courage, resurrection, and royalty, coinciding with the theme of Christ as king in Mark’s gospel. It is also interpreted as the Lion of Judah as a reference to Christ’s royal lineage.The ox, or bull, is an ancient Christian symbol of redemption and life through sacrifice, signifying Luke’s records of Christ as a priest and his ultimate sacrifice for the future of humanity. The eagle represents the sky, heavens, and the human spirit, paralleling the divine nature of Christ.

en.wikipedia.org/wiki/Tetramorph

 

LAB 14 "neo" survivor of post-war Paris, from the fiery years of the Roaring Twenties with two slogans: Party and Liberty with initied Paul wich pictured his father.He paints graffiti in half letters, half characters. There are always eyes, mouths and motives. Snez has been drawing and painting since his childhood he studied art in Paris...

 

artana-event.com/lab-14/

As I've already explained in the previous post, I'm writing short 'reviews' of all the lenses I've used during this project. The previous post was about Zeiss Loxia 2/50, 'the bread and butter lens' in my setup, and today I'm going to tell you about the Touit 2.8/12 which is quite different lens, but nevertheless equally enjoyable experience. Follow the post to hear more about 'the refrigerator lens'!

 

The Touit 2.8/12 is an ultra-wide lens with the field of view of 99 degrees which correlates approximately the equivalent of 18mm lens on a full frame camera. Although the typical applications for this type of lens are often listed, for example, as landscapes and architecture, in my setup this lens has amazing ability to trigger my creative spot. With such a ultra-wide lens one is able to get into very tight corners and during this year I've stuffed this lens into washing machines, baby carriages, tight corridors, elevators, closets, stairs, shop windows, toilets, car backseats, doll houses, etc. In these kind of scenarios it is often exactly the unusual placement of the camera and different angle of view which triggers my photographic imagination – and results images that deviate a lot from the beaten paths of my standard approaches. In short, in my setup this lens is kind of 'a refrigerator lens' which I find myself putting into unusual spaces in a creative state of mind.

 

The Touit lenses represents Zeiss's only lens family for the APS-C cameras. I personally like Touit lenses a lot and I feel a bit bad that this family is sometimes wrongly attributed to Zeiss's 'budget lenses'. This false understanding is based on couple of misinterpretations, first of them related to the 'Touit' name. When the Touit lens family was introduced for the first time, it was, aside from Otus family, the first one to carry a new naming scheme which Zeiss has just adapted. This resulted some misunderstandings as some photographers saw the new naming system of Zeiss lenses to be inferior compared to classic names which included the famous designations like Distagon, Planar, etc – so they thought that the Touit lenses were not 'real Zeiss' lenses but a budget version of 'the right stuff'. This interpretation was intensified even further by the new look of the lenses, the black matte finish and rubber used in focus rings. Again, the Otus line already represented this new Zeiss look, but this was largely unnoticed by many as they probably thought it was something special just for the Otus alone. And the last, the Touit lens family was created for the Sony and Fuji APS-C cameras, and while there were not full frame cameras, many photographers saw the new lens family not being targeted for serious photographers (oh those attitudes related to the physical size of the sensor...). When I spoke about this with the Michael Pollmann from Zeiss (Product Manager of the Touit and Batis families) he explained that Zeiss doesn't differentiate their different product lines by the quality like the big companies such as Canon or Nikon. Instead Zeiss tries to offer the highest quality with all their product lines, but they are – of course – designed with some constraints coming from the particular design concept. For example, the Touit line of lenses should fit the camera proportions they are intended to be used and so on. So in short, the Touit lenses are indeed real Zeiss lenses despite what some people might think.

 

So, how does the real Zeiss Touit 2.8/12 score optically? Very well, I have to say. The lens is definitely very sharp from wide open at f/2.8 and regarding the resolution the maximum performance is achieved somewhere between f/5.6 - f/8. The corners are generally good as well though they do not achieve the same level as the center sharpness – though never found reason to complain about them either. Distortion wise ultra-wide angles are often difficult to design and almost all of them have some distortion. This applies to Touit 2.8/12 as well, but in general the distortion is quite mild (a bit of barrel distortion) and is very well corrected via Lightroom lens profile. I haven't noticed much of, if any, chromatic aberrations with this lens which speaks of high quality optical design.

 

In technical terms the Touit 2.8/12 is a very capable lens. Being an ultra-wide glass it's rendering character is more difficult to describe than the usual standard focal length lenses, but I would say the lens definitely has a modern character in it. With this I mean that it is a computer designed lens with very high optical performance (which starts from wide open) and very low aberrations – a lens that would have been a miracle couple of decades ago. And like with most modern lenses with this on the user is left to admire its high performance as there are no aberrations nor odd artistic flavors or such. This lens gives you a very clean image. The Zeiss contrast and colors are all there and with the good light this lens definitely sings. The colors are actually very similar to the Batis lenses, pretty vibrant that is, but different from the Loxia line, which makes me wonder if this is a personal preference made by Michael Pollmann as he is the leading designer behind the Touit and Batis lens families. I personally like the colors of the Touit and Batis families a bit better than the Loxia family as I feel bright and vibrant colors often make the subject shine.

 

The Touit 2.8/12 isn't perfect a lens however. The lens autofocus system can only use contrast detection and to be honest it is pretty slow and annoying sometimes. When acquiring the focus the lens tends to pump a bit which can be a bit of distraction when working with live events and such - especially if it doesn't succeed acquiring the focus at the first time and you need to keep on trying. But this only happens when using the Touit 2.8/12 with the lens firmware version 01. The Touit 2.8/12 (as well the Touit 1.8/32) can be upgraded to lens firmware version 02 which does support phase detection autofocus and should therefore be freed from focusing hiccups – but you cannot do the upgrade yourself as the lens needs to be send to Zeiss for the upgrade. I'm only mentioning this if you are considering to get yourself a used Touit 2.8/12 (or the Touit 1.8/32) as it is worth to check to lens firmware version – with the new units it should be the latest one. All Touit 2.8/50M's are equipped with the lens firmware version 02 and therefore they support the phase detection autofocus.

 

I used to enjoy the Touit 2.8/12 on a Nex-5N but when it died I have had to use it with the Sony A7. Using an APS-C lens with the full frame Sony A7 is of course a compromise. First of all, with the Sony A7 the resulting file is only 10 mp and I have to say that I liked the 16mp file a lot better. Another compromise comes from the fact that using APS-C lens on a full frame camera doesn't add up with the full frame dynamic range as the image circle decreases and the sensor gathers less light. The solution would of course be the Batis 2.8/18 which is a full frame lens with same field of view, but I would definitely consider the Touit 2.8/12 with the high resolution camera body such as A7RII as this would result a 18mp file and the Touit 2.8/12 is size wise so fitting and cute with the A7 cameras: very small and convenient.

 

So would I recommend the Touit 2.8/12 to someone? Absolutely, as I've found it to be such a great creative tool in my setup, but I would consider it as a third lens as one should deal with the standard focal lengths first. For example, in full frame equivalence the 35mm, 85mm and 18mm (the Touit 2.8/12) would be a pretty ace setup.

 

Days of Zeiss: www.daysofzeiss.com

With Acknowledgment to the Roll of Honour website (RoH)

 

www.roll-of-honour.com/Norfolk/Holt.html

 

There is another set of memorials in the church of St Andrew the Apostle.

www.roll-of-honour.com/Norfolk/HoltStAndrew.html

 

Names shown on the Church memorial are marked as (CM)

 

Alfred Anthony……………………………….................(RoH) (CM)

 

Corporal 47535. The Queen's (Royal West Surrey Regt.) Labour Company Chinese Labour Corps transf. to (74127) 54th Chinese Company. Died on 27th November 1919. Aged 32. Son of Mr. T. and Mrs. H. Anthony, of 8, Eastrea Rd. Whittlesea. Cambs; husband of D. Anthony, of 5 Bluestone Terrace, Holt, Norfolk. Buried: Terlincthun British Cemetery, Wimille, Pas de Calais, France. Ref. XIV. C. 13.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4024320

 

No match on Norlink

 

The 13 year old Alfred, already a Brickyard Labourer, is recorded on the 1901 Census as living at Eastrea Road, Whittlesey. This is the household of his parents, Thomas, (aged 54 and a Brickyard Labourer from Whittlesey), and Hannah, (aged 55 and from Whittlesey.) Also resident are Arthur’s brothers Charles, (aged 18), Harry, (aged 17), and Walter, (aged 10). Charles and Harry work as Brickyard Labourers, and all were born Whittlesey.

  

Oliver Bennett………………………………..................(RoH) (CM)

 

Corporal 32124. 12th Battery Royal Field Artillery. Killed in action in France & Flanders on 21st October 1914. Aged 25. Born at North Walsham. Enlisted Norwich. Son of William and Rebecca Bennett, of Holt, Norfolk, Norwich, Norfolk. Buried: Harlebeke New British Cemetery, West-Vlaanderen, Belgium. Ref. XVI. A. 8.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=485790

 

No match on Norlink

 

The 12 year old Oliver was recorded on the 1901 census at Bull Street, Holt, having been born North Walsham. This was the household of his parents, William, aged 59 and a Licensed Victualler from Letheringsett, and Rebecca, (aged 40 and from Hoveton St John, Norfolk). Their other children are:-

Frank…………….aged 8.………….born North Walsham.

Ida Grace………aged 14.…………..born Stalham

Margaret……….aged 6.……………born Edgefield

 

One of the Stained Glass Windows in St Andrews, Holt is dedicated to the memory of Oliver and Charles Henry Steer, (qv), former members of the church choir.

www.wartimememoriesproject.com/greatwar/allied/royalartil...

 

The battery was newly arrived in France and was involved in supporting the 7th Division on the opening day of the Battle of Langemarck.

webstats.ordersofbattle.darkscape.net/site/warpath/divs/7...

www.historyofwar.org/articles/battles_langemarck_1914.html

  

Robert William Beresford……………................(RoH) (CM)

 

Sergeant 293. 1st/5th Battalion Norfolk Regiment. Died in Gallipoli on 21st August 1915. Aged 29. Born and enlisted Holt. Son of Henry Beresford, of Shire Hall Plain, Holt; husband of Emily E. Beresford, of Weston Square, Holt, Norfolk. No known grave. Commemorated on Helles Memorial, Turkey. Panel 42 to 44.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=698865

 

No match on Norlink

 

The 14 year old Robert is recorded on the 1901 Census as employed as a Domestic Page Boy, and living at Shire Hall Plain, Holt, the town of his birth. This was the household of his parents, Henry, (aged 42 and a Mineral Water cater from Holt), and Sophia, (aged 39 and from Bodham). Their other children are:-

Agnes……………aged 10

Alice…………..aged 13

Bertie………….aged 12

Bessie…………aged 20

Fred……………aged 2

Gertrude………..aged under 1

Mable………….aged 9

Percy…………..aged 3

Sidney…………aged 4.

 

Also living with them is a Grandson, George Beresford, aged under 1.

All born Holt.

 

Following the disastrous attack on the 12th, subsequently immortalised in tales of Alien abduction, lost battalions and more poignantly in “All the Kings Men”, the survivors were merged with the 1st/4ths until re-enforcements could arrive. A diary of an officer of that Battalion records that there was a Turkish attack in the mid-afternoon which broke into the trenches on their right, but was quiet in their sector.

user.online.be/~snelders/sand.htm

  

William Betts………………………………....................(RoH) (CM)

 

Private 16399. 3rd Battalion Norfolk Regiment. Died on 20th February 1916. Aged 27. Son of William and Triana Betts, of Fir Cottage, Briston, Melton Constable. Buried: Holt Burial Ground, Norfolk. Ref. C. 542.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802696

 

No match on Norlink

 

The most likely match on the 1901 Census is a 12 year old William, born Gissing, and now living at 30 Hill Street, Norwich. This is the household of his parents, Edward William, (a 38 year old Cab Man from Norwich), and Alice Caroline (aged 39 from probably Burston, Norfolk). Their other children are:-

Edith May…………aged 8.…born Gissing

Harry………………aged 6.…born Gisleham, Suffolk

Katherine Alice……aged 5.…born Norwich

Mildred Constance..aged 11...born Gissing

Sidney……………..aged 9.…born Gissing

 

The 3rd Battalion were a UK based Training Battalion providing drafts to the other Battalions of the Regiment.

 

Thomas Boast………………………….......................(RoH) (CM)

 

RoH - No further information available at present.

 

Probably

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=275227

 

Name: BOAST, THOMAS TOWNSHEND

Rank: Second Lieutenant Regiment: Norfolk Regiment Unit Text: 3rd Bn.

Age: 28 Date of Death: 29/09/1918 Awards: Mentioned in Despatches

Additional information: Son of George John and M. A. Boast, of Taxal Edge, Whaley Bridge, Cheshire. Native of Holt, Norfolk.

Grave/Memorial Reference: C. 29. Cemetery: NEUVILLE-BOURJONVAL BRITISH CEMETERY

 

No match on Norlink

 

The 1901 Census has a Thomas T Boast, aged 10, living at Cromer Road, Holt. This is the household of his parents, George J, (aged 37 and a Domestic Gardener from Thorpe St. Andrews near Norwich), and Mary A, (aged 35 and from Fakenham). Their other children are:-

Alice A………..aged 3.…..born Holt

George J………aged 5.…..born Holt

Mabel M………aged 8.….born Holt

Also staying with them is a niece, Olive M Boast, born Langham and aged 13.

 

While the 3rd Battalion was a UK based training establishment, it was likely that Lt Boast was on attachment to another Battalion of the Regiment. Neuville-Bourjonval was only re-taken from the Germans at the start of September 1918, and was still very much in the front-line. A study of other casualties buried in this cemetery from this time reveals a number of officer casualties from the units that made up the 15th Brigade, which included the 1st Norfolks.

 

Albert Victor Bray……………………....................(RoH) (CM)

 

Private 22958. 9th Battalion Norfolk Regiment. Died of wounds at home on 10th February 1917. Aged 20. Born and enlisted King’s Lynn. Son of the late William and Margaret Bray, of Holt. Buried: Holt Burial Ground. Ref. C. 549.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802697

 

No match on Norlink

 

There is no obvious match for Albert on the 1901 Census, but as can be seen from the census entry for his brother Charles below that the family has already suffered some sort of break-up at this time.

 

Brother of Charles below

 

Charles William Bray…………………..................(RoH) (CM)

 

Lance Corporal 41028. 8th Battalion Royal Inniskilling Fusiliers. Formerly 25409 Norfolk Regiment. Killed in action in France & Flanders on 16th August 1917. Aged 28. Born St Margaret’s, Norfolk (King’s Lynn?). Enlisted Norwich. Son of the late William and Margaret Bray. No known grave. Commemorated on Tyne Cot Memorial, Zonnebeke, West-Vlaanderen, Belgium. Panel 70 to 72.

 

www.cwgc.org/search/casualty_details.aspx?casualty=842798

 

No match on Norlink

 

Brother of Albert above

 

The 12 year old Charles Bray is recorded on the 1901 census at South Street, Kings Lynn, his birth town. The head of the household is his married brother Ernest, (aged 25 and a Brickmaker from the town). Also living with them is Ernest and Charles 16 year old brother, Herbert, who is employed as a Carpenters Apprentice. The wife of Ernest is Harriet, (aged 30 and from West Winch), and the couple have a daughter Evelyn who is less than a year old.

 

Thursday 16th August 1917 - Day 17

 

Rainfall Nil

 

The phase of the battle known as The Battle of Langemarck commenced today and lasted until the 18th. Zero Hour was 4.45 am.

 

16th (Irish) Division

 

49 Bde

 

7th Bn, Royal Inniskilling Fusiliers attacked on the left and the regiments 8th Bn on the right. 7/8th Bn, Royal Irish Fusiliers was in support. Attached from 47 Bde was 6th Bn Royal Irish Regt which was held in reserve. It was during this action that L/Cpl Frederick Room earned his Victoria Cross. Room was in charge of the battalion stretcher bearers and worked continuously under intense fire, dressing the wounded and helping to evacuate them. It was he fourth and last VC earned by a man of the Royal Irish Regt.

 

7th Inniskillings took Beck House and then moved on to Delva Farm, taking it before coming under heavy fire from the rear where they had failed to mop up some German pillboxes. 8th Inniskillings was held up by MG fire while attacking Borry Farm.

forum.irishmilitaryonline.com/showthread.php?t=11535&...

 

Horace Bullock………………………………................(RoH) (CM)

 

Private 49505. 9th Battalion Essex Regiment. Formerly 53042 Suffolk Regiment. Killed in action in France & Flanders on 6th September 1918. Born and lived Holt. Enlisted Norwich. No known grave. Commemorated on Vis-En-Artois Memorial, Pas de Calais, France. Panel 7.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1740608

 

No match on Norlink

 

The most likely match on the 1901 Census is a 1 year Horace living at Shirehall Plain, Holt. This is the household of his parents, Samuel, (aged 31 and described as a Bricklayer and then something illegible, which the Genes Reunited transcibers have put down as Inn-Keeper?), and Margaret E. (aged 29 and from Hockham, (possibly Holkham?). Their other children are:-

Eleanor…….aged 7.….born Holt

Hilda May…aged 4.….born Holt

 

Albert Caston………………………………...................(RoH) (CM)

 

Corporal 13018. 9th Battalion Norfolk Regiment. Killed in action in France & Flanders on 15th September 1916. Born Holt. Enlisted Norwich. No known grave. Commemorated on Thiepval Memorial, Somme, France. Pier and Face 1 C and 1 D.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1542715

 

No match on Norlink

 

No obvious match on the 1901 Census,

 

15th September 1916 Battle of the Somme

The last great Allied effort to achieve a breakthrough came on 15 September in the Battle of Flers-Courcelette with the initial advance made by 11 British divisions (nine from Fourth Army, two Canadian divisions on the Reserve Army sector) and a later attack by four French corps.

The battle is chiefly remembered today as the debut of the tank. The British had high hopes that this secret weapon would break the deadlock of the trenches. Early tanks were not weapons of mobile warfare—with a top speed of 2 mph (3.2 km/h), they were easily outpaced by the infantry—but were designed for trench warfare. They were untroubled by barbed wire obstacles and impervious to rifle and machine gun fire, though highly vulnerable to artillery. Additionally, the tanks were notoriously unreliable; of the 49 tanks available on 15 September, only 32 made it to the start line, and of these, only 21 made it into action

 

en.wikipedia.org/wiki/Battle_of_Flers-Courcelette

 

An intense preliminary bombardment began on 12 September and at 6.20am on Friday 15 September the advance began in mist and smoke. XIV Corps attack, on the extreme right, where hopes of breakthrough were pinned, fared badly; 56th Division and 6th Division lost heavily as tanks and artillery support failed to neutralise vital defensive positions

www.cwgc.org/somme/content.asp?menuid=27&id=27&me...

 

151 Soldiers of the 9th Battalion appear to have died on this day.

 

Alfred Woodhouse Caston…………….............(RoH) (CM)

 

Private 36460. 8th Battalion East Surrey Regiment. Died in France & Flanders on 29th July 1918. Aged 30. Born Holt. Enlisted Norwich. Son of Alfred W. Caston, of 5, Albert St., Holt, Norfolk. Buried: Crouy British Cemetery, Crouy-Sur-Somme, France. Ref. IV. B. 20.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=71021

 

No match on Norlink

 

No obvious match on the 1901 Census

 

The battalion was in the reserve lines on this date, with working parties in the front line at night improving defences. No casualties are recorded since the 22nd.

qrrarchive.websds.net/PDF/ES00819180608.pdf

 

Frederick W Chestney………………………..........(RoH) (CM)

 

The roll of honour entry for this person is incorrect. The correct individual is shown below.

 

Name: CHESTNEY, FREDERICK WILLIAM

Rank: Private Regiment/Service: Training Reserve Unit Text: 22nd Bn

Age: 18 Date of Death: 30/01/1918 Service No: 10/7202

Additional information: Son of Mr.E Chestney. N.B.: PLEASE NOTE This casualty was accepted for commemoration by the Commission. Please contact the Commission before planning a visit, for more information.

Grave/Memorial Reference: Plot D Grave 728 Cemetery: HOLT BURIAL GROUND

www.cwgc.org/search/casualty_details.aspx?casualty=75197297

 

No match on Norlink

 

The 2 year old Frederick is recorded on the 1901 Census living at Lion Street, Holt, the yown of his birth. He is living with his parents Elijah, (aged 40 and a Carpenter from Holt), and Amelia J. (aged 39 and from Suffolk, (possibly Southwold?)). As well as Frederick, they have an 8 month old daughter, Kathleen E.M.

 

Charles William Clarke………………….............(RoH) (CM)

 

Private 12493. 7th Battalion Norfolk Regiment. Killed in action in France & Flanders on 13th October 1915. Aged 22. Born Holt. Enlisted Norwich. Son of Mrs. Mary Ann White, of Cross St., Holt, Norfolk. No known grave. Commemorated on Loos Memorial, Pas de Calais, France. Panel 30 and 31.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=729875

 

No match on Norlink

 

On the 1901 Census, the 7 year old Charles W is living at Chapel Street, Holt. His widowed mother, the 34 year old Mary Ann earns a living as a washerwoman. She is also bringing up Augustus, (aged 3) and Susannah, (aged 1), although she has a 35 year old boarder, William White living with her. William is employed as a Hedger. All of them come from Holt.

 

On 12th October 1915 the Battalion moved from billets to a line in front of the St Elie Quarries, taking over from the Coldstream Guards. The attack was planned to go ahead the following day under a smoke cloud with the Norfolks closing on the German trenches from both ends of their position thus straightening their line, their own trenches being in a semi-circle. The left side of the Battalion was also tasked with bombing a German communications trench. A bright sunny day with an ideal wind for moving the smoke towards the enemy positions, the artillery bombardment began at 12:00 and was intensive by 13:45. 54 heavy and 86 field howitzers and 286 field guns fired on enemy trenches in the area of the Hohenzollern Redoubt, Fosse 8, the Quarries, Gun Trench and the positions south to Chalk Pit Wood. It failed to cause sufficient damage to the enemy positions. The smoke barrage went wrong and ceased by 13:40, twenty minutes before the attack was launched at 14:00 and was thus very thin. German machine gun fire from in front and from the direction of Slag Alley, opposite the Norfolks right flank, enfiladed their attack. Whilst they gained a foothold in the Quarries and consolidated the position they were unable to advance further. In the battalions first serious engagement they lost 5 Officers killed or died of wounds and 6 wounded, and 66 other ranks killed, 196 wounded and 160 missing.

Source: 1914-1918.invisionzone.com/forums/index.php?showtopic=42270

.

Albert Edward Cockaday………………..........(RoH) (CM)

 

Private 201347. 1st/4th Battalion Norfolk Regiment. Killed in action in Palestine on 19th April 1917. Aged 21. Born North Heigham, Norwich. Enlisted Norwich. Son of Archibald and Laura Cockaday, of 4, Weston Square, Holt, Norfolk. Buried: Gaza War Cemetery, Israel. Ref. XIII. E. 6.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=649749

 

No match on Norlink

 

The 4 year old Albert is recorded on the 1901 Census at Carpenters Arms Yard, Norwich Road, Holt. This is the household of his parents, Archibald, (aged 25 and a Gas Fitter and Plumber from Norwich), and Laura, (aged 24 and also from Norwich). Their oher children are:-

Ethel………………aged under /1.…..born Holt

Harry……………aged 2.……………born Holt

 

19th April 1917 During the 2nd Battle of Gaza,

 

Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.

The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.

The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.

To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

Private Cockadays British War Medal and Victory Medal were auctioned in January 2010

www.lockdales.com/AuctionMedals&Militaria.htm

 

Ernest William Cooper…………………...............(RoH) (CM)

 

(Most Likely)

Private 37010. 2nd/5th Battalion King's Own (Royal Lancaster Regt.) Killed in action in France & Flanders on 29th August, 1918. Aged 22. Born Holt. Enlisted Bolton. Son of Alfred and Mary Jane Cooper, of 2, Excelsior Cottage, Co-operative St., Sheringham, Norfolk. No known grave. Commemorated on Vis-En-Artois Memorial, Pas de Calais, France. Panel 3.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1741309

 

No match on Norlink

 

The 6 year Ernest W. can be found on the 1901 census at Blakeney Road, Letheringsett, his birth village. This is the household of his parents, Alfred, (a 35 year old Agricultural Labourer from Wiveton), and Mary J. (aged 37 and from Thornage). Their other children are:-

Alfred R……….aged 3.………….born Glandford

Alice M………..aged 11.…………born Letheringsett

Clement………..aged 14.………..born Thornage.Employed as a Yardmans help

Dorothy M…….aged 1.………….born Letheringsett

 

While I can’t find anything specific to the 2/5th, the 57th Division, of which the Battalion was part, has this note on its battle honours.

Battle of the Scarpe. 26-30 Aug 1918, including the capture of Monchy le Preux.

www.warpath.orbat.com/divs/57_div.htm

  

Fred Cotts……………………………….........................(RoH) (CM)

 

Corporal 14450. Depot, Northamptonshire Regiment. Transf. to (432073) 131st Company Chinese Labour Corps. Died on 14th May 1919. Aged 32. Son of A. and T. Cotts, of Holt, Norfolk; husband of I. M. Brown (formerly Cotts), of Mill Cottages, Cropredy, Banbury. Buried: Duisans British Cemetery, Etrun, Pas de Calais, France. Ref. VII. C. 33.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=169138

 

No match on Norlink

 

The 14 year old Frederick is recorded on the 1901 Census at Hempstead Road, Holt and is already employed as an errand boy and porter. This is the household of his parents, Thomas William, (age 41 and an Ironmongers warehouseman from Wood Norton), and Elizabeth, (age 38 and from Bodham). Their other children are:-

Annie……aged 10.…born Holt

Ernest J….aged 15.…born Holt. Employed as a Bricklayers Labourer.

Herbert….aged 12.…born Holt

Thomas H,,aged 17...born Holt.Employed as a Domestic Gardener. (see next entry)

 

Thomas Henry Cotts……………………...............(RoH) (CM)

 

Private 13005. 2nd Battalion Bedfordshire Regiment. Killed in action in France & Flanders on 17th May 1915. Aged 33. Born and lived Holt. Enlisted Hertford. Son of William Thomas and Elizabeth Cotts, of Station Rd., Holt, Norfolk. No known grave. Commemorated on Le Touret Memorial, Pas de Calais, France. Panel 10 and 11.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1559482

 

No match on Norlink

 

See Census details against brother Fred above.

 

This day was the 2nd day of the battle of Festurbert. The battalion had taken been in action the day before and had taken casualties. For what happened on the day I refer you to the Battalion’s war diary.

 

17 May 1915 2.30 a.m. Orders received to withdraw Bn. to reserve trenches. Movement completed by 3.45 a.m. About 1.30 p.m. Bn. received orders to be ready to move at shortest notice. Ref.Map 1/10000. ILLIES-VIOLAINE-FESTUBERT. About 3 p.m. orders received to move Bn. into position in rear of old German Fire trench between L1-L2 in order to make an attack in conjunction with 4 Cameron Highs: on left, on points L10, L11, L8 to K5. Battn. frontage from L8-K5. 'B' Coy. on right, under Capt. H.E.Huntriss [Harold Edward HUNTRISS], 2 Bedf.R. 'C' Coy. on right, under Bt.Lt.Col.E.I.de S.Thorpe [Edward Ivan de Sausmarez THORPE, CMG, DSO], 2 Bedf.R. were detailed as the two leading coys: & formed up between L1 & L2. 'A' Coy. under Capt.W.Hutton-Williams [William HUTTON-WILLIAMS] 3rd E.Sur.R. attached 2 Bedf.R. & 'D' Cou. under Maj.J.Mackenzie, V.C. [John MacKENZIE, VC, DCM] 2 Bedf.R. formed up in rear of old British trench, in support, moving up into new line as places were vacated by 'B' & 'C' Coys. About 7.30 p.m. 'B' and 'C' Coys. advanced to the Attack, on right of 4th Camerons, with 2 sections of Bombthrowers under 2nd Lt.W.J. Stonier [William John STONIER], 2nd Bedf.R. working on the right down the communication trench towards K.4. & K.5. 'B' & 'C' Coys. on vacating the trenches to the assault were met by heavy shrapnel, machine gun & rifle fire & Coy.Q.M.S. (Actg.Coy.S.M.) was killed as he climbed over the parapet. (On 22nd May, official information was received, that this N.C.O. had been granted a commission as 2nd Lt. in the 2nd Cheshire Regt). By about 9 p.m. when the whole Battn. less 2 platoons of 'A' Coy. which were kept in reserve by the C.O. (Major C.C.Onslow [Cranley Charlton ONSLOW, CB, CMG, CBE, DSO]) had been launched to the attack, information was received by the C.O. that Lt.Col.Thorpe [Edward Ivan de Sausmarez THORPE, CMG, DSO] had called a halt, as he was unable to collect a party sufficiently strong to assault the German position, owing to the darkness, and many serious obstacles, in the nature of ditches varying from 2 to 5 ft. in depth, and from 2 to 5 ft. in width filled with water, running diagonally as well as parallel to our advance, which had broken all cohesion in the attacking force; and also that he could not gain touch with the Cameron Highrs: Just at this time too, 2nd Lt.W.J.Stonier [William John STONIER] reported having arrived at K.4, & meeting with opposition in that neighbourhood, his party had expended all their bombs and had themselves, with a small party under 2nd Lt.C.H.Brewer [Charles Herbert BREWER], been bombed and trench mortared from the direction of K.5. & had had to retire into the communication trench, which they continued to hold. A portion of the Battn. misunderstanding Lt.Col.Thorpe's [Edward Ivan de Sausmarez THORPE, CMG, DSO] order, had in the meantime retired on to our original position. Under these circumstances the C.O. reformed the whole of the Battn. in the original position, from which the attack was launched (L1 and L2), with the exception of the party in the Communication trench; and informed the Brigadier General H.WATTS how matters stood. During these operations Maj.J.Mackenzie V.C. [John MacKENZIE, VC] was killed & the following officers were wounded: - Capt.H.E.Huntriss [Harold Edward HUNTRISS], Lt.A.E.Kuhn [Alfred Edgar KUHN], 2nd Lts. A.Grover [Albert GROVER], R.S.Lardner [Reginald Seymour LARDNER], Lieut. F.V.Parker [Frederick Vivian PARKER] & R.H.Boys [Richard Harvey BOYS]. During the night information was received that a portion of the 4th Camerons had succeeded in entering the enemy trench. Several men were drowned in the ditches, referred to above

www.bedfordregiment.org.uk/2ndbn/2ndbtn1915diary.html

  

Charles Edward Dack…………………….............(RoH) (CM)

 

Lance Corporal 246. 8th Battalion East Surrey Regiment. Killed in action in France & Flanders on 30th September 1915. Born Holt. Enlisted Norwich. Buried: Norfolk Cemetery, Becordel-Becourt, Somme, France. Ref. I. C. 8.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=39420

 

No match on Norlink

 

The 9 year old Charles E Dack is recorded on the 1901 Census at Hempstead Road, Holt. This is the household of his widowed mother, Sarah, (aged 44, from Holt and now supporting her family by working as a laundress and washerwoman. Her other children are:-

Daisy………aged 5.….born Holt

Ernest W…..aged 2.….born Holt (see next entry)

Ethel M……aged 15...born Holt

Matilda…….aged 11...born Holt

Sydney G….aged 12...born Holt (see second entry below)

 

On the 1891 Census, Sarah’s husband Matthew is still alive. His profession appears to be Shiphand. There appear to be four older children, Edith, Emma, William and Thomas. The family are living at Gravel Pit Lane, Holt.

 

The battalion’s war diary for this date includes the following:-

 

“During the day the Germans threw a number of rifle grenades, whiz-bangs and two six inch howitzer shells into the TAMBOUR DUCLOUS, our guns retaliating in the morning and afternoon. L\Cpl DACK and Private Meyer were both seriously wounded by one shell, L\Cpl DACK dying before removal from the Regimental Dressing Station Post”

qrrarchive.websds.net/PDF/ESD0081915006.pdf

 

Ernest Dack………………………………......................(RoH) (CM)

 

Private G/14677. 2nd Battalion Royal Sussex Regiment. Killed in action with the British Expeditionary Force on 28th September 1916. Born Holt. Enlisted Chelmsford. No known grave. Commemorated on Thiepval Memorial, Somme, France. Pier and Face 7 C.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=758227

 

No match on Norlink

 

See Census family details against brother Charles above.

 

The Battalions battle honours includes:-

Battle of Morval. (25-28 Sep 1916, including the capture of Combles, Lesboeufs and Gueudecourt).

outofbattle.blogspot.com/2008/06/2nd-battalion-royal-suss...

 

Sidney George Dack…………….................(RoH) (CM)

 

Private 17998. 1st Battalion Northamptonshire Regiment. Formerly 18990 Norfolk Regiment. Died of wounds in France & Flanders on 26th August 1916. Born Holt. Enlisted Felixstowe. Buried: Heilly Station Cemetery, Mericourt-L'Abbe, Somme, France. Ref. III. G. 8.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=270710

 

No match on Norlink

 

See family details against brother Charles above.

 

The 1st Battalion had been heavily engaged on the 19th and the 20th having seized part of a German trench and holding it for 24 hours against numerous counter-attacks before finally being forced out.

forum.irishmilitaryonline.com/showthread.php?t=9058&p...

 

William R Dix………………………………....................(RoH) (CM)

 

Private 18011. 1st Battalion Northamptonshire Regiment. Formerly 14169 Norfolk Regiment. Killed in action in France & Flanders on 9th May 1915. Aged 19. Born Holt. Enlisted Norwich. Son of William and Susan Dix, of Grove Rd., Holt, Norfolk. No known grave. Commemorated on Le Touret Memorial, Pas de Calais, France. Panel 28

to 30.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=858578

(As William Dix)

 

No match on Norlink

 

The 6 year old William is recorded at Norwich Road, Holt having been born Pedham\Pulham(? - poor handwriting). This is the household of his parents, William, (age 35 and a Domestic Gardener from Wiveton), and Susan, (age 34 and from Holt). Their other children are:-

Ada…….aged 4.…born Cley

Agnes….aged 14...born Holt

Hilda…..aged 2.…born Cley

Mable….aged 12...born Holt

Maud…..aged 8.…born Pedham\Pulham

 

The Battle of Aubers

9 May 1915

Operational approach - two pincers north and south of Neuve Chappelle.

 

The Southern attack was to be made in easterly direction by the 1st and Meerut Divisions, on a 2400-yard front between Chocolat Menier Corner and Port Arthur (1st Division would have an attack frontage of 1600 yards; Meerut 800 yards), with the objective Rue du Marais - Lorgies - Ligny le Grand, incorporating La Cliqueterie (a heavily defended German strongpoint). The 2nd Division was moved up into reserve, from the La Bassée canal sector, leaving behind 4th (Guards) Brigade and receiving in exchange the 5th (London) Brigade of the London Division who moved to the canal in their place.

 

9 May: the Southern pincer

4.06am: sunrise and all very quiet on this front.

5.00am: British bombardment opens with field guns firing shrapnel at the German wire and howitzers firing High Explosive shells onto front line. German troops are seen peering above their parapet even while this shelling was going on.

5.30am: British bombardment intensifies, field guns switch to HE and also fire at breastworks. The lead battalions of the two assaulting Brigades of 1st Division go over the top to take up a position only 80 yards from German front. (2nd Brigade has 1/Northants and 2/Royal Sussex in front and 2/KRRC and 1/5th Royal Sussex in immediate support; 3rd Brigade has 2/Royal Munster Fusiliers and 2/Welsh in front, with 1/4th Royal Welsh Fusiliers in support). Heavy machine-gun fire cuts the attackers down even on their own ladders and parapet steps, but men continue to press forward as ordered.

 

In the area of the Indian Corps, the lead battalions of the Dehra Dun Brigade of the Meerut Division (2/2nd Ghurkas, 1/4th and 1st Seaforth Highlanders) were so badly hit by enemy fire that no men got beyond their own parapet and the front-line and communications trenches were soon filled with dead and wounded men.

5.40am: British bombardment lifts off front lines and advances 600 yards; infantry assault begins. Despite the early losses and enemy fire the three Brigades attempted to advance across No Man's Land. They were met by intense crossfire from the German machine-guns, which could not be seen in their ground-level and strongly protected emplacements. Whole lines of men were seen to be hit. Few lanes had been cut in the wire and even where men reached it they were forced to bunch, forming good targets for the enemy gunners. The leading battalions suffered very significant losses, particularly among officers and junior leaders. Around 100 men on the Northants and Munsters got into the German front, but all were killed or captured. The advance of the supporting battalions suffered similarly, and by 6.00am the advance had halted, with hundreds of men pinned down in No Man's Land, unable to advance or fall back.

6.15am: A repeat of the initial bombardment is ordered, with the added difficulty of uncertain locations of the most advanced troops.

7.20am: Major-General Haking (CO, 1st Division) reports failure and asks if he should bring in his last Brigade (1st (Guards)). He offered his opinion that it would not be successful.

Worst infantry casualties in the Southern attack, by battalion 1/ Northamptonshire 560, of which 17 offofficers First wave of 2nd Brigade

www.1914-1918.net/bat11.htm

 

Joseph Dixon………………………………..................(RoH) (CM)

 

No further information available at present (215 potential matches on CWGC - check Genes Re-united to see if we can track down any likely individuals)

 

No match on Norlink

 

The 1901 Census for England and Wales has 5 Joseph Dixon’s with a Norfolk, or which only 2 are born after 1870. The two youngest ones are both born and still living in Sprowston on the edge of Norwich. Neither family has any apparent connection with the North Norfolk area by birth. There are also three Dixon’s recorded in Holt, a boy boarder, a teenage servant, and a widowed woman in her mid-thirties.

 

George Flood………………………………...................(RoH) (CM)

 

Private 3/647. 2nd Battalion Essex Regiment. Killed in action in France & Flanders on 6th April 1915. Born Gorleston-on-Sea. Lived Holt. Enlisted Colchester. Buried: Calvaire (Essex) Military Cemetery, Comines-Warneton, Hainaut, Belgium. Ref. I. L. 3.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=92427

 

No match on Norlink

 

There is a 19 year old George Flood who had been born in Gorleston, and was now employed as a Billiard Marker, living at 8 School Road, Runham, Great Yarmouth. This was the household of his married sister, Emma Read, (aged 22 and from East Dereham) and her husband, James, (aged 23 and a general labourer for the council). Emma and James have a son, Harry, who is under 1.

 

The same individual on the 1891 census is to be found at No 3, Waterloo, St Faiths. His parents are Charles, (who appears to be out of work), and Emily, who is listed as a master shoemaker. As well as George, they have four other children.

 

James William Graveling…………………............(RoH) (CM)

 

Private 48734. 6th Battalion Northamptonshire Regiment. Killed in action in France & Flanders on 31st August 1918. Aged 19. Born Holt. Enlisted Cromer. Son of Mr. W. J. Graveling, of Holt, Norfolk. Buried: Combles Communal Cemetery Extension, Somme, France. Ref. IV. A. 29.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=591766

 

No match on Norlink

 

The 2 year old James is recorded on the 1901 census at Gas Hill, Letheringsett Hill, Holt. This is the household of his parents, William, (aged 25 and a bricklayers labourer from Norwich), and Phoebe, (aged 21 and also from Norwich). As well as James, they have a daughter Edith, aged 3.

 

The 6th Battalion was part of the 18th (Eastern) Division, which lists amongst its Battle Honours:-

Second Battle of Bapaume. 31 Aug-3 Sep 1918.

www.warpath.orbat.com/divs/18_div.htm

www.historyofwar.org/articles/battles_bapaumeII.html

 

Edward Greengrass……. (RoH) (Church memorial has Wallace Greengrass)

 

RoH had no further information available at present.

 

Most likely match

www.cwgc.org/search/casualty_details.aspx?casualty=196818

Name: GREENGRASS Initials: E W

Rank: Lance Corporal Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.

Date of Death: 21/08/1918 Service No: 43215

Grave/Memorial Reference: II. B. 13. Cemetery: FONCQUEVILLERS MILITARY CEMETERY

 

(The only other match is a Canadian soldier who appears to have been born in Canada, and with no obvious links to the area)

 

No obvious match on the 1901 Census under the name of either Edward or Wallace. However, if he was a career soldier, he could have been overseas at the time of the 1901 Census.

 

No match on Norlink

 

The 1st Battalion was part of the 5th Division, which lists amongst its Battle Honours:-

Battle of Albert. 21-23 Aug 1918, including the capture of Chuignes.

webstats.ordersofbattle.darkscape.net/site/warpath/divs/5...

In the same brigade were the 1st Bedfords. The extract from their war diary on this day reads:-

21 Aug 1918 Battalion moved forward to the attack at 4.45 a.m. meeting with very slight opposition. The objective was about 1500 yards from original German Front Line which had already been taken by the 37th Division. Battalion gained objective which they consolidated, remaining there in support to the 1/Norfolk Regt. who passed through to take the next objective.

Casualties Capts G. de C.[Geoffrey de Carteret] MILLAIS & H.J.WEST M.C. wounded (since died of wounds) & 46 O.R.s Killed & wounded etc.

www.bedfordregiment.org.uk/1stbn/1stbtn1918diary.html

  

Frederick W Grout…………………………..............(RoH) (CM)

 

Private 13812. 8th Battalion Norfolk Regiment. Killed in action in France & Flanders on 8th February 1916. Born Holt. Enlisted Norwich. Buried: Albert Communal Cemetery Extension, Somme, France. Ref. B. 11.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=551902

 

No match on Norlink

 

The 18 year old Frederick W. can be found on the 1901 Census at Holt Hall Cottages, Holt. He was still single and working as a Gardeners Assistant.This is the household of his parents, Robert, (aged 49 and a Domestic Gardener from Coltishall), and Lucy, (aged 52 and from Wickmere). They also have a daughter, Edith S, age 21, living with them.

  

Ernest Guymer……………………………….................(RoH) (CM)

 

(It is highly likely that this is the Ernest Guymer on the memorial). Private 275014. 3rd Battalion London Regt (Royal Fusiliers). Formerly 21277 3rd East Kent Regiment. Killed in action in France & Flanders on 10th September 1918. Aged 38. Born Foulsham. Lived and enlisted Great Yarmouth. Son of Robert and Hannah Guymer. In the 1901 census, Ernest is working as a baker’s assistant and living with his widowed mother in Holt. Buried: St. Sever Cemetery Extension, Rouen, France. Ref. R. II. U. 9. (Thanks to Bernie Guymer for the family information)

CWGC has no personal details or age

www.cwgc.org/search/casualty_details.aspx?casualty=518002

 

The 21 year old Ernest can indeed be found on the 1901 Census, living at Fish Hill, Holt, with his widowed mother. He had been born at Foulsham, single, and was now employed as a Bakers Assistant. His mother, Hannah, aged 66 and from Stibbard, was the head of the household. Her other children still resident with her are :-

Elvira….aged 23.…born Foulsham. Employed as a Grocers Assistant.

George…aged 26.…born Whitwell. Employed as a General Domestic.

Maffe…..aged 25,,,,born Whitwell. Grocer Shop Keeper.

 

The family lived two doors down from Fred Chestney, (q.v), on the census return.

 

No match on Norlink

 

Fred Herron………………………………......................(RoH) (CM)

 

Roll of Honour web-site has no further details

Possibles

Name: HERRON, FREDRICK Initials: F Nationality: United Kingdom Rank: Lance Corporal Regiment/Service: Yorkshire Regiment Unit Text: 4th Bn. Age: 23 Date of Death: 29/10/1918 Service No: 200184 Awards: M M Additional information: Brother of Herbert Herron, of Cliffe Bank, Piercebridge, Darlington. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: LXVII. M. 21. Cemetery: ETAPLES MILITARY CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=502132

 

Name: HERRON Initials: F G Nationality: United Kingdom Rank: Private Regiment/Service: The Queen's (Royal West Surrey Regiment) Unit Text: 8th Bn. Date of Death: 03/05/1918 Service No: 5670 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XI. C. 4. Cemetery: COLOGNE SOUTHERN CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=901745

 

Name: HERRON Initials: F H Nationality: United Kingdom Rank: Private Regiment/Service: Machine Gun Corps (Infantry) Unit Text: 154th Coy. Age: 21 Date of Death: 20/09/1917 Service No: 102948 Additional information: Son of William and Harriett Herron, of 62, Leroy St., Tower Bridge Rd., Bermondsey, London. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XLV. D. 19. Cemetery: POELCAPELLE BRITISH CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=491625

 

Name: HERRON, FREDERICK NICOLL Initials: F N Nationality: Australian Rank: Private Regiment/Service: Australian Pioneers Unit Text: 2nd Date of Death: 29/09/1917 Service No: 1714 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XXV. B. 11. Cemetery: LIJSSENTHOEK MILITARY CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=431256

 

(Australian Army record checked - born Arbroath, Scotland, but no other obvious link with any other part of the UK. He‘s also on the Arbroath War Memorial)

 

Name: HERRON Initials: F H Nationality: United Kingdom Rank: Sapper Regiment/Service: Royal Engineers Date of Death: 28/04/1918 Service No: WR/200483 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: In South-East part. Cemetery: BEARPARK (ST. EDMUND) CHURCHYARD

www.cwgc.org/search/casualty_details.aspx?casualty=354511

 

No match on Norlink

No likely matches on the 1901 or 1911 Census

 

Reginald Horne……………………………….................(RoH) (CM)

Roll of Honour web-site has no further details

 

8 possible matches on CWGC, none with an obvious link to Norfolk and all with unknown age.

 

The 6 year old Reginald is recorded on the 1901 Census as living at Fairstead Hill Cottage, Holt, the town of his birth. This is the household of his parents, Walter, (aged 39 and a Stone Mason from Holt), and Charlotte, (aged 36 and also from Holt).Their other children are:-

Audrey…aged 1.….born Holt

Herbert…aged 11.…..born Holt

Mary……aged 15.…born Holt

Walter…..aged 14.…born Holt.

 

No match on Norlink

 

William Houchen……………………………….............(RoH) (CM)

 

Private 202529. 8th Battalion Norfolk Regiment. Killed in action in France & Flanders on 20th October 1917. Born Great Ellingham. Enlisted Cromer. Son of William and Emily Houchen of Reymerston; husband of Elizabeth Houchen of New St., Holt, Norfolk. Buried: New Irish Farm Cemetery, Ieper, West-Vlaanderen, Belgium. Ref. X. D. 6.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=452506

 

No match on Norlink

 

The 18 year William can be found on the 1901 census at North Green Farm, Reymerston. Having been born at Great Ellingham, he now works as a Outfitting Assistant. The address is the household of his parents, William, (a 44 year old farmer from Great Ellingham) and Emily, (aged 47 and also from Great Ellingham). Living with them is Emily’s sister Rebecca Rivett who is single as well as their children:-

Arthur……aged 9.……born Great Ellingham

Charles…..aged 15.…..born Great Ellingham, Occupation - Farmers Son

Frank…….aged 11.…..born Great Ellingham

Matilda….aged 7.…….born Reymerston

Sarah…….aged 12.…..born Great Ellingham

 

October 1917

The first three weeks of October were spent on the west bank of the Yser canal, and partly in training for the attack of October 22nd in the Poelcappelle neighbourhood. On the 8th Leiutenant -Colonel Ferguson and commanding the battalion almost contiously for three years proceeded on six months special leave to England and was suceeded by Mjor E. N.Snepp. The only other notable event was on the 15th when the German bombardment was specially severe causing several causualties. One shell made a direct hit on a 'pill-box' in which was the regimental aid post. The medical officer was wounded two men were killed and one wounded. On the 20th the battalion was in Cane trench ready for the forthcoming attack "

 

It then goes on to decribe the attack which went in on around 5.50am of the 22nd. The Norfolks went first, leapt frogged by the 10th Essex. Despite the mud all the objectives were achieved.

 

"The triumphant Essex and Norfolks...........tramped back to hear the whole division ...and General Maxse.... singing their paise. "

 

Losses were heavy and this was destined to be the Battalions last great action before it's dissolution. Being split up in the new year to go to the 7th and 9th Norfolks

 

1914-1918.invisionzone.com/forums/lofiversion/index.php/t...

 

Herbert Henry Jenkinson…………………...........(RoH) (CM)

 

Private 65059. 109th Company Labour Corps. Formerly 48973 29th Battalion Middlesex Regiment. Died of wounds in France & Flanders on 29th August 1917. Born and lived Holt. Enlisted Cromer. Son of Robert and Martha A. Jenkinson, of Pearson's Buildings, Holt, Norfolk. Buried: White House Cemetery, Ieper, West-Vlaanderen, Belgium. Ref. I. C. 2.

On CWGC as H Jenkinson

www.cwgc.org/search/casualty_details.aspx?casualty=454688

 

No match on Norlink

 

The 7 year old Herbert is recorded on the 1901 Census at Old Work House Yard, Holt. This is the household of his parents, Robert, (aged 35 and a Carter for a Domestic Merchant from Holt), and Martha, (aged 35 and from Brinton). Their other children are:-

Celia…….aged 4.….born Holt

Eliza…….aged 5.….born Holt

Hilda…….aged 1.…born Holt

Mildred….aged 2.…born Holt

  

Richard Knights………………………………................(RoH) (CM)

 

Corporal 3288. 6th Battalion Rifle Brigade. Died on 22nd August 1920. Buried: Holt Burial Ground. Ref. C. 598.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802699

No match on Norlink

 

The 10 year old Richard is recorded on the 1901 census at Chapel Street, Holt. This was the household of his parents, William, (aged 55 and an Ordinary Field Labourer from Edgefield), and Deborah, (aged 51 and from Rudham). Their other children are:-

Charles……..aged 21.….born Holt. Occupation - Bricklayer

Ellen………..aged 14.….born Holt

Frederick……aged 12.…born Holt

Stephen……..aged 8.…..born Holt

 

John Knowles………………………………..................(RoH) (CM)

 

Private 12762. 7th Battalion Norfolk Regiment. Died of wounds in France & Flanders on 1st November 1915. Born Holt. Enlisted Norwich. Buried: Lillers Communal Cemetery, Pas de Calais, France. Ref. IV. D. 33.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2947636

No match on Norlink

 

There are 2 possible matches on the 1901 Census. One aged 6, born Holt, now living at Holt Road, Edgefield. Parents are Thomas and Amy. The other is aged 9, born Holt and living at Norwich Road, Holt at the time of the census. Parents are Albert and Harriet.

  

Benjamin Lake………………………………..................(RoH) (CM)

Roll of Honour web-site has no further details

 

Only Benjamin listed and most likely match based on parents initial

Name: LAKE, BENJAMIN

Rank: Private Regiment/Service: 7th (Queen's Own) Hussars

Age: 39 Date of Death: 21/01/1919 Service No: 45645

Additional information: Son of Mr. and Mrs. F. Lake.

Buried in Muttra Cemetery. Grave/Memorial Reference: Face 1. Memorial: MADRAS 1914-1918 WAR MEMORIAL, CHENNAI

www.cwgc.org/search/casualty_details.aspx?casualty=1465833

 

The 20 year old Benjamin is recorded at Fairstead Road, Holt, on the 1901 Census. He was born at Holt, is still single and works as an Ostler Groom. This is the household of his parents, Frederick, (aged 50 and a house painter from Wisbech), and Maria, (aged 48 and from Marham). Their other children are:-

Edith……aged 10.…born Holt

Flora V…aged 15.…born Holt.General Domestic Servant.

Maud……aged 7.….born Holt

Robert M..aged 17...born Holt.Bricklayers Labourer.

 

Victor Lewis……………………………….....................(RoH) (CM)

 

Private 15997. 8th (Service) Battalion, Devonshire Regiment. Killed in action in France & Flanders on 14th July 1916. Born and lived Holt. Enlisted Southwark, Surrey. Buried: Quarry Cemetery, Montauban, Somme, France. Ref. IV. D. 4.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=245422

No match on Norlink

 

The 3 year old Victor J. is recorded on the 1901 Census at Bull Street, Holt. This was the household of his parents, Robert C S, (aged 39 and a Joiner from Holt), and Ellen L. (aged 40 and from Marylebone, London). Their other children are:-

Alfred J……….aged u/1.…..born Holt

Horace C………aged 11.……born Marylebone

Louie E………..aged 13.…..born London West Bourne Park

Nellie E………..aged 6.……born Walthamstow, Essex

Vio;et B………..aged 8.……born Walthamstow, Essex

 

On this day the 8th Battalion carried out a successful night attack on the Snout (the German second position) in Bazentin Wood after a 4 mile approach march. After consolidation withdrawn to reserve in White Trench.

www.keepmilitarymuseum.org/somme/reg_8th_devons.php?

 

Charles Percy Loades………………………...........(RoH) (CM)

 

Lance Sergeant 328011. 1st/ 6th Battalion Kings’ (Liverpool Regiment). Formerly 206083 Norfolk Yeomanry. Died of wounds in France & Flanders on 7th September 1918. Aged 37. Born and lived Holt. Enlisted Norwich. Son of William and Susanna Loades, of 55, St. Philip's Rd., Norwich, Norfolk. Buried: Terlincthun British Cemetery, Wimille, Pas de Calais, France. Ref. III. C. 30.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4026158

No match on Norlink

 

The 19 year old Charlie P is recorded on the 1901 Census at Mundesley Road, North Walsham. He was born at Holt, and was employed as a House Painter and Decorator. This was the household of his parents, William, (aged 50 and a House Painter and decorator from Holt) and Susannah, (aged 55 and also from Holt).They also have their two grown up daughters living with them - Eva Grace, (aged 16 and born Holt), and Lilian K, (aged 23, born Holt and working as a dressmaker).

 

Robert Edmund Loynes…………………..............(RoH) (CM)

 

Fitter Staff Sergeant 137760. 258th Siege Battery, Royal Garrison Artillery. Killed in action in France & Flanders on 6th June 1918. Aged 36. Born Holt. Lived King’s Lynn. Enlisted Norwich. Son of Robert John and Ann Loynes. Buried: Cabaret-Rouge British Cemetery, Souchez, Pas de Calais, France. Ref. VIII. M. 32.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=586466

 

There is a picture of Fitter Staff Sergeant Loynes on Norlink

norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...

The accompanying notes are:-

Staff Sergeant Loynes was born in Holt on 6th October 1881. Educated at Holt and Brancaster, he enlisted on 3rd September 1914. He was killed in action in France on 6th June 1918

 

The 19 year old Robert Edmond is recorded on the 1901 Census at Main Road, Brancaster. He had been born in Holt, was single and working as an engine fitter. This is the household of his parents, Robert John, (aged 52 and an Engine Fitter from Cley), and Annie, (aged 54 from Boston, Lincs). They also have a grown up daughter, Grace Elizabeth, aged 19, living with them. On the 1891 Census the family are recorded at Gravel Pit Lane, Holt.

 

Robert also is listed on the Melton Constable - Midland and Great Northern Railway War Memorial

1914-1918.invisionzone.com/forums/lofiversion/index.php/t...

And the Brancaster one

www.roll-of-honour.com/Norfolk/Brancaster.html

 

Walter Mann………………………………......................(RoH) (CM)

 

Gunner 146416. 16th Trench Mortar Battery, Royal Field Artillery. Killed in action in France & Flanders on 15th March 1917. Lived Holt. Enlisted Woolwich, S.E. Buried: Kemmel Chateau Military Cemetery, Heuvelland, West-Vlaanderen, Belgium. Ref. G. 28.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=155361

No match on Norlink

 

Two possible matches on the 1901 Census with a Holt connection. One is aged 4 and living at Cromer Road, Holt. His parents are Robert and Annie. The other (Walter J) is aged 12 and living at the Market Place, Holt. His parents are John and Rebecca.

 

Victor George Mayes……………………................(RoH) (CM)

 

Private 23157. 7th Battalion Border Regiment. Formerly 18987 Norfolk Regiment. Killed in action in France & Flanders on 13th April 1916. Aged 24. Born Ashwell Thorpe, Norfolk. Lived Marsham, Norfolk. Enlisted Norwich. Son of Mrs. Hannah J. Mayes, of The Lodge, Wramplingham, Wymondham, Norfolk. Buried: Cite Bonjean Military Cemetery, Armentieres, Nord, France. Ref. IX. G. 64.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=276911

No match on Norlink

 

There are also various Georges with a Norfolk connection on the 1901 Census. However the only Victor is recorded at The Street, Ashwellthorpe. He is aged 10 and the village is given as his birth place. This is the household of his parents, George, (aged 42 and a “Gardener at Hall” from Talcolneston.), and Hannah, (aged 35 and from Fundenhall.). Their other children are:-

Ada…….aged 8.…..born Ashwellthorpe

Arthur….aged 17.…born Ashwellthorpe. Shepherd on Farm.

Florence..aged 12.…born Ashwellthorpe

Herbert…aged 6.…..born Ashwellthorpe

  

Joseph Bernard McMahon……………………………….............(RoH) (CM)

 

Serjeant 41329. 1st Battalion Royal Dublin Fusiliers. Died of wounds in France & Flanders on 4th October 1917. Aged 44. Lived Holt. Enlisted Scunthorpe. Father of James Bernard McMahon, of Fish Hill, Holt, Norfolk. Buried: Dozinghem Military Cemetery, Poperinge, West-Vlaanderen, Belgium. Ref. VII. G. 5.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=153272

No match on Norlink

No obvious match on the 1901 Census.

 

Frank Mears……………………………….......................(RoH) (CM)

 

Sapper 84665. 208th Field Company, Corps of Royal Engineers. Killed in action in France & Flanders on 10th April 1918. Born Kelling, Norfolk. Lived Holt. Enlisted Norwich. Buried: Outtersteene Communal Cemetery Extension, Bailleul, Nord, France. Ref. II. D. 32. See also 34th Norfolk Division, Royal Engineers.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=42401

No match on Norlink

 

The 19 year old Frank is recorded on the 1901 Census at Queens Yard, New Street Holt, having been born at Kelling. Frank is a Railway Navvy. This is the household of his parents, James, (age 62 and a Teamster on Farm from Edgefield), and Mary Ann, (aged 58 and from Gunthorpe).

 

The 208th was a “Norfolk” Unit, assigned to the 34th Division.

www.1914-1918.net/re.htm

The division includes amonst itsd battle honours:-

Battle of Estaires. 9-11 Apr 1918, including the first defence of Givenchy.

  

www.ordersofbattle.darkscape.net/site/warpath/divs/34_div...

Battle of Estaires

9 - 11 April

This was the first phase of the battle and involved the German forces attacking the defending Portuguese and British Divisions.[1]

In one of the greatest defeats in the military history of Portugal, the 2nd Portuguese Division, approximately 20,000 men commanded by General Gomes da Costa (later President of Portugal), lost about 300 officers and 7,000 men killed, wounded and prisoners, resisting the attack of four German divisions with 50,000 men of 6th German Army, commanded by General Ferdinand von Quast in the first day of the German offensive. Emergency British troops deployed to help the Portuguese defenses were also captured or forced to retreat.

On the flanks of the Portuguese, the British 55th Division (south of the Portuguese) were able to refuse their northern brigade and despite numerous further attacks formed a firm defensive line which limited the effectiveness of the German attack. On the Portuguese northern flank, the British 40th Division were outflanked and attacked from the rear and as a result allowed the attacking German units to extend the breakthrough of the front line further north.

en.wikipedia.org/wiki/Battle_of_the_Lys

oxfordshireandbuckinghamshirelightinfantry.wordpress.com/...

 

William James Middleton……………………........(RoH) (CM)

 

Private F/3305. 12th Battalion Duke of Cambridge’s Own Middlesex Regiment. Killed in action in France & Flanders on 3rd May 1917. Born Saxlingham, Norfolk. Lived Holt. Enlisted Norwich. No known grave. Commemorated on Arras Memorial, Pas de Calais, France. Bay 7.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=781115

No match on Norlink

 

The 10 year old William J. is recorded on the 1901 Census at the Holt Road Shop, Saxlingham, (in the district of Walsingham), This is the househo

“We're all islands shouting lies to each other across seas of misunderstanding.”

― Rudyard Kipling, The Light That Failed

They seemed mildly fed up with each other.

 

Linda Hartong Photography. ©All Rights Reserved. 2008 Do not use, copy or edit any of my photographs without written permission.

Living is easy with eyes closed, misunderstanding all you see.

  

See it on Rvision.

 

See it on Fluidr.

 

All my images are copyrighted. Please, do not use them without my allowance. Thank you.

     

I have a new article (with photos) up on my website: here's a snippet:

 

"This idea of a blur between what is real and what is fantasy is the essential excitement of a theme park, the only medium that interweaves this confluence in a physical, experiential context. However, the very means by which a theme park provides excitement over the real world, its fictions, also seem to be the source of the theme parks low status in the artistic landscape. The idea that much of a theme park is essentially constructed and thus “fake” creates a tension not present in most artistic works which we happily accept as fictional, purposeful constructs."

 

Read the full article here.

None can live alone, even a newtron need proton to work with. In this world,

God made us as a half and we complete ourselves by the help of other half. When

we struggle together with all our might & hopes victory come to our hands and

make all possible to get. There will be no war, no misunderstanding, no ignorance

if we all work together.

 

... ... And we will... ... for the better.

 

Both, the man and the bots, were fed exactly the same text.

 

Prompt:

 

I Like the Pegs on the Line.

 

Trigger Warning.

 

There will be some text coming here that some people might find distressing.

 

I will just start off by saying that this is one of my uncles. My mother had 16 siblings and my father had 8, so there were lots to choose from, and plenty of room to maintain some anonymity. He was not the uncle that sexually abused me from the age of 13 to 14 and-a-half. That was another uncle entirely. This man was as kind as his face makes him look, a good, non-threatening man in every possible way.

 

I felt safe with him, and I was.

 

The evidence of this photo seems to suggest that my parents were indeed feeding me. I had forgotten that.

What sort of trauma could make you forget that your parents loved you and fed you?

 

Robert Sapolsky, the Stanford Professor and author, talks, and writes, wonderfully about this.

 

By the way, I will never expose him, show his image or name him. He confessed his "prolonged infringement" to the family years ago, so he is being monitored now in his old age. I believe him when he said "I didn't know what damage it would do". I will never describe what happened, as I know that there may be, sadly, those poor souls out there that enjoy such descriptions.

 

I don't have to forgive him, but I do, and he doesn't need to know that I do. He needs to forgive himself, and I know how difficult that is.

 

End prompt.

 

I am surprised that some of the words here got past the ever-vigilant bots, our supposed overlords. I suspect they might have to 'up the ante'. I dreamt about this 'Tobias Versus his Angel' wrestling, last night, and woke up and put these together, accepting the first image generated by our A.I. betters. This is the arena I would like to play in, to attempt to describe even.

 

This wistful infinity was described by Duchamp as 'Infrathin'. It, that boundless unknown, is perhaps why two disparate images sometimes appear to work together, or not.

 

The question as to whether the bots can overtake us is still very much up in the air, but the health of those very same bots might be dependent on what we actually feed them. Their health might even determine ours, in this burgeoning, intertwining, Gordian Knot of a mutual dependency.

 

Southern California is well known for year-round pleasant weather. There’s one number to remember when you’re talking about weather there: 70. That’s the approximate percentage of sunny days and the average temperature in degrees Fahrenheit. Summers are moderate to hot, but proximity to the ocean brings cool evening breezes. Winters are mild with little rainfall. Coastal and Southern parts of the state have a Mediterranean climate, so there is one misunderstanding about southern California that we don’t have seasons because the weather stays consistently warm here. In reality, we have seasons like everywhere else, but the seasons’ markers are subtle.

 

Southern California seasons are quite distinct. There is the summer season, and the winter season. They aren't what most people think of summer or winter, they just happen to occur at the same time. Spring and fall are just the blending of one into the other.

 

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

 

This shot was taken in San Juan Capistrano (Orange County, CA)

 

Thanks a lot for visits and comments, everyone... !

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OK, so his name isn't really "Coin Flip Anthony", it's just Anthony. But my walk today was based on a coin flip - heads I walk east, tails I walk west. Heads it was, so I walked east.

 

There are always interesting people down by the L tracks on Ashland, so as I walked towards the corner, I spotted Anthony getting a light from a woman on the corner. As we passed each other, I gave him my "Excuse me, but…" speech. He politely listened and had no problem posing for a picture.

 

As I shook his hand and was about to ask for his first name, who should come out of the door (you can see just a sliver of it on the right) but John (www.flickr.com/photos/26178772@N02/20707906692/in/datepos...). He and I had had a bit of a dust up/misunderstanding a few months back, but it seems to be all in the past. I called him by name (it was an encounter I did not forget), and he smiled sheepishly and said "Damn! You remembered my name. I forgot yours." I talked to him and a few of his female friends for a few minutes, we had a good laugh about our original "altercation", we shook hands, and I turned back to Anthony to ask for his name. John and his friends were glad to see that I had asked Anthony first, and had not forgotten my "lesson" from our first meeting.

Fam. Asparagaceae

Subfam. Agavoideae

Probably a 'short-day' plant, it begins to bloom usually until September / October, never in the period from May to July! This year these starts to bloom very early! An flower initiation at this Yucca I never observed if was a day length 15 hours or a night length of less than 9 hours.

Yucca x vomerensis C. Sprenger in Cat., 1901

In his "Mitteilungen über meine Yucca-Hibriden und -Formen" (Mitt. Deutsch. Dendrol. Ges. Nr. 29: 119. 1920) he wrote:.

"Yucca aloifolia x gloriosa gave me a large number of seedlings, but among themselves mostly very consistent, so that one could call them without further ado, one and all as 'vomerensis'."

Yucca x glorifolia nom. nud.

(not an valid name, and there can be misunderstandings because also used for Y. gloriosa x recurvifolia hybrids)

In the Botany of the Bermudas by H. B. Small, 1913, is listed

Yucca Glorifolia. Linn. - but these is probably a possible reading error from Carl Linnaeus handwritten record in his Species Plantarum 1748!/

Similar forms are also called Yucca gloriosa 'aloifolia form'.

'Waahi tapu' means 'sacred place' - a place where it is expected no eating, no drinking, respect to the surrounds and what happened / happens there. The peaks in the distance are the Coromandel Range, the foreground holds Karaka - Lake Kopuera - a wahi tapu, near Rangiriri in the Waikato province of the North Island, NZ. The area holds alot of history. This lake was an escape route for Maori including women and children, during an attack by government forces on Rangiriri Pa, in November 1863.

 

A 'Pa' [pronounced, Paah [long 'a'] is a fortified stockade , that Maori throughout New Zealand used for living in and for defensive purposes - against raids and war from other tribes. These fortified sites became prevalent during the 1300s and were well developed by the 1800s. Pa sites had pallisading, ditch defenses and with the arrival of the musket - gun trenches and stages for shooting from. Some say Maori were the first in the world to take part in trench warfare.

 

The early 1800's was the time 'The Musket Wars' took place - where tribe fought tribe, an old tradition - but this time, with the aid of British sourced weaponry. The arrival of muskets, shotguns and the like completely changed the extent to which Maori could wage war against each other, with the greatest threat being Ngapuhi - a large northern tribe with the most access to traders.

 

Annexation of New Zealand to the British in 1840, with the Treaty of Waitangi [our founding document] , allowed for an increase in settlers to arrive in the country. Massive settler pressure, land greed and complete cultural misunderstanding on the settlers part, gave rise to retaliatory attacks by Maori, and lead to what became known as the New Zealand Land Wars.

 

The Land Wars continued throughout the 1800's, with land confiscation from 'rebel Maori' becoming law in 1863. It was to be almost a full century during which New Zealand was in a province-by-province state of war . In essence, Maori were trying to protect their land, their livelihoods and settlers who arrived here with the promise of land, forced the issue. Small conflicts became cause for retribution by Maori, and lead to them being labelled 'rebels'. The Government enlisted some 20,000 men as soldiers - Imperial troops, Military Settler troops, Bush Rangers, and volunteer troops to 'protect' the settlers, but ultimately moving in on Maori territory - any resistance immediately labelling Maori as rebels. Incredibly one sided and unjust, there was great cause for greivance and many Pakeha [Europeans] that had been in the country before the arrival of large settler numbers believed the Maori to have been wronged. Reparations still occur today.

 

On this day in history (150 years ago) 12 July 1863 : 'British troops invaded Waikato by crossing the Mangatāwhiri stream. The Kīngitanga had declared this to be an aukati (a line that should not be crossed), any breach of which would be an act of war.' [www.nzhistory.net.nz/british-forces-invade-the-waikato]

 

public pic

 

amore

che non si fa verbo.

il capo rivolto dall' altra parte.

la paura cristallina

di uno specchio nel tuo sguardo.

 

si fa nervo.

si fa pugno.

si fa vuoto.

 

ha un corpo il vuoto.

tempo e spazio.

adesso, qui nello stomaco,

amore

che mi fa male.

 

[ ai miei genitori.

che non si comprendono e la ragione non sempre serve. ]

 

Avram Noam Chomsky

 

Portrait of Noam Chomsky painted in admiration for Justice and Liberty of his Wisdom

 

www.facebook.com/photo/?fbid=1273830809738507&set=a.1...

 

“Freedom without opportunity is a devil's gift.”

― Noam Chomsky

 

Language and Freedom

Noam Chomsky

 

chomsky.info/language-and-freedom/

 

Excerpted from For Reasons of State, New York: Pantheon Books, 1973.

When I was invited to speak on the topic “Language and freedom”, I was puzzled and intrigued. Most of my professional life has been devoted to the study of language. There would be no great difficulty in finding a topic to discuss in that domain. And there is much to say about the problems of freedom and liberation as they pose themselves to us and to others in the mid-twentieth century. What is troublesome in the title of this lecture is the conjunction. In what way are language and freedom to be interconnected?

 

As a preliminary, let me say just a word about the contemporary study of language, as I see it. There are many aspects of language and language use that raise intriguing questions, but – in my judgement – only a few have so far led to productive theoretical work. In particular, our deepest insights are in the area of formal grammatical structure. A person who knows a language has acquired a system of rules and principles – a “generative grammar,” in technical terms – that associates sound and meaning in some specific fashion. There are many reasonably well-founded and, I think, rather enlightening hypotheses as to the character of such grammars, for quite a number of languages. Furthermore, there has been a renewal of interest in “universal grammar”, interpreted now as the theory that tries to specify the general properties of those languages that can be learned in the normal way by humans. Here, too, significant progress has been achieved.

 

The subject is of particular importance. It is appropriate to regard universal grammar as the study of one of the essential faculties of mind. It is, therefore, extremely interesting to discover, as I believe we do, that the principles of universal grammar are rich, abstract, and restrictive, and can be used to construct principled explanations for a variety of phenomena. At the present stage of our understanding, if language is to provide a springboard for the investigation of other problems of human nature, it is these aspects of language to which we will have to turn our attention, for the simple reason that it is only these aspects that are reasonably well understood. In another sense, the study of formal properties of language reveals something of the nature of humans in a negative way: it underscores, with great clarity, the limits of our understanding of those qualities of mind that are apparently unique to humans and that must enter into their cultural achievements in an intimate, if still quite obscure, manner.

 

In searching for a point of departure, one turns naturally to a period in the history of Western thought when it was possible to believe that “the thought of making freedom the sum and substance of philosophy has emancipated the human spirit in all its relationships, and . . . has given to science in all its parts a more powerful reorientation than any earlier revolution.” [1] The word “revolution” bears multiple association in this passage, for Schelling also proclaims that “man is born to act and not to speculate”; and when he writes that “the time has come to proclaim to a nobler humanity the freedom of the spirit, and no longer to have patience with men’s tearful regrets for their lost chains” we hear the echoes of the libertarian thought and revolutionary acts of the late eighteenth century. Schelling writes that “the beginning and end of all philosophy is – Freedom.” These words are invested with meaning and urgency at a time when people are struggling to cast off their chains, to resist authority that has lost its claim to legitimacy, to construct more humane and more democratic social institutions. It is at such a time that the philosopher may be driven to inquire into the nature of human freedom and its limits, and perhaps to conclude, with Schelling, that with respect to the human ego, “its essence is freedom”; and with respect to philosophy, “the highest dignity of Philosophy consists precisely therein, that it stakes all on human freedom.”

 

We are living, once again, at such a time. A revolutionary ferment is sweeping the socalled Third World, awakening enormous masses from torpor and acquiescence in traditional authority. There are those who feel that the industrial societies as well are ripe for revolutionary change – and I do not refer only to representatives of the New Left. The threat of revolutionary change brings forth repression and reaction. Its signs are evident in varying forms, in France, in the Soviet Union, in the United States—not least, in the city where we are meeting. It is natural, then, that we should consider, abstractly, the problems of human freedom, and turn with interest and serious attention to the thinking of an earlier period when archaic social institutions were subjected to critical analysis and sustained attack. It is natural and appropriate, so long as we bear in mind Schellings’s admonition that man is born not merely to speculate but also to act.

 

One of the earliest and most remarkable of the eighteenth-century investigations of freedom and servitude is Rousseau’s Discourse on Inequality (1755), in many ways a revolutionary tract. In it, he seeks to “set forth the origin and progress of inequality, the establishment and abuse of political societies, insofar as these things can be deduced from the nature of man by the light of reason alone.” His conclusions were sufficiently shocking that the judges of the prize competition of the Academy of Dijon, to whom the work was originally submitted, refused to hear the manuscript through. [2] In it, Rousseau challenges the legitimacy of virtually every social institution, as well as individual control of property and wealth. These are “usurpations . . . established only on a precarious and abusive right . . . having been acquired only by force, force could take them away without (the rich) having grounds for complaint.” Not even property acquired by personal industry is held “upon better titles”. Against such a claim, one might object: “Do you not know that a multitude of your brethren die or suffer from need of what you have in excess, and that you needed express and unanimous consent of the human race to appropriate for yourself anything from common subsistence that exceeded your own?” It is contrary to the law of nature that “a handful of men be glutted with superfluities while the starving multitude lacks necessities.”

 

Rousseau argues that civil society is hardly more than a conspiracy by the rich to guarantee their plunder. Hypocritically, the rich call upon their neighbors to “institute regulations of justice and peace to which all are obliged to conform, which make an exception of no one, and which compensate in some way for the caprices of fortune by equally subjecting the powerful and the weak to mutual duties”– those laws which, as Anatole France was to say, in their majesty deny to the rich and the poor equally the right to sleep under the bridge at night. By such arguments, the poor and weak were seduced: “All ran to meet their chains thinking they secured their freedom. . . .” Thus society and laws “gave new fetters to the weak and new forces to the rich, destroyed natural freedom for all time, established forever the law of property and inequality, changed a clever usurpation into an irrevocable right, and for the profit of a few ambitious men henceforth subjected the whole human race to work, servitude and misery”. Governments inevitably tend toward arbitrary power, as “their corruption and extreme limit”. This power is “by its nature illegitimate,” and new revolutions must

 

dissolve the government altogether or bring it closer to its legitimate institutions … . The uprising that ends by strangling or dethroning a sultan is as lawful an act as those by which he disposed, the day before, of the lives and goods of his subjects. Force alone maintained him, force alone overthrows him.

 

What is interesting, in the present connection, is the path that Rousseau follows to reach these conclusions “by the light of reason alone,” beginning with his ideas about human nature. He wants to see man “as nature formed him”. It is from human nature that the principles of natural right and the foundations of social existence must be deduced.

 

This same study of original man, of his true needs, and of the principles underlying his duties, is also the only good means one could use to remove those crowds of difficulties which present themselves concerning the origin of moral inequality, the true foundation of the body politic, the reciprocal rights of its members, and a thousand similar questions as important as they are ill explained.

 

To determine the nature of man, Rousseau proceeds to compare man and animal. Man is “intelligent, free . . . the sole animal endowed with reason.” Animals are “devoid of intellect and freedom.”

 

In every animal I see only an ingenious machine to which nature has given senses in order to revitalize itself and guarantee itself, to a certain point, from all that tends to destroy or upset it. I perceive precisely the same things in the human machine, with the difference that nature alone does everything in the operations of a beast, whereas man contributes to his operations by being a free agent. The former chooses or rejects by instinct and the latter by an act of freedom, so that a beast cannot de viate from the rule that is prescribed to it even when it would be advantageous for it do so, and a man deviates from it often to his detriment . . . . it is not so much understanding which constitutes the distinction of man among the animals as it is his being a free agent. Nature commands every animal, and the beast obeys. Man feels the same impetus, but he realizes that he is free to acquiesce or resist; and it is above all in the consciousness of this freedom that the spirituality of his soul is shown. For physics explains in some way the mechanism of the senses and the formation of ideas; but in the power of willing, or rather of choosing, and in the sentiment of this power are found only purely spiritual acts about which the laws of mechanics explain nothing.

 

Thus the essence of human nature is human freedom and the consciousness of this freedom. So Rousseau can say that “the jurists, who have gravely pronounced that the child of a slave would be born a slave, have decided in other terms that a man would not be born a man.”[3]

 

Sophistic politicians and intellectuals search for ways to obscure the fact that the essential and defining property of man is his freedom: “They attribute to men a natural inclination to servitude, without thinking that it is the same for freedom as for innocence and virtue – their value is felt only as long as one enjoys them oneself and the taste for them is lost as soon as one has lost them.” In contrast, Rousseau asks rhetorically “whether, freedom being the most noble of man’s faculties, it is not degrading one’s nature, putting oneself on the level of beasts enslaved by instinct, even offending the author on one’s being, to renounce without reservation the most precious of all his gifts and subject ourselves to committing all the crimes he forbids us in order to please a ferocious or insane master” – a question that has been asked, in similar terms, by many an American draft resister in the last few years, and by many others who are beginning to recover from the catastrophe of twentieth-century Western civilization, which has so tragically confirmed Rousseau’s judgement:

 

Hence arose the national wars, battles, murders, and reprisals which make nature tremble and shock reason, and all those horrible prejudices which rank the honour of shedding human blood among the virtues. The most decent men learned to consider it one of their duties to murder their fellowmen; at length men were seen to massacre each other by the thousands without knowing why; more murders were committed on a single day of fighting and more horrors in the capture of a single city than were committed in the state of nature during whole centuries over the entire face of the earth.

 

The proof of his doctrine that the struggle for freedom is an essential human attribute, that the value of freedom is felt only as long as one enjoys it, Rousseau sees in “the marvels done by all free peoples to guard themselves from oppression.” True, those who have abandoned the life of a free man

 

do nothing but boast incessantly of the peace and repose they enjoy in their chains . . . . But when I see the others sacrifice pleasures, repose, wealth, power, and life itself for the preservation of this sole good which is so disdained by those who have lost it; when I see animals born free and despising captivity break their heads against the bars of their prison; when I see multitudes of entirely naked savages scorn European voluptousness and endure hunger, fire, the sword, and death to preserve only their independence, I feel that it does not behoove slaves to reason about freedom.

 

Rather similar thoughts were expressed by Kant, forty years later. He cannot, he says, accept the proposition that certain people “are not ripe for freedom,” for example, the serfs of some landlord:

 

If one accepts this assumption, freedom will never be achieved; for one can not arrive at the maturity for freedom without having already acquired it; one must be free to learn how to make use of one’s powers freely and usefully. The first attempts will surely be brutal and will lead to a state of affairs more painful and dangerous than the former condition under the dominance but also the protection of an external authority. However, one can achieve reason only through one’s own experiences and one must be free to be able to undertake them. . . . To accept the principle that freedom is worthless for those under one’s control and that one has the right to refuse it to them forever, is an infringement on the rights of God himself, who has created man to be free. [4]

 

The remark is particularly interesting because of its context. Kant was defending the French Revolution, during the Terror, against those who claimed that it showed the masses to be unready for the privilege of freedom. Kant’s remarks have contemporary relevance. No rational person will approve of violence and terror. In particular, the terror of the postrevolutionary state, fallen into the hands of a grim autocracy, has more than once reached indescribable levels of savagery. Yet no person of understanding or humanity will too quickly condemn the violence that often occurs when long-subdued masses rise against their oppressors, or take their first steps toward liberty and social reconstruction.

 

Let me return now to Rousseau’s argument against the legitimacy of established authority, whether that of political power or of wealth. It is striking that his argument, up to this point, follows a familiar Cartesian model. Man is uniquely beyond the bounds of physical explanation; the beast, on the other hand, is merely an ingenious machine, commanded by natural law. Man’s freedom and his consciousness of this freedom distinguish him from the beast-machine. The principles of mechanical explanation are incapable of accounting for these human properties, though they can account for sensation and even the combination of ideas, in which regard “man differs from a beast only in degree.”

 

To Descartes and his followers, such as Cordemoy, the only sure sign that another organism has a mind, and hence also lies beyond the bounds of mechanical explanation, is its use of language in the normal, creative human fashion, free from control by identifiable stimuli, novel and innovative, appropriate to situations, coherent, and engendering in our minds new thoughts and ideas. [5] To the Cartesians, it is obvious by introspection that each man possesses a mind, a substance whose essence is thought; his creative use of language reflects this freedom of thought and conception. When we have evidence that another organism, too, uses language in this free and creative fashion, we are led to attribute to it as well a mind like ours. From similar assumptions regarding the intrinsic limits of mechanical explanation, its inability to account for man’s freedom and consciousness of his freedom, Rousseau proceeds to develop his critique of authoritarian institutions, which deny to man his essential attribute of freedom, in varying degree.

 

Were we to combine these speculations, we might develop an interesting connection between language and freedom. Language, in its essential properties and the manner of its use, provides the basic criterion for determining that another organism is a being with a human mind and the human capacity for free thought and self-expression, and with the essential human need for freedom from the external constraints of repressive authority. Furthermore, we might try to proceed from the detailed investigation of language and its use to a deeper and more specific understanding of the human mind. Proceeding on this model, we might further attempt to study other aspects of that human nature which, as Rousseau rightly observes, must be correctly conceived if we are to be able to develop, in theory, the foundations for a rational social order.

 

I will return to this problem, but first I would like to trace further Rousseau’s thinking about the matter. Rousseau diverges from the Cartesian tradition in several respects. He defines the “specific characteristic of the human species” as man’s “faculty of selfperfection,” which, “with the aid of circumstances, successively develops all the others, and resides among us as much in the species as in the individual.” The faculty of selfperfection and of perfection of the human species through cultural transmission is not, to my knowledge, discussed in any similar terms by the Cartesians. However, I think that Rousseau’s remarks might be interpreted as a development of the Cartesian tradition in an unexplored direction, rather than as a denial and rejection of it. There is no inconsistency in the notion that the restrictive attributes of mind underlie a historically evolving human nature that develops within the limits that they set; or that these attributes of mind provide the possibility of self-perfection; or that, by providing the consciousness of freedom, these essential attributes of human nature give man the opportunity to create social conditions and social forms to maximize the possibilities for freedom, diversity, and individual self-realization. To use an arithmetical analogy, the integers do not fail to be an infinite set merely because they do not exhaust the rational numbers. Analogously, it is no denial of man’s capacity for infinite “self-perfection” to hold that there are intrinsic properties of mind that constrain his development. I would like to argue that in a sense the opposite is true, that without a system of formal constraints there are no creative acts; specifically, in the absence of intrinsic and restrictive properties of mind, there can be only “shaping of behaviour” but no creative acts of self-perfection. Furthermore, Rousseau’s concern for the evolutionary character of self-perfection brings us back, from another point of view, to a concern for human language, which would appear to be a prerequisite for such evolution of society and culture, for Rousseau’s perfection of the species, beyond the most rudimentary forms.

 

Rousseau holds that “although the organ of speech is natural to man, speech itself is nonetheless not natural to him.” Again, I see no inconsistency between this observation and the typical Cartesian view that innate abilities are “dispositional,” faculties that lead us to produce ideas (specifically, innate ideas) in a particular manner under given conditions of external stimulation, but that also provide us with the ability to proceed in our thinking without such external factors. Language too, then, is natural to man only in a specific way. This is an important and, I believe, quite fundamental insight of the rationalist linguists that was disregarded, very largely, under the impact of empiricist psychology in the eighteenth century and since.[6]

 

Rousseau discusses the origin of language at some length, though he confesses himself to be unable to come to grips with the problem in a satisfactory way. Thus

 

if men needed speech in order to learn to think, they had even greater need of knowing how to think in order to discover the art of speech. . . . So that one can hardly form tenable conjectures about this art of communicating thoughts and establishing intercourse between minds; a sublime art which is now very far from its origin. . . .

 

He holds that “general ideas can come into the mind only with the aid of words, and the understanding grasps them only through propositions” – a fact which prevents animals, devoid of reason, from formulating such ideas or ever acquiring “the perfectibility which depends upon them.” Thus he cannot conceive of the means by which “our new grammarians began to extend their ideas and to generalize their words,” or to develop the means “to express all the thoughts of men”: “numbers, abstract words, aorists, and all the tenses of verbs, particles, syntax, the linking of propositions, reasoning, and the forming of all the logic of discourse.” He does speculate about later stages of the perfection of the species, “when the ideas of men began to spread and multiply, and when closer communication was established among them, [and] they sought more numerous signs and a more extensive language.” But he must, unhappily, abandon “the following difficult problem: which was most necessary, previously formed society for the institution of languages, or previously invented languages for the establishment of society?”

 

The Cartesians cut the Gordian knot by postulating the existence of a species-specific characteristic, a second substance that serves as what we might call a “creative principle” alongside the “mechanical principle” that determines totally the behaviour of animals. There was, for them, no need to explain the origin of language in the course of historical evolution. Rather, man’s nature is qualitatively distinct: there is no passage from body to mind. We might reinterpret this idea in more current terms by speculating the rather sudden and dramatic mutations might have led to qualities of intelligence that are, so far as we know, unique to humans, possession of language in the human sense being the most distinctive index of these qualities. [7] If this is correct, as at least a first approximation to the facts, the study of language might be expected to offer an entering wedge, or perhaps a model, for an investigation of human nature that would provide the grounding for a much broader theory of human nature.

 

To conclude these historical remarks, I would like to turn, as I have elsewhere, [8] to Wilhelm von Humboldt, one of the most stimulating and intriguing thinkers of the period. Humboldt was, on the one hand, one of the most profound theorists of general linguistics, and on the other, an early and forceful advocate of libertarian values. The basic concept of his philosophy is Bildung, by which, as J.W. Burrow expresses it, “he meant the fullest, richest, and most harmonious development of the potentialities of the individual, the community or the human race.” [9] His own thought might serve as an exemplary case. Though he does not, to my knowledge, explicitly relate his ideas about language to his libertarian social thought, there is quite clearly a common ground from which they develop, a concept of human nature that inspires each. Mill’s essay On Liberty takes as its epigraph Humboldt’s formulation of the “leading principle” of his thought: “the absolute and essential importance of human development in its richest diversity.” Humboldt concludes his critique of the authoritarian state by saying: “I have felt myself animated throughout with a sense of the deepest respect for the inherent dignity of human nature, and for freedom, which alone befits that dignity.” Briefly put, his concept of human nature is this:

 

The true end of Man, or that which is prescribed by the eternal and immutable dictates of reason, and not suggested by vague and transient desires, is the highest and most harmonious development of his powers to a complete and consistent whole. Freedom is the first and indispensable condition which the possibility of such a development presupposes; but there is besides another essential – intimately connected with freedom, it is true – a variety of situations. [10]

 

Like Rousseau and Kant, he holds that

 

nothing promotes this ripeness for freedom so much as freedom itself. This truth, perhaps, may not be acknowledged by those who have so often used this unripeness as an excuse for continuing repression. But it seems to me to follow unquestionably from the very nature of man. The incapacity for freedom can only arise from a want of moral and intellectual power; to heighten this power is the only way to supply this want; but to do this presupposes the exercise of the power, and this exercise presupposes the freedom which awakens spontaneous activity. Only it is clear we cannot call it giving freedom, when bonds are relaxed which are not felt as such by him who wears them. But of no man on earth – however neglected by nature, and however degraded by circumstances – is this true of all the bonds which oppress him. Let us undo them one by one, as the feeling of freedom awakens in men’s hearts, and we shall hasten progress at every step.

 

Those who do not comprehend this “may justly be suspected of misunderstanding human nature, and of wishing to make men into machines.”

 

Man is fundamentally a creative, searching, self-perfecting being: “To inquire and to create – these are the centres around which all human pursuits more or less directly revolve.” But freedom of thought and enlightenment are not only for the elite. Once again echoing Rousseau, Humboldt states, “There is something degrading to human nature in the idea of refusing to any man the right to be a man.” He is, then, optimistic about the effects on all of “the diffusion of scientific knowledge by freedom and enlightenment.” But “all moral culture springs solely and immediately from the inner life of the soul, and can only be stimulated in human nature, and never produced by external and artificial contrivances.” “The cultivation of the understanding, as of any of man’s other faculties, is generally achieved by his own activity, his own ingenuity, or his own methods of using the discoveries of others. . . .” Education, then, must provide the opportunities for selffulfillment; it can at best provide a rich and challenging environment for the individual to explore, in his own way. Even a language cannot, strictly speaking, be taught, but only “awakened in the mind: one can only provide the thread along which it will develop of itself.” I think that Humboldt would have found congenial much of Dewey’s thinking about education. And he might also have appreciated the recent revolutionary extension of such ideas, for example, by the radical Catholics of Latin America who are concerned with the “awakening of consciousness,” referring to “the transformation of the passive exploited lower classes into conscious and critical masters of their own destinies” [11] much in the manner of Third World revolutionaries elsewhere. He would, I am sure, have approved of their criticism of schools that are

 

more preoccupied with the transmission of knowledge than with the creation, among other values, of a critical spirit. From the social point of view, the educational systems are oriented to maintaining the existing social and economic structures instead of transforming them.[12]

 

But Humboldt’s concern for spontaneity goes well beyond educational practice in the narrow sense. It touches also the question of labour and exploitation. The remarks, just quoted, about the cultivation of understanding through spontaneous action continue as follows:

 

. . . man never regards what he possesses as so much his own, as what he does; and the labourer who tends a garden is perhaps in a true sense its owner, than the listless voluptuary who enjoys its fruits. . . . In view of this consideration, [13] it seems as if all peasants and craftsmen might be elevated into artists; that is, men who love their labour for its own sake, improve it by their own plastic genius and inventive skill, and thereby cultivate their intellect, ennoble their character, and exalt and refine their pleasures. And so humanity would be ennobled by the very things which now, thought beautiful in themselves, so often serve to degrade it. . . But, still, freedom is undoubtedly the indispensable condition, without which even the pursuits most congenial to individual human nature, can never succeed in producing such salutary influences. Whatever does not spring from a man’s free choice, or is only the result of instruction and guidance, does not enter into his very being, but remains alien to his true nature; he does not perform it with truly human energies, but merely with mechanical exactness.

 

If a man acts in a purely mechanical way, reacting to external demands or instruction rather than in ways determined by his own interests and energies and power, “we may admire what he does, but we despise what he is.” [14]

 

On such conceptions Humboldt grounds his ideas concerning the role of the state, which tends to “make man an instrument to serve its arbitrary ends, overlooking his individual purposes.” His doctrine is classical liberal, strongly opposed to all but the most minimal forms of state intervention in personal or social life.

 

Writing in the 1790s, Humboldt had no conception of the forms that industrial capitalism would take. Hence he is not overly concerned with the dangers of private power.

 

But when we reflect (still keeping theory distinct from practice) that the influence of a private person is liable to diminution and decay, from competition, dissipation of fortune, even death; and that clearly none of these contingencies can be applied to the State; we are still left with the principle that the latter is not to meddle in anything which does not refer exclusively to security. . . .

 

He speaks of the essential equality of the condition of private citizens, and of course has no idea of the ways in which the notion “private person” would come to be reinterpreted in the era of corporate capitalism. He did not foresee that “Democracy with its motto of equality of all citizens before the law and Liberalism with its right of man over his own person both [would be] wrecked on realities of capitalist economy.”15 He did not foresee that, in a predatory capitalist economy, state intervention would be an absolute necessity to preserve human existence and to prevent the destruction of the physical environment— I speak optimistically. As Karl Polanyi, for one, has pointed out, the self-adjusting market “could not exist for any length of time without annihilating the human and natural substance of society; it would have physically destroyed man and transformed his surroundings into a wilderness.” Humboldt did not foresee the consequences of the commodity character of labour, the doctrine (in Polanyi’s words) that “it is not for the commodity to decide where is should be offered for sale, to what purpose it should be used, at what price it should be allowed to change hands, and in what manner it should be consumed or destroyed.” But the commodity, in the case, is a human life, and social protection was therefore a minimal necessity to constrain the irrational and destructive workings of the classical free market. Nor did Humboldt understand that capitalist economic relations perpetuated a form of bondage which, as early as 1767, Simon Linguet had declared to be even worse than slavery.

 

It is the impossibility of living by any other means that compels our farm labourers to till the soil whose fruits they will not eat, and our masons to construct buildings in which they will not live. It is want that drags them to those markets where they await masters who will do them the kindness of buying them. It is want that compels them to go down on their knees to the rich man in order to get from him permission to enrich him. . . . What effective gain has the suppression of slavery brought him?. . . . He is free, you say. Ah! That is his misfortune. The slave was precious to his master because of the money he had cost him. But the handicraftsmen cost nothing to the rich voluptuary who employs him. . . . These men, it is said, have no master– they have one, and the most terrible, the most imperious of masters, that is need. It is this that reduces them to the most cruel dependence. [17]

 

If there is something degrading to human nature in the idea of bondage, then a new emancipation must be awaited, Fourier’s “third and last emancipatory phase of history,” which will transform the proletariat to free men by eliminating the commodity character of labor, ending wage slavery, and bringing the commercial, industrial, and financial institutions under democratic control. [18]

 

Perhaps Humboldt might have accepted these conclusions. He does agree that state intervention in social life is legitimate if “freedom would destroy the very conditions without which not only freedom but even existence itself would be inconceivable” – precisely the circumstances that arise in an unconstrained capitalist economy. In any event, his criticism of bureaucracy and the autocratic state stands as an eloquent forewarning of some of the most dismal aspects of modern history, and the basis of his critique is applicable to a broader range of coercive institutions than he imagined.

 

Though expressing a classical liberal doctrine, Humboldt is no primitive individualist in the style of Rousseau. Rousseau extols the savage who “lives within himself”; he has little use for “the sociable man, always outside of himself, [who] knows how to live only in the opinion of others . . . from [whose] judgement alone . . . he draws the sentiment of his own existence.”19 Humboldt’s vision is quite different:

 

. . . the whole tenor of the ideas and arguments unfolded in this essay might fairly be reduced to this, that while they would break all fetters in human society, they would attempt to find as many new social bonds as possible. The isolated man is no more able to develop than the one who is fettered.

 

Thus he looks forward to a community of free association without coercion by the state or other authoritarian institutions, in which free men can create and inquire, and achieve the highest development of their powers – far ahead of his time, he presents an anarchist vision that is appropriate, perhaps, to the next stage of industrial society. We can perhaps look forward to a day when these various strands will be brought together within the framework of libertarian socialism, a social form that barely exists today though its elements can be perceived: in the guarantee of individual rights that has achieved its highest form – though still tragically flawed – in the Western democracies; in the Israeli kibbutzim; in the experiments with workers’ councils in Yugoslavia; in the effort to awaken popular consciousness and create a new involvement in the social process which is a fundamental element in the Third World revolutions, coexisting uneasily with indefensible authoritarian practice.

 

A similar concept of human nature underlies Humboldt’s work on language. Language is a process of free creation; its laws and principles are fixed, but the manner in which the principles of generation are used is free and infinitely varied. Even the interpretation and use of words involves a process of free creation. The normal use of language and the acquisition of language depend on what Humboldt calls the fixed form of language, a system of generative processes that is rooted in the nature of the human mind and constrains but does not determine the free creations of normal intelligence or, at a higher and more original level, of the great writer or thinker. Humboldt is, on the one hand, a Platonist who insists that learning is a kind of reminiscence, in which the mind, stimulated by experience, draws from its own internal resources and follows a path that it itself determines; and he is also a romantic, attuned to cultural variety, and the endless possibilities for the spiritual contributions of the creative genius. There is no contradiction in this, any more than there is a contradiction in the insistence of aesthetic theory that individual works of genius are constrained by principle and rule. The normal, creative use of language, which to the Cartesian rationalist is the best index of the existence of another mind, presupposes a system of rules and generative principles of a sort that the rationalist grammarians attempted, with some success, to determine and make explicit.

 

The many modern critics who sense an inconsistency in the belief that free creation takes place within – presupposes, in fact – a system of constraints and governing principles are quite mistaken; unless, of course, they speak of “contradiction” in the loose and metaphoric sense of Schelling, when he writes that “without the contradiction of necessity and freedom not only philosophy but every nobler ambition of the spirit would sink to that death which is peculiar to those sciences in which that contradiction serves no function.” Without this tension between necessity and freedom, rule and choice, there can be no creativity, no communication, no meaningful acts at all.

 

I have discussed these traditional ideas at some length, not out of antiquarian interest, but because I think that they are valuable and essentially correct, and that they project a course we can follow with profit. Social action must be animated by a vision of a future society, and by explicit judgements of value concerning the character of this future society. These judgements must derive from some concept of human nature, and one may seek empirical foundations by investigating human nature as it is revealed by human behaviour and human creations, material, intellectual, and social. We have, perhaps, reached a point in history when it is possible to think seriously about a society in which freely constituted social bonds replace the fetters of autocratic institutions, rather in the sense conveyed by the remarks of Humboldt that I quoted, and elaborated more fully in the tradition of libertarian socialism in the years that followed.

 

Predatory capitalism created a complex industrial system and an advanced technology; it permitted a considerable extension of democratic practice and fostered certain liberal values, but within limits that are now being pressed and must be overcome. It is not a fit system for the mid-twentieth century. It is incapable of meeting human needs that can be expressed only in collective terms, and its concept of competitive man who seeks only to maximize wealth and power, who subjects himself to market relationships, to exploitation and external authority, is antihuman and intolerable in the deepest sense. An autocratic state is no acceptable substitute; nor can the militarized state capitalism evolving in the United States or the bureaucratized, centralized welfare state be accepted as the goal of human existence. The only justification for repressive institutions is material and cultural deficit. But such institutions, at certain stages of history, perpetuate and produce such a deficit, and even threaten human survival. Modern science and technology can relieve people of the necessity for specialized, imbecile labour. They may, in principle, provide the basis for a rational social order based on free association and democratic control, if we have the will to create it.

 

A vision of a future social order is in turn based on a concept of human nature. If in fact humans are indefinitely malleable, completely plastic beings, with no innate structures of mind and no intrinsic needs of a cultural or social character, then they are fit subjects for the “shaping of behavior” by the state authority, the corporate manager, the technocrat, or the central committee. Those with some confidence in the human species will hope this is not so and will try to determine the intrinsic human characteristics that provide the framework for intellectual development, the growth of moral consciousness, cultural achievement, and participation in a free community. In a partly analogous way, a classical tradition spoke of artistic genius acting within and in some ways challenging a framework of rule. Here we touch on matters that are little understood. It seems to me that we must break away, sharply and radically, from much of modern social and behavioral science if we are to move toward a deeper understanding of these matters.

 

Here, too, I think that the tradition I have briefly reviewed has a contribution to offer. As I have already observed, those who were concerned with human distinctiveness and potential repeatedly were led to a consideration of the properties of language. I think that the study of language can provide some glimmerings of understanding of rule-governed behavior and the possibilities for free and creative action within the framework of a system of rules that in part, at least, reflect intrinsic properties of human mental organization. It seems to me fair to regard the contemporary study of language as in some ways a return to the Humboldtian concept of the form of language: a system of generative processes rooted in innate properties of mind but permitting, in Humboldt’s phrase, an infinite use of finite means. Language cannot be described as a system of organization of behaviour. Rather, to understand how language is used, we must discover the abstract Humboldtian form of language – its generative grammar, in modern terms. To learn a language is to construct for oneself this abstract system, of course unconsciously. The linguist and pyschologist can proceed to study the use and acquistion of language only insofar as they have some grasp of the properties of the system that has been mastered by the person who knows the language. Furthermore, it seems to me that a good case can be made in support of the empirical claim that such a system can be acquired, under the given conditions of time and access, only by a mind that is endowed with certain specific properties that we can now tentatively describe in some detail. As long as we restrict ourselves, conceptually, to the investigation of behavior, its organization, its development through interaction with the environment, we are bound to miss these characteristics of language and mind. Other aspects of human psychology and culture might, in principle, be studied in a similar way.

 

Conceivably, we might in this way develop a social science based on empirically wellfounded propositions concerning human nature. Just as we study the range of humanly attainable languages, with some success, we might also try to study the forms of artistic expression or, for that matter, scientific knowledge that humans can conceive, and perhaps even the range of ethical systems and social structures in which humans can live and function, given their intrinsic capacities and needs. Perhaps one might go on to project a concept of social organization that would – under given conditions of material and spiritual culture – best encourage and accommodate the fundamental human need – if such it is – for spontaneous initiative, creative work, solidarity, pursuit of social justice.

 

I do not want to exaggerate, as I no doubt have, the role of investigation of language. Language is the product of human intelligence that is, for the moment, most accessible to study. A rich tradition held language to be a mirror of mind. To some extent, there is surely truth and useful insight in this idea.

 

I am no less puzzled by the topic “language and freedom” than when I began – and no less intrigued. In these speculative and sketchy remarks there are gaps so vast that one might question what would remain, when metaphor and unsubstantiated guess are removed. It is sobering to realize – as I believe we must – how little we have progressed in our knowledge of human beings and society, or even in formulating clearly the problems that might be seriously studied. But there are, I think, a few footholds that seem fairly firm. I like to believe that the intensive study of one aspect of human psychology – human language – may contribute to a humanistic social science that will serve, as well, as an instrument for social action. It must, needless to say, be stressed that social action cannot await a firmly established theory of human nature and society, nor can the validity of the latter be determined by our hopes and moral judgements. The two – speculation and action – must progress as best they can, looking forward to the day when theoretical inquiry will provide a firm guide to the unending, often grim, but never hopeless struggle for freedom and social justice.

  

Suggested Reading

 

[1] F W J Schelling, Philosophical Inquiries into the Nature of Human Freedom, trans. and ed. James Gutmann (Chicago: Open Court Publishing Co., 1936).

 

[2] R D Masters, introduction to his edition of Jean-Jacques Rousseau, First and Second Discourses, (New York: St. Martin’s Press, 1964).

 

[3] Compare Proudhon, a century later: “No long discussion is necessary to demonstrate that the power of denying a man his thought, his will, his personality, is a power of life and death, and that to make a man a slave is to assassinate him.”

 

[4] Cited in A Lehning, ed., Bakunin, Etatisme et anarchie (Leiden: E.J. Brill, 1967), editor’s note 50, from P Schrecker, “Kant et la révolution francaise,” Revue philosophique, September–December 1939.

 

[5] I have discussed this matter in Cartesian Linguistics (New York: Harper & Row, 1966) and Language and Mind (New York: Harcourt Brace Jovanovich, extended ed., 1972).

 

[6] See the references of note 5, and also my Aspects of the Theory of Syntax, (Cambridge, Mass.: MIT Press, 1969), chap. 1, sec. 8.

 

[7] I need hardly add that this is not the prevailing view. For discussion, see E.H. Lenneberg, Biological Foundations of Language (New York: John Wiley & Sons, 1967); my Language and Mind; E.A. Drewe et al., “A Comparative Review of the Results of Behavioural Research on Man and Monkey,” (London; Institute of Psychiatry, unpublished draft, 1969); P.H. Lieberman, D.H. Klatt, and W.H. Wilson, “Vocal Tract Limitations on the Vowel Repertoires of Rhesus Monkeys and other Nonhuman Primates,” Science, June 6, 1969; and P.H. Lieberman, “Primate Vocalizations and Human Linguistic Ability,” Journal of the Acoustical Society of America, vol. 44, no. 6 (1968).

 

[8] In the books cited above, and in Current Issues in Linguistic Theory (New York: Humanities Press, 1964).

 

[9] J W Burrow, introduction to his edition of Wilhelm von Humboldt, The Limits of State Action (London: Cambridge University Press, 1969), from which most of the following quotes are taken.

 

[10] Compare the remarks of Kant, quoted above. Kant’s essay appeared in 1793; Humboldt’s was written in 1791–92. Parts appeared, but it did not appear in full during his lifetime. See Burrow, introduction to Humboldt, Limits of State Action.

 

[11 ] Thomas G Sanders, “The Church in Latin America,” Foreign Affairs, vol. 48, no. 2 (1970).

 

[12] Ibid, The source is said to be the ideas of Paulo Freire. Similar criticism is widespread in the student movement in the West. See, for example, Mitchell Cohen and Dennis Hale, eds., The New Student Left rev. ed. (Boston: Beacon Press, 1967), chap. 3.

 

[13] Namely, that a man “only attains the most matured and graceful consummation of his activity, when his way of life is harmoniously in keeping with his character”–that is, when his actions flow from inner impulse.

 

[14] The latter quote is from Humboldt’s comments on the French Constitution, 1791–parts translated in Marianne Cowan, ed., Humanist Without Portfolio: An Anthology (Detroit: Wayne State University Press, 1963).

 

[15] Rudolf Rocker, “Anarchism and Anarcho-syndicalism,” in Paul Eltzbacher, Anarchism (London: Freedom Press, 1960). In his book Nationalism and Culture (London: Freedom Press, 1937), Rocker describes Humboldt as “the most prominent representative in Germany” of the doctrine of natural rights and of the opposition to the authoritarian state. Rousseau he regards as a precursor of authoritarian doctrine, but he considers only the Social Contract, not the far more libertarian Discourse on Inequality. Burrow observes that Humboldt’s essay anticipates “much nineteenth century political theory of a populist, anarchist and syndicalist kind” and notes the hints of the early Marx. See also my Cartesian Linguistics, n. 51, for some comments.

 

[16] Karl Polanyi, The Great Transformation: The Political and Economic Origins of Our Time (Boston: Beacon Press, 1957).

 

[17] Cited by Paul Mattick, “Workers’ Control,” in Priscilla Long, ed., The New Left (Boston: Porter Sargent, 1969), p. 377.

 

[18] Cited in Martin Buber, Paths in Utopia (Boston: Beacon Press, 1958). p. 19

 

CHOMSKY.INFO

 

Website I Facebook

... does it mean anything to you?

 

... significa algo para ti?

 

Living is easy with eyes closed, misunderstanding all you see.

It's getting hard to be someone but it all works out.

It doesn't matter much to me.

 

___________________________________

Olympus E-3 + Zuiko 12-60SWD. White Balanced Manually. 2.5 s. f/13. f:60 mm. ISO: 100. +1/3EV. Tungsten light

These started as a pun, a scribble in my Moleskine®, "mercy, teacup". No, not a mocking, but rather a musing of the phonetic misunderstandings that happen between languages.

Dear Glendora,

 

This is a photo of Cabot's Pueblo Museum. Maybe you should drive on out here to give them some tips on how to make a nice green lush garden out here in the middle of the desert using lots of water in the middle of a drought. That way you can try and Fine them too. I have lots of Idea's for you to make money and none of them will cut your outrageously high salaries you get for doing nothing except watch your big butts spread out from sitting down and eating.

 

We all know the crookedness of a lot of these cities but to be SO blatant about it is mind boggling. (Glendora, please don't say it was a misunderstanding because quite frankly, stupidity on that level is even worse)

 

If you don't know, California is in one of it's worst droughts ever and the city of Glendora has told a couple who cut watering there lawn down to twice a week, in turn making it brown, that if they don't start watering there lawn more, they will be fined upto $500.

 

I'm pretty sure I just heard Governor Jerry Brown smack his forehead and go D'OH!

Behind every cloud, every forest

of each cup, of each branch

are hidden in the night.

 

They hide in the fog

They feed on misunderstandings

and neon stars.

 

In the dark may be confused

with the ashes

with their shadows.

 

With his looking

they travel quietly

by the dark night sky

 

when it reaches the twilight of the evening

after dark

they can seen and heard

 

talk to the wind.

sing with rain.

fly through the dark night sky

Let me take you down, cause Im going to

Strawberry fields

Nothing is real

And nothing to get hung about

Strawberry fields forever

 

Living is easy with eyes closed

Misunderstanding all you see

Its getting hard to be someone, but it all works out

It doesnt matter much to me

 

Let me take you down, cause Im going to

Strawberry fields

Nothing is real

And nothing to get hung about

Strawberry fields forever

 

No one, I think, is in my tree

I mean, it must be high or low

That is, you cant, you know, tune in, but its alright

That is, I think its not too bad

 

Let me take you down, cause Im going to

Strawberry fields

Nothing is real

And nothing to get hung about

Strawberry fields forever

 

Always, no, sometimes, think its me

But, you know, I know when its a dream

I think, er, no, I mean, er, yes, but its all wrong

That is, I think I disagree

 

Let me take you down, cause Im going to

Strawberry fields

Nothing is real

And nothing to get hung about

Strawberry fields forever

Strawberry fields forever

Strawberry fields forever

Vytautas Didysis (Vytautas the Great; c. 1350 - 1430), Grand Duke of Lithuania, 1392-1430.

Sculptor Vincas Grybas (1932/1990)

Between text and dates is a medaillon with a map of Lithuania in the 14th century.

The first version of the monument was built for the people of Kaunas in 1932, within the territory of the Lithuanian Military Academy. It is said that the monument had to "prepare and harden Lithuanians for an important march – the liberation of Vilnius", since at the time the capital belonged to Poland. The sculpture was destroyed during World War II, however its exact copy was made and erected in Laisvės avenue in 1990.

Vytautas the Great Monument is comprised of a bronze figure of Vytautas standing on a granite pedestal with carved figures of Russian, Tartar, German, and Polish soldiers. Even though recognizing the fact that victories of Vytautas the Great against the Russians, the German Order and the Tartars are confirmed by written historical sources, experts say that the figure of a Polish warrior in this composition is a historical misunderstanding – Vytautas the Great has not been at war with Poland. According to the artist, this figure is interpreted as the fulfilment of inter-war political desires in an image, by turning the wish to reclaim Vilnius region into a visual object.

The Ramsays

 

Promo shoot in Newcastle upon Tyne

Thursday 4th September 2008

The road wasn't easy, the road was long. There were many obstacles, misunderstandings, outright meanness, deceit and betrayal. And if I could tell it in detail, I could write a whole book. I guess I'm gonna write it some day. Luckily, I had the strength of spirit, confidence and character with me. When the resistance was too strong, I was even stronger when they wanted to humiliate me, I was always ready to fight back, because for every false word they said about me, I had two true words on my side. The road led me up. And I walked with persistence. This road led me to success in my endeavors, that was the goal. And when I achieved what I want, it was the best reward for my efforts. I felt good, happy, I was on the seventh sky.

To you Pisces I give the most difficult task of all. I ask you to collect all of man's sorrow and return it to me. Your tears are to be ultimately My tears. The sorrow you will absorb is the effect of man's misunderstanding My Idea, but you are to give him compassion that he may try again. For this the most difficult task of all I give the greatest gift of all. You will be the only one of My twelve children to understand Me. But this gift of understanding is for you, Pisces, for when you try to spread it to man he will not listen.

And Pisces stepped back into place.

... Then God said “You each have a part of My Idea. You must not mistake that part for all of My Idea, nor may you desire to trade parts with each other. For each of you is perfect, but you will not know that until all twelve of you are one. For then the whole of My Idea will be revealed to each of you.” - Martin Schulman

 

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

 

A ti, Peixes, te dou a mais difícil de todas as tarefas: Peço-te que reúnas todas as tristezas dos homens e as tragas de volta para Mim. Tuas lágrimas serão, no fundo, minhas lágrimas. O que terás de absorver são os efeitos das distorções impostas pelo homem à Minha Ideia, mas cabe a ti levar até eles a compaixão. Tua missão será amparar e encorajar a todos os teus irmãos, fazendo-os acreditar que eles são capazes. Por esta tarefa, Peixes, Eu te concedo o Dom mais alto de todos: Tu serás o único de Meus doze filhos que saberá me Compreender. E Peixes retornou ao seu lugar. - Martin Schulman

 

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The Bronze Horseman (Russian: Медный всадник, literally "copper horseman") is an equestrian statue of Peter the Great in the Senate Square in Saint Petersburg, Russia. It was opened to the public on 7 (18) August 1782. Commissioned by Catherine the Great, it was created by the French sculptor Étienne Maurice Falconet. The statue influenced a 1833 poem of the same name by Alexander Pushkin, which is widely considered one of the most significant works of Russian literature. The statue is now one of the symbols of Saint Petersburg.

 

The statue's pedestal is the Thunder Stone, the largest stone ever moved by humans. The stone originally weighed about 1500 tonnes, but was carved down during transportation to its current size and weight of 1,250 tons.

 

The equestrian statue of Peter the Great is situated in the Senate Square (formerly the Decembrists Square), in Saint Petersburg. Catherine the Great, a German princess who married into the Romanov line, was anxious to connect herself to Peter the Great to gain legitimacy in the eyes of the people. She ordered its construction, and had it inscribed with the phrases Petro Primo Catharina Secunda MDCCLXXXII in Latin and Петру перьвому Екатерина вторая, лѣта 1782 (Petru pervomu Ekaterina vtoraya, lěta 1782) in Russian, each meaning 'Catherine the Second to Peter the First, 1782', an expression of her admiration for her predecessor and her view of her own place in the line of great Russian rulers. Having gained her position through a palace coup, Catherine had no legal claim to the throne and wanted to represent herself as Peter's rightful heir.

 

In correspondence with Catherine the Great, Denis Diderot suggested French sculptor Étienne Maurice Falconet, a friend of his, for the commission. The empress followed his advice and Falconet arrived in Russia in 1766.

 

In 1775 the casting of the statue began, supervised by caster Emelyan Khailov. At one point during the casting, the mould broke, releasing molten bronze that started several fires. All the workers ran except Khailov, who risked his life to salvage the casting. After being remelted and recast, the statue was later finished. It took 12 years, from 1770 to 1782, to create the Bronze Horseman, including pedestal, horse and rider.

 

The tsar's face is the work of the young Marie-Anne Collot, then only 18 years old. She had accompanied Falconet as an apprentice on his trip to Russia in 1766. A student of Falconet and Jean-Baptiste Lemoyne, Collot was called Mademoiselle Victoire (Miss Victory) by Diderot. She modelled Peter the Great's face on his death mask and numerous portraits she found in Saint Petersburg. The right hand of the statue was modelled from a Roman bronze hand, found in 1771 in Voorburg in the Netherlands at the site of the ancient Roman town Forum Hadriani.

 

On 7 August 1782, fourteen years after excavation of the pedestal began, the finished statue was unveiled in a ceremony with thousands in attendance. Conspicuously absent was Falconet, as a misunderstanding between him and the empress turned into a serious conflict. As a result, he was forced to leave Russia four years before the project was completed. Catherine largely forgot about him afterwards, and came to see the Bronze Horseman as her own oeuvre.

 

The statue portrays Peter the Great sitting heroically on his horse, his outstretched arm pointing towards the River Neva. The sculptor wished to capture the exact moment of his horse rearing at the edge of a dramatic cliff. His horse can be seen trampling a serpent, variously interpreted to represent treachery, evil, or the enemies of Peter and his reforms. The statue itself is about six metres (20 ft) tall, while the pedestal is another seven metres (23 ft) tall, for a total of approximately 13 metres (43 ft).

 

For the pedestal, a rapakivi granite monolith boulder known as the Thunder Stone (Russian: Гром-камень, romanized: Grom-kamen) was found at Lakhta, 6 km (3.7 mi) inland from the Gulf of Finland in 1768. The Thunder Stone gained its name from a local legend that thunder split a piece off the stone. Falconet wanted to work on shaping the stone in its original location, but Catherine ordered it be moved before being cut. As it was embedded to half its depth in the ground and the area was marshy terrain, the Russians had to develop new methods to dig up and transport the colossal stone. Marinos Carburis (Μαρίνος Χαρμπούρης), a Greek from the Island of Kefallonia and serving as lieutenant-colonel in the Imperial Russian Army, offered to undertake the project. Carburis had studied engineering in Vienna and is considered the first Greek to hold a diploma in engineering.

 

Carburis directed workmen to wait for winter, when the ground was frozen, and then had them drag the large stone over the frozen ground to the sea for shipment and transport to the city. He developed a metallic sled that slid over bronze spheres about 13.5 cm (6 inches) in diameter, over a track. The process worked in a way similar to the later invention of ball bearings. Making the feat even more impressive was that the labour was done entirely by humans; no animals or machines were used in bringing the stone from the original site to the Senate Square. After Carburis devised the method, it took 400 men nine months to move the stone, during which time master stonecutters continuously shaped the enormous granite monolith. Catherine periodically visited the effort to oversee their progress. The larger capstan was turned by 32 men, this just barely moving the rock. A further complication was the availability of only 100 m of track, which had to be constantly disassembled and relaid. Nevertheless, the workers made over 150 m of progress a day while on level ground. Upon arrival at the sea an enormous barge was constructed exclusively for the Thunder Stone. The vessel had to be supported on either side by two full-size warships. After a short voyage, the stone reached its destination in 1770, after nearly two years of work. A medal was issued to commemorate its arrival, with the legend "Close to Daring".

 

According to the fall 1882 edition of La Nature, the stone's dimensions before being cut were 7 by 14 by 9 metres (23 ft × 46 ft × 30 ft). Based on the density of granite, its weight was determined to be around 1,500 metric tons (1,700 short tons). Falconet had some of this cut away shaping it into a base, so the finished pedestal weighs considerably less.

 

A 19th-century legend states that while the Bronze Horseman stands in the middle of Saint Petersburg, enemy forces will not be able to conquer the city. During the 900-day Siege of Leningrad by the invading Germans during the Second World War (Leningrad being the city's name from 1924 to 1991), the statue was covered with sandbags and a wooden shelter. Thus protected, it survived 900 days of bombing and artillery fire, virtually untouched. True to the legend, Leningrad was never taken.

 

The Bronze Horseman is the title of a poem written by Aleksandr Pushkin in 1833, widely considered to be one of the most significant works of Russian literature. Due to the popularity of his work, the statue came to be called the "Bronze Horseman". A major theme of the poem is conflict between the needs of the state and the needs of ordinary citizens.

 

In the poem, Pushkin describes the fates of the poor man Evgenii and his beloved Parasha during a severe flood of the Neva. Evgenii curses the statue, furious at Peter the Great for founding a city in such an unsuitable location and indirectly causing the death of his beloved. Coming to life, the horseman chases Evgenii through the city. The poem closes with the discovery of the young man's corpse in a ruined hut floating at the edge of the river.

 

In 1903 the artist Alexandre Benois published an edition of the poem with his illustrations, creating what was considered a masterwork of Art Nouveau.

 

The poem has inspired works in other genres: Reinhold Glière choreographed a ballet based on it, and Nikolai Myaskovsky's 10th Symphony (1926–7) was inspired by the poem. The statue itself has been seen as the inspiration or model for a similar statue which appears in Joseph Conrad's 1904 political novel Nostromo, thus implicitly linking the political events in Nostromo with Conrad's 1905 essay "Autocracy and War" on the subject of Russia and his eventual 1912 novel Under Western Eyes (and also with the Pushkin poem and with the political issue of Poland).

 

Étienne Maurice Falconet (1 December 1716 – 24 January 1791) was a French baroque, rococo and neoclassical sculptor, best-known for his equestrian statue of Peter the Great, the Bronze Horseman (1782), in St. Petersburg, Russia, and for the small statues he produced in series for the Royal Sévres Porcelain Manufactory

 

Falconet was born to a poor family in Paris. He was at first apprenticed to a marble-cutter, but some of his clay and wood figures, with the making of which he occupied his leisure hours, attracted the notice of the sculptor Jean-Baptiste Lemoyne, who made him his pupil. One of his most successful early sculptures was of Milo of Croton, which secured his admission to the membership of the Académie royale de peinture et de sculpture in 1754.

 

He came to prominent public attention in the Salons of 1755 and 1757 with his marbles of L'Amour (Cupid) and the Nymphe descendant au bain (also called The Bather), which is now at the Louvre. In 1757 Falconet was appointed by the Marquise de Pompadour as director of the sculpture atelier of the new Manufacture royale de porcelaine at Sèvres, where he brought new life to the manufacture of unglazed soft-paste porcelain figurines, small-scale sculptures that had been a specialty at the predecessor of the Sèvres manufactory, Vincennes.

 

The influence of the painter François Boucher and of contemporary theater and ballet are equally in evidence in Falconet's subjects, and in his sweet, elegantly erotic, somewhat coy manner. Right at the start, in the 1750s, Falconet created for Sèvres a set of white biscuit porcelain garnitures of tabletop putti (Falconet's "Enfants") illustrating "the Arts," and meant to complement the manufacture's grand dinner service ("Service du Roy"). The fashion for similar small table sculptures spread to most of the porcelain manufacturies of Europe.

 

He remained at the Sèvres post until he was invited to Russia by Catherine the Great in September 1766. At St Petersburg he executed a colossal statue of Peter the Great in bronze, known as the Bronze Horseman, together with his pupil and then daughter-in-law Marie-Anne Collot. In 1788, back in Paris, he became Assistant Rector of the Académie royale de peinture et de sculpture. Many of Falconet's religious works, commissioned for churches, were destroyed at the time of the French Revolution. His work on private commissions fared better.

 

He found time to study Greek and Latin, and also wrote several essays on art: Denis Diderot confided to him the chapter on "Sculpture" in the Encyclopédie, released separately by Falconet as Réflexions sur la sculpture in 1768. Three years later, he published Observations sur la statue de Marc-Aurèle, which may be interpreted as the artistic program for his statue of Peter the Great. Falconet's writings on art, his Oeuvres littéraires, came to six volumes when they were first published, at Lausanne, in 1781–1782. His extensive correspondence with

 

Diderot, where he argued that the artist works out of inner necessity rather than for future fame, and that with Empress Catherine the Great of Russia reveal a great deal about his work and his beliefs about art.

 

Falconet's somewhat prettified and too easy charm incurred the criticism of the Encyclopædia Britannica's eleventh edition: "His artistic productions are characterized by the same defects as his writings, for though manifesting considerable cleverness and some power of imagination, they display in many cases a false and fantastic taste, the result, most probably, of an excessive striving after originality."

 

Hermann Göring stole Falconet's Friendship of the Heart stahl Hermann Göring from the Rothschild collection at Paris for the art collection of his Carinhall hunting lodge.

 

In 2001/2002, when the Musée de Céramique at Sèvres mounted an exhibition of Falconet's production for Sèvres, 1757–1766, its subtitle was "l'art de plaire" ("the art of pleasing").

 

The painter Pierre-Étienne Falconet (1741–91) was his son. A draftsman and engraver, he provided illustrations to his father's entry on "Sculpture" for the Diderot Encyclopédie.

Iona Abbey is an abbey located on the island of Iona, just off the Isle of Mull on the West Coast of Scotland.

 

It is one of the oldest Christian religious centres in Western Europe. The abbey was a focal point for the spread of Christianity throughout Scotland and marks the foundation of a monastic community by St. Columba, when Iona was part of the Kingdom of Dál Riata. Saint Aidan served as a monk at Iona, before helping to reestablish Christianity in Northumberland, on the island of Lindisfarne.

 

Iona Abbey is the spiritual home of the Iona Community, an ecumenical Christian religious order, whose headquarters are in Glasgow. The Abbey remains a popular site of Christian pilgrimage today.

 

In 563, Columba came to Iona from Ireland with twelve companions, and founded a monastery. It developed as an influential centre for the spread of Christianity among the Picts and Scots.

 

At this time the name of the island and so the abbey was "Hy" or "Hii"; "Iona" only seems to date from the 14th century, as a mis-transcription of a Latinized "Ioua" for "Hy".

 

The prime purpose of the monastery was to create 'a perfect monastery as an image of the heavenly city of Jerusalem' – Columba wanted to 'represent the pinnacle of Christian virtues, as an example for others to emulate' - rather than explicitly missionary activity. The monks worshipped and worked daily, following Celtic Christianity practices and disciplines. They also managed assets and were involved with the local and wider community.

 

Like other Celtic Christian monasteries, Columba's monastery would have been made up of a number of wattle and timber, or wood and thatch, buildings. These would have included a central church or oratory, the common refectory or kitchen, the library or scriptorium, monk cells or dormitories, and a guest house for visitors including pilgrims. It is believed that around 800AD the original wooden chapel was replaced by a stone chapel.

 

Columba's monastery was surrounded by a ditch and earth bank, part of which is believed to have pre-existed Columba's arrival, and part of which can still be seen to the north west of the current abbey buildings.

 

Adomnán describes a building on a small mound, Torr an Aba, in the monastery grounds where St Columba worked and wrote. Charred wood has been dated from what is believed to be this site, and a socket to hold a cross (which is believed to have been erected later) is visible there.

 

The production of Christian manuscripts, books and annals was an important activity in the Iona monastery. The Chronicle of Ireland incorporated annals compiled on Iona up to about 740. The Book of Kells, an illuminated manuscript, is believed to have been produced by the monks of Iona in the years leading up to 800.

 

Stone crosses, both standing and lying, were used to mark graves in the Iona monastery. Large stone crosses were also erected, perhaps to broadcast key Christian messages, particularly in 800–1000. Their design reflected precious metal crosses. Some were carved from stone imported 50 miles by boat from Loch Sween.

 

Remains of wood-turning and metal-working have been found at Iona, and of glass (windows and beads) that may date from the 7th century.

 

The Iona monastery's position in what was then a well-used seaway would have facilitated trade, as would St Columba's personal aristocratic background. Pigments from the south of France were used in Iona.

 

The Iona Abbey was first attacked by Viking raiders in 795, with subsequent attacks taking place in 802, 806, and 825. During the 806 Viking attack, 68 monks were massacred in Martyrs' Bay, and this led to many of the Columban monks relocating to the new Columban Abbey of Kells in Ireland.

 

The building at Kells took from 807 until the consecration of the church in 814. In 814, Cellach, Abbot of Iona, retired to Kells, but, contrary to what is sometimes claimed, it is clear from the Annals that Iona remained the main Columban house for several decades, despite the danger of Viking raids.

 

In 825, St Blathmac and those monks who remained with him at Iona were martyred in a Viking raid, and the Abbey was burned. But only in 878 were the main relics, with Columba's reliquary shrine specified in the records, moved to Ireland, with Kells becoming the new main Columban house. Though not mentioned, this might well have been when the Book of Kells came to Kells. However, Iona Abbey was probably not deserted as its continued importance is shown by the death there in 980 of Amlaíb Cuarán, a retired King of Dublin.

 

St Columba established several monasteries in Britain and Ireland, although he was mainly based at Iona.

 

Other monks from Iona moved to the Continent, and established monasteries in Belgium, France, and Switzerland.

 

In 1114 Iona was seized by the King of Norway, who held it for fifty years before Somerled recaptured it, and invited renewed Irish involvement in 1164: this led to the construction of the central part of the cathedral. Ranald, Somerled's son, now the Lord of the Isles, in 1203 invited the Benedictine order to establish a new monastery, and an Augustinian Nunnery, on the Columban Monastery's foundations. Building work began on the new abbey church, on the site of Columba's original church. The following year, in 1204, the site was raided by a force led by two Irish bishops. This was a response by Ireland's Columban clergy to the loss of its connections and influence at this significant site founded by St Columba.

 

The Iona Nunnery, a foundation of the Augustinian Order (one of only two in Scotland - the other is in Perth), was established south of the abbey buildings. Graves of some of the early nuns remain, including that of a remarkable prioress, Anna Maclean, who died in 1543. Clearly visible under her outer robe is the rochet, a pleated surplice denoting the Augustinian Order. The nunnery buildings were rebuilt in the fifteenth century and fell into disrepair after the Reformation.

 

The abbey church was substantially expanded in the fifteenth century, but following the Scottish Reformation, Iona along with numerous other abbeys throughout the British Isles were dismantled, and abandoned, their monks and libraries dispersed.

 

In 1899 the Duke of Argyll (the land of good deeds) transferred ownership of the ruined remains of the Abbey and Nunnery sites to the Iona Cathedral Trust, which undertook extensive restoration of the Abbey church. In 1938, the inspiration of Reverend George MacLeod led a group that rebuilt the abbey and founded the Iona Community. The reconstruction was organised by the architect Ian Gordon Lindsay having generously been passed the project by his senior mentor and friend Reginald Fairlie. The surrounding buildings were also reconstructed during the 20th century by the Iona Community. This ecumenical Christian community continues to use the site to this day.

 

The simple square font was added in 1908 and dedicated to the memory of the Very Rev Theodore Marshall DD, Moderator of the General Assembly of the Church of Scotland in that year.

 

In 2000 the Iona Cathedral Trust handed over the care of the Abbey, Nunnery, and associated sites to Historic Scotland.

 

In June 2021, the abbey reopened following a £3.75M renovation, fund-raised by the Iona Community over three years, and including a renewable energy system and high-speed broadband.

 

Iona is a small island in the Inner Hebrides, off the Ross of Mull on the western coast of Scotland. It is mainly known for Iona Abbey, though there are other buildings on the island. Iona Abbey was a centre of Gaelic monasticism for three centuries and is today known for its relative tranquility and natural environment. It is a tourist destination and a place for spiritual retreats. Its modern Scottish Gaelic name means "Iona of (Saint) Columba" (formerly anglicised as "Icolmkill").

 

In 2019, the island's estimated population was 120. Residents engage in farming, using traditional methods. Other occupations include crofting and tourism-related work; some craftsmen make goods for sale locally, such as pottery, tapestries, jewellery and knitted goods. In March 1980, the Hugh Fraser Foundation donated much of the main island (and its off-lying islands) to the current owner, the National Trust for Scotland. The abbey and some church buildings are owned by the Iona Cathedral Trust.

 

One publication, describing the religious significance of the island, says that the island is "known as the birthplace of Celtic Christianity in Scotland,” and notes that “St Columba came here in the year 563 to establish the Abbey, which still stands".

 

Because the Hebrides have been successively occupied by speakers of several languages since the Iron Age, many of its islands’ names have more than one possible meaning. Nonetheless, few, if any, have accumulated as many different names over the centuries as the island now known in English as "Iona".

 

The place-name scholar William J. Watson has shown that the earliest recorded names of the island meant something like "yew-place". The element Ivo-, denoting "yew", occurs in inscriptions in the ogham alphabet (Iva-cattos, Iva-geni) and in Gaulish names (Ivo-rix, Ivo-magus); it may also be the basis of early Gaelic names like Eógan (ogham: Ivo-genos). The island's name may also be related to the name of a mythological figure, Fer hÍ mac Eogabail, the foster-son of Manannán, whose forename meaning "man of the yew".

 

Coates (2006) disputes the "yew" interpretation due to a lack of archeological evidence for yew on the island. Coates instead compares the Punic term ’y ("island, isolated place").

 

Mac an Tàilleir (2003) has analyzed the more recent Gaelic names of Ì, Ì Chaluim Chille and Eilean Idhe. He notes that the name Ì was "generally lengthened to avoid confusion" to Ì Chaluim Chille, which means "Calum's Iona" or "island of Calum's monastery". (“Calum”’s Latinized form is "Columba".) This confusion would have arisen because ì, the original name of the island, would have been confused with the now-obsolete Gaelic noun ì, meaning "island", which was derived from the Old Norse word for island (ey). Eilean Idhe means "the isle of Iona", also known as Ì nam ban bòidheach ("the isle of beautiful women"). The modern English name comes from yet another variant, Ioua, which arose either from Adomnán's 7th-century attempt to make the Gaelic name fit Latin grammar, or spontaneously, as a derivative of Ivova ("yew place"). The change in the island's name from Ioua' to Iona, which is attested from c.1274, resulted from a transcription error due to the similarity of "n" and "u" in Insular Minuscule script.

 

Despite the continuity of forms in Gaelic from the pre-Norse to the post-Norse era, Haswell-Smith (2004) speculates that the island’s name may be connected with the Norse word Hiōe, meaning "island of the den of the brown bear". The medieval English-language version of the name was "Icolmkill" (and variants thereof).

 

Murray (1966) claims that the "ancient" Gaelic name was Innis nan Druinich ("the isle of Druidic hermits"), but there is no evidence for the "ancient" use of such a name before the nineteenth century, when it appears in the New Statistical Account and it may arise from a misunderstanding of the name Cladh nan Druineach, which means 'burial ground of the embroideresses or artificers' – a cemetery on the east shore of the island. He also repeats a Gaelic story (which he admits is apocryphal) that as Columba's coracle first drew close to the island one of his companions cried out "Chì mi i" meaning "I see her" and that Columba's response was "Henceforth we shall call her Ì".

 

The geology of Iona is quite complex given the island's size and quite distinct from that of nearby Mull. About half of the island's bedrock is Scourian gneiss assigned to the Lewisian complex and dating from the Archaean eon making it some of the oldest rock in Britain and indeed Europe. Closely associated with these gneisses are mylonite and meta-anorthosite and melagabbro. Along the eastern coast facing Mull are steeply dipping Neoproterozoic age metaconglomerates, metasandstones, metamudstones and hornfelsed metasiltstones ascribed to the Iona Group, described traditionally as Torridonian. In the southwest and on parts of the west coast are pelites and semipelites of Archaean to Proterozoic age. There are small outcrops of Silurian age pink granite on southeastern beaches, similar to those of the Ross of Mull pluton cross the sound to the east. Numerous geological faults cross the island, many in a E-W or NW-SE alignment. Devonian aged microdiorite dykes are found in places and some of these are themselves cut by Palaeocene age camptonite and monchiquite dykes ascribed to the 'Iona-Ross of Mull dyke swarm’. More recent sedimentary deposits of Quaternary age include both present day beach deposits and raised marine deposits around Iona as well as some restricted areas of blown sand.

 

Iona lies about 2 kilometres (1 mile) from the coast of Mull. It is about 2 km (1 mi) wide and 6 km (4 mi) long with a resident population of 125. Like other places swept by ocean breezes, there are few trees; most of them are near the parish church.

 

Iona's highest point is Dùn Ì, 101 m (331 ft), an Iron Age hill fort dating from 100 BC – AD 200. Iona's geographical features include the Bay at the Back of the Ocean and Càrn Cùl ri Éirinn (the Hill/Cairn of [turning the] Back to Ireland), said to be adjacent to the beach where St. Columba first landed.

 

The main settlement, located at St. Ronan's Bay on the eastern side of the island, is called Baile Mòr and is also known locally as "The Village". The primary school, post office, the island's two hotels, the Bishop's House and the ruins of the Nunnery are here. The Abbey and MacLeod Centre are a short walk to the north. Port Bàn (white port) beach on the west side of the island is home to the Iona Beach Party.

 

There are numerous offshore islets and skerries: Eilean Annraidh (island of storm) and Eilean Chalbha (calf island) to the north, Rèidh Eilean and Stac MhicMhurchaidh to the west and Eilean Mùsimul (mouse holm island) and Soa Island to the south are amongst the largest. The steamer Cathcart Park carrying a cargo of salt from Runcorn to Wick ran aground on Soa on 15 April 1912, the crew of 11 escaping in two boats.

 

On a map of 1874, the following territorial subdivision is indicated (from north to south):

Ceann Tsear (East Head)

Sliabh Meanach (Middle Mountain)

Machar (Low-lying Grassy Plain)

Sliginach (Shelly Area)

Sliabh Siar (Rear Mountain)

Staonaig (Sloping Ground)

 

In the early Historic Period Iona lay within the Gaelic kingdom of Dál Riata, in the region controlled by the Cenél Loairn (i.e. Lorn, as it was then). The island was the site of a highly important monastery (see Iona Abbey) during the Early Middle Ages. The monastery was founded in 563 by the monk Columba, also known as Colm Cille, who sailed here from Ireland to live the monastic life. Much later legends (a thousand years later, and without any good evidence) said that he had been exiled from his native Ireland as a result of his involvement in the Battle of Cul Dreimhne. Columba and twelve companions went into exile on Iona and founded a monastery there. The monastery was hugely successful, and may have played a role in the conversion to Christianity of the Picts and Gaels of present-day Scotland in the late 6th century, and was certainly central to the conversion of the Anglo-Saxon kingdom of Northumbria in 635. Many satellite institutions were founded, and Iona became the centre of one of the most important monastic systems in Great Britain and Ireland.

 

Iona became a renowned centre of learning, and its scriptorium produced highly important documents, probably including the original texts of the Iona Chronicle, thought to be the source for the early Irish annals. The monastery is often associated with the distinctive practices and traditions known as Celtic Christianity. In particular, Iona was a major supporter of the "Celtic" system for calculating the date of Easter at the time of the Easter controversy, which pitted supporters of the Celtic system against those favoring the "Roman" system used elsewhere in Western Christianity. The controversy weakened Iona's ties to Northumbria, which adopted the Roman system at the Synod of Whitby in 664, and to Pictland, which followed suit in the early 8th century. Iona itself did not adopt the Roman system until 715, according to the Anglo-Saxon historian Bede. Iona's prominence was further diminished over the next centuries as a result of Viking raids and the rise of other powerful monasteries in the system, such as the Abbey of Kells.

 

The Book of Kells may have been produced or begun on Iona towards the end of the 8th century. Around this time the island's exemplary high crosses were sculpted; these may be the first such crosses to contain the ring around the intersection that became characteristic of the "Celtic cross". The series of Viking raids on Iona began in 794 and, after its treasures had been plundered many times, Columba's relics were removed and divided two ways between Scotland and Ireland in 849 as the monastery was abandoned.

 

As the Norse domination of the west coast of Scotland advanced, Iona became part of the Kingdom of the Isles. The Norse Rex plurimarum insularum Amlaíb Cuarán died in 980 or 981 whilst in "religious retirement" on Iona. Nonetheless, the island was sacked twice by his successors, on Christmas night 986 and again in 987. Although Iona was never again important to Ireland, it rose to prominence once more in Scotland following the establishment of the Kingdom of Scotland in the later 9th century; the ruling dynasty of Scotland traced its origin to Iona, and the island thus became an important spiritual centre for the new kingdom, with many of its early kings buried there. However, a campaign by Magnus Barelegs led to the formal acknowledgement of Norwegian control of Argyll, in 1098.

 

Somerled, the brother-in-law of Norway's governor of the region (the King of the Isles), launched a revolt, and made the kingdom independent. A convent for Augustinian nuns was established in about 1208, with Bethóc, Somerled's daughter, as first prioress. The present buildings are of the Benedictine abbey, Iona Abbey, from about 1203, dissolved at the Reformation.

 

On Somerled's death, nominal Norwegian overlordship of the Kingdom was re-established, but de facto control was split between Somerled's sons, and his brother-in-law.

 

Following the 1266 Treaty of Perth the Hebrides were transferred from Norwegian to Scottish overlordship. At the end of the century, King John Balliol was challenged for the throne by Robert the Bruce. By this point, Somerled's descendants had split into three groups, the MacRory, MacDougalls, and MacDonalds. The MacDougalls backed Balliol, so when he was defeated by de Bruys, the latter exiled the MacDougalls and transferred their island territories to the MacDonalds; by marrying the heir of the MacRorys, the heir of the MacDonalds re-unified most of Somerled's realm, creating the Lordship of the Isles, under nominal Scottish authority. Iona, which had been a MacDougall territory (together with the rest of Lorn), was given to the Campbells, where it remained for half a century.

 

In 1354, though in exile and without control of his ancestral lands, John, the MacDougall heir, quitclaimed any rights he had over Mull and Iona to the Lord of the Isles (though this had no meaningful effect at the time). When Robert's son, David II, became king, he spent some time in English captivity; following his release, in 1357, he restored MacDougall authority over Lorn. The 1354 quitclaim, which seems to have been an attempt to ensure peace in just such an eventuality, took automatic effect, splitting Mull and Iona from Lorn, and making it subject to the Lordship of the Isles. Iona remained part of the Lordship of the Isles for the next century and a half.

 

Following the 1491 Raid on Ross, the Lordship of the Isles was dismantled, and Scotland gained full control of Iona for the second time. The monastery and nunnery continued to be active until the Reformation, when buildings were demolished and all but three of the 360 carved crosses destroyed. The Augustine nunnery now only survives as a number of 13th century ruins, including a church and cloister. By the 1760s little more of the nunnery remained standing than at present, though it is the most complete remnant of a medieval nunnery in Scotland.

 

After a visit in 1773, the English writer Samuel Johnson remarked:

 

The island, which was once the metropolis of learning and piety, now has no school for education, nor temple for worship.

He estimated the population of the village at 70 families or perhaps 350 inhabitants.

 

In the 19th century green-streaked marble was commercially mined in the south-east of Iona; the quarry and machinery survive, see 'Marble Quarry remains' below.

 

Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Iona Abbey, now an ecumenical church, is of particular historical and religious interest to pilgrims and visitors alike. It is the most elaborate and best-preserved ecclesiastical building surviving from the Middle Ages in the Western Isles of Scotland. Though modest in scale in comparison to medieval abbeys elsewhere in Western Europe, it has a wealth of fine architectural detail, and monuments of many periods. The 8th Duke of Argyll presented the sacred buildings and sites of the island to the Iona Cathedral trust in 1899. Historic Environment Scotland also recommends visiting the Augustinian nunnery, "the most complete nunnery complex to survive in Scotland". It was founded at the same time as the Abbey; many ruins from the 14th century are visible. The nunnery declined after the Scottish Reformation but was still used as a burial place for women.

 

In front of the Abbey stands the 9th-century St Martin's Cross, one of the best-preserved Celtic crosses in the British Isles, and a replica of the 8th-century St John's Cross (original fragments in the Abbey museum).

 

The ancient burial ground, called the Rèilig Odhrain (Eng: Oran's "burial place" or "cemetery"), contains the 12th-century chapel of St Odhrán (said to be Columba's uncle), restored at the same time as the Abbey itself. It contains a number of medieval grave monuments. The abbey graveyard is said to contain the graves of many early Scottish Kings, as well as Norse kings from Ireland and Norway. Iona became the burial site for the kings of Dál Riata and their successors. Notable burials there include:

 

Cináed mac Ailpín, king of the Picts (also known today as "Kenneth I of Scotland")

Domnall mac Causantín, alternatively "king of the Picts" or "king of Scotland" ("Donald II")

Máel Coluim mac Domnaill, king of Scotland ("Malcolm I")

Donnchad mac Crínáin, king of Scotland ("Duncan I")

Mac Bethad mac Findlaích, king of Scotland ("Macbeth")

Domnall mac Donnchada, king of Scotland ("Donald III")

John Smith, Labour Party Leader

 

In 1549 an inventory of 48 Scottish, 8 Norwegian and 4 Irish kings was recorded. None of these graves are now identifiable (their inscriptions were reported to have worn away at the end of the 17th century). Saint Baithin and Saint Failbhe may also be buried on the island. The Abbey graveyard is also the final resting place of John Smith, the former Labour Party leader, who loved Iona. His grave is marked with an epitaph quoting Alexander Pope: "An honest man's the noblest work of God".

 

Limited archaeological investigations commissioned by the National Trust for Scotland found some evidence for ancient burials in 2013. The excavations, conducted in the area of Martyrs Bay, revealed burials from the 6th–8th centuries, probably jumbled up and reburied in the 13–15th centuries.

 

Other early Christian and medieval monuments have been removed for preservation to the cloister arcade of the Abbey, and the Abbey museum (in the medieval infirmary). The ancient buildings of Iona Abbey are now cared for by Historic Environment Scotland (there is an entrance charge to visit them).

 

The remains of a marble quarrying enterprise are present in a small bay on the south-east shore of Iona. The quarry is the source of 'Iona Marble', a translucent green and white stone, much used in brooches and other jewellery. The stone has been known of for centuries and was credited with healing and other powers. While the quarry had been used in a small way, it was not until around the end of the 18th century when it was opened up on a more industrial scale by the Duke of Argyle. The difficulties of extracting the hard stone and transporting it meant that the scheme was short lived. Another attempt was started in 1907, this time more successful with considerable quantities of stone extracted and indeed exported. The First World War impacted the quarry, with little quarrying after 1914 and the operation finally closed in 1919. A painting showing the quarry in operation, The Marble Quarry, Iona (1909) by David Young Cameron, is in the collection of Cartwright Hall art gallery in Bradford. The site has been designated as a Scheduled Ancient Monument.

 

The island, other than the land owned by the Iona Cathedral Trust, was purchased from the Duke of Argyll by Hugh Fraser in 1979 and donated to the National Trust for Scotland. In 2001 Iona's population was 125 and by the time of the 2011 census this had grown to 177 usual residents. During the same period Scottish island populations as a whole grew by 4% to 103,702. The estimated permanent population in 2020 was 120.

 

The island's tourism bureau estimated that roughly 130,000 visitors arrived each year. Many tourists come to visit the Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Not to be confused with the local island community, Iona (Abbey) Community is based within Iona Abbey.

 

In 1938 George MacLeod founded the Iona Community, an ecumenical Christian community of men and women from different walks of life and different traditions in the Christian church committed to seeking new ways of living the Gospel of Jesus in today's world. This community is a leading force in the present Celtic Christian revival.

 

The Iona Community runs three residential centres on the Isle of Iona and on Mull, where one can live together in community with people of every background from all over the world. Weeks at the centres often follow a programme related to the concerns of the Iona Community.

 

The 8 tonne Fallen Christ sculpture by Ronald Rae was permanently situated outside the MacLeod Centre in February 2008.

 

Visitors can reach Iona by the 10-minute ferry trip across the Sound of Iona from Fionnphort on Mull. The most common route from the mainland is via Oban in Argyll and Bute, where regular ferries connect to Craignure on Mull, from where the scenic road runs 37 miles (60 kilometres) to Fionnphort. Tourist coaches and local bus services meet the ferries.

 

Car ownership is lightly regulated, with no requirement for a MOT Certificate or payment of Road Tax for cars kept permanently on the island, but vehicular access is restricted to permanent residents and there are few cars. Visitors are not allowed to bring vehicles onto the island although "blue badge holders with restricted mobility ... may apply for a permit under certain exemptions". Visitors will find the village, the shops, the post office, the cafe, the hotels and the abbey are all within walking distance. Bike hire is available at the pier, and on Mull. Taxi service is also available.

 

Conde Nast Traveller recommends the island for its "peaceful atmosphere ... a popular place for spiritual retreats" but also recommends the "sandy beaches, cliffs, rocks, fields and bogs ... "wildflowers and birds such as the rare corncrake and puffins" as well as the "abundance of sea life".

 

The Iona Council advises visitors that they can find a campsite (at Cnoc Oran), a hostel (at Lagandorain), family run bed and breakfasts, and two hotels on the island in addition to several self-catering houses. The agency also mentions that distances are short, with the Abbey a mere 10 minutes’ walk from the pier. Tourists can rent bikes or use the local taxi.

 

The island of Iona has played an important role in Scottish landscape painting, especially during the Twentieth Century. As travel to north and west Scotland became easier from the mid C18 on, artists' visits to the island steadily increased. The Abbey remains in particular became frequently recorded during this early period. Many of the artists are listed and illustrated in the valuable book, Iona Portrayed – The Island through Artists' Eyes 1760–1960, which lists over 170 artists known to have painted on the island.

 

The C20 however saw the greatest period of influence on landscape painting, in particular through the many paintings of the island produced by F C B Cadell and S J Peploe, two of the ‘Scottish Colourists’. As with many artists, both professional and amateur, they were attracted by the unique quality of light, the white sandy beaches, the aquamarine colours of the sea and the landscape of rich greens and rocky outcrops. While Cadell and Peploe are perhaps best known, many major Scottish painters of the C20 worked on Iona and visited many times – for example George Houston, D Y Cameron, James Shearer, John Duncan and John Maclauchlan Milne, among many.

 

Samuel Johnson wrote "That man is little to be envied whose patriotism would not gain force upon the plains of Marathon, or whose piety would not grow warmer amid the ruins of Iona."

 

In Jules Verne's novel The Green Ray, the heroes visit Iona in chapters 13 to 16. The inspiration is romantic, the ruins of the island are conducive to daydreaming. The young heroine, Helena Campbell, argues that Scotland in general and Iona in particular are the scene of the appearance of goblins and other familiar demons.

 

In Jean Raspail's novel The Fisherman's Ring (1995), his cardinal is one of the last to support the antipope Benedict XIII and his successors.

 

In the novel The Carved Stone (by Guillaume Prévost), the young Samuel Faulkner is projected in time as he searches for his father and lands on Iona in the year 800, then threatened by the Vikings.

 

"Peace of Iona" is a song written by Mike Scott that appears on the studio album Universal Hall and on the live recording Karma to Burn by The Waterboys. Iona is the setting for the song "Oran" on the 1997 Steve McDonald album Stone of Destiny.

 

Kenneth C. Steven published an anthology of poetry entitled Iona: Poems in 2000 inspired by his association with the island and the surrounding area.

 

Iona is featured prominently in the first episode ("By the Skin of Our Teeth") of the celebrated arts series Civilisation: A Personal View by Kenneth Clark (1969).

 

Iona is the setting of Jeanne M. Dams' Dorothy Martin mystery Holy Terror of the Hebrides (1998).

 

The Academy Award–nominated Irish animated film The Secret of Kells is about the creation of the Book of Kells. One of the characters, Brother Aidan, is a master illuminator from Iona Abbey who had helped to illustrate the Book, but had to escape the island with it during a Viking invasion.

 

Frances Macdonald the contemporary Scottish artist based in Crinian, Argyll, regularly paints landscapes on Iona.

 

Neil Gaiman's poem "In Relig Odhrain", published in Trigger Warning: Short Fictions and Disturbances (2015), retells the story of Oran's death, and the creation of the chapel on Iona. This poem was made into a short stop-motion animated film, released in 2019.

 

Iona's local golf course was featured on Season 7's Adventure's in Golf by documentary filmmaker, Erik Anders Lang.

Italian postcard by Ed. Vettori, Bologna, no. 217. Photo: Civirani, Roma.

 

Mary Bayma-Riva (?-?) was an actress of Italian silent cinema of the 1910s and early 1920s, acting at companies such as Gloria and Floreal Film in films like Florette et Patapon (1913) and Il pastor fido (1918).

 

After a brief contact with the short-lived Torino Films in 1912, in 1913 Mary Bayma-Riva entered the Gloria company in Turin. Here she acted in major roles as in the comedy of misunderstandings Florette e Patapon (Mario Caserini, 1913), based on the popular boulevard comedy by Hennequin and Veber. Bayma played Clara, the fiancee of the secretary Giuliano Barbet (Camillo De Riso). The comedy, which also had Maria Caserini, Lydia Quaranta, Gentile Miotti, Vittorio Rossi-Pianelli, and Mario Bonnard amongst its main actors, was a giant success in Italy and abroad. The success of the little, rotund De Riso inspired him to start directing comedies, e.g. the farce Sonnambulismo (1913), in which he is wild about his maid (Bayma-Riva), but his wife takes revenge. Bayma-Riva then did one film, Jack (Eugenio Testa, 1913) at Isis Film, before returning to Gloria until mid-1914. She then moved to Psiche Film for parts in Le avventure del barone di Münchhausen (Paolo Azzurri, 1914) and Rose fatali (Attilio D'Anversa, 1914). From 1915 Bayma-Riva acted for several years at Floreal Film, even she alternated with films at other companies (Megale Film, Polifilms, Lombardo Film, etc.). At Floreal, she played e.g the title characters in La principessa Nadina (Elio Gioppo, 1915) and in Astrid (Alberto Carlo Lolli, 1917), while she acted opposite Annibale Ninchi in Il pastor fido (Telemaco Ruggeri, 1918) and Le mariage de Chiffon (Lolli, 1918). The former was based on a classic Arcadian drama (1590) by Giovan Battista Guarini about a shepherd, Mirtillo, who sacrifices himself when his beloved Amarilli is condemned to death. The latter was a turn of the century romance about a teenage girl torn between a planned marriage to a much older military officer and her unacknowledged love for her uncle, an aviation pioneer. Bayma-Riva's last role at Floreal was that of the title character in Francesca da Rimini (Carlo Dalbani, Mario Volpe, 1922). She then married the director Guido Parisch and withdrew from the film world.

 

Sources: IMDb. Aldo Bernardini/Vittorio Martinelli, Il cinema muto italiano. Aldo Bernardini, Cinema muto italiano protagonisti.

Best viewed LARGE on Black: bighugelabs.com/onblack.php?id=7029018263&size=large&...

 

"Pinus palustris, commonly known as the Longleaf Pine, is a pine native to the southeastern United States, found along the coastal plain from eastern Texas to southeast Virginia extending into northern and central Florida. It reaches a height of 30–35 m (98–115 ft) and a diameter of 0.7 m (28 in). In the past, they reportedly grew to 47 m (154 ft) with a diameter of 1.2 m (47 in).

 

The bark is thick, reddish-brown, and scaly. The leaves are dark green, needle-like, and occur in bundles of three. They often are twisted and remarkably long 20–45 cm (7.9–18 in) in length. It is one of the two southeastern U.S. pines with long needles, the other being Slash Pine.

 

Longleaf Pine takes 100 to 150 years to become full size and may live to 500 years old. When young, they grow a long taproot, which usually is 2–3 m (6.6–9.8 ft) long; by maturity they have a wide spreading lateral root system with several deep 'sinker' roots. It grows on well-drained, usually sandy soil, often in pure stands. In northern Alabama, it sometimes occurs on clay soil. The scientific name meaning, "of marshes," is a misunderstanding on the part of Philip Miller who described the species, after seeing Longleaf Pine forests with temporary winter flooding.

 

Longleaf Pine is highly resistant to fire. Periodic natural wildfire selects for this species by killing other trees, leading to open Longleaf Pine forests or savannas. New seedlings do not appear at all tree-like and resemble a green fountain of needles. This form is called the grass stage. During this stage, which lasts for 5–12 years, vertical growth is very slow, and the tree may take a number of years simply to grow ankle-high. After that it makes a growth spurt, especially if there is no tree canopy above it. In the grass stage, it is very resistant to grass fires, which burn off the ends of the needles, but the fire cannot penetrate the tightly-packed needle bases to reach the bud. While relatively immune to fire, at this stage, the plant is quite appealing to feral pigs, and the early settlers habit of releasing swine into the woodlands to feed was greatly responsible for the decline of the species.

 

Longleaf Pine forests are rich in biodiversity. The Red-cockaded Woodpecker is dependent on Longleaf Pine forests, and is now endangered as a result of this decline. Longleaf Pines seeds are large and nutritious, forming a significant food source for birds (notably the Brown-headed Nuthatch) and other wildlife.

 

Before European settlement, the Longleaf Pine pine forest dominated as much as 90,000,000 acres stretching from Virginia south to Florida and west to eastern Texas. Its range was defined by the frequent widespread fires that occurred throughout the southeast. In the late 19th century, these virgin timber stands were "among the most sought after timber trees in the country." This rich ecosystem now has been relegated to less than 5% of its pre-settlement range due to clear cutting practices:

 

As they stripped the woods of their trees, loggers left mounds of flammable debris that frequently fueled catastrophic fires, destroying both the remaining trees and seedlings. The exposed earth left behind by clear cutting operations was highly susceptible to erosion, and nutrients were washed from the already porous soils. This further destroyed the natural seeding process. At the peak of the timber cutting in the 1890s and the first decade of the new century, the longleaf pine forests of the Sandhills were providing millions of board feet of timber each year. The timber cutters gradually moved across the South; by the 1920s, most of the “limitless” virgin longleaf pine forests were gone.

 

'In "pine barrens" most of the day. Low, level, sandy tracts; the pines wide apart; the sunny spaces between full of beautiful abounding grasses, liatris, long, wand-like solidago, saw palmettos, etc., covering the ground in garden style. Here I sauntered in delightful freedom, meeting none of the cat-clawed vines, or shrubs, of the alluvial bottoms.' - John Muir

 

Efforts are being made to restore Longleaf Pine ecosystems within its natural range. Some groups such as the Longleaf Alliance are actively promoting research, education, and management of the Longleaf Pine.

 

en.wikipedia.org/wiki/Pinus_palustris

   

...

African bush elephants crossing the Sabie

 

Afrikanische Elefanten überqueren den Sabie

 

Kruger National Park is one of the largest game reserves in Africa. It covers an area of 19,485 km2 (7,523 sq mi) in the provinces of Limpopo and Mpumalanga in northeastern South Africa, and extends 360 km (220 mi) from north to south and 65 km (40 mi) from east to west. The administrative headquarters are in Skukuza. Areas of the park were first protected by the government of the South African Republic in 1898, and it became South Africa's first national park in 1926.

 

To the west and south of the Kruger National Park are the two South African provinces of Limpopo and Mpumalanga. In the north is Zimbabwe, and to the east is Mozambique. It is now part of the Great Limpopo Transfrontier Park, a peace park that links Kruger National Park with the Gonarezhou National Park in Zimbabwe, and with the Limpopo National Park in Mozambique.

 

The park is part of the Kruger to Canyons Biosphere an area designated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as an International Man and Biosphere Reserve (the "Biosphere").

 

The park has nine main gates allowing entrance to the different camps.

 

(Wikipedia)

 

Name

 

African Elephant or African Bush Elephant [Loxodonta africana]

 

Introduction

 

The Elephant is the world's largest land mammal, and weighs up to 7 tonnes and reaches heights of 3.3 m at the shoulder. Elephants can live to a potential age of 70 years. The massive tusks of older bulls can weigh up to 50 or 60 kilograms, but tusks weighing up to 90 kilograms have been recorded.

 

Appearance

 

What is the trunk and what is it used for?

The Elephant's trunk is a modified nose which is very sensitive and can even detect water under ground. There are as many as 50 000 muscles in an Elephant trunk. The sensitive finger-like appendages at the tip of the trunk enables them to pick the smallest twig or flower, pull the toughest reed of grass or even pick out a thorn from their feet.

 

Do elephants have knees or elbows?

 

The joints that are perceived as 'knees', are in fact wrists. This is a common misunderstanding due to the belief that a leg joint that bends between the foot and the body must be a knee. The main difference between us and the elephants is that our foot bones and hand bones are separate, whereas those of the elephant are one in the same, and have evolved to suit this four-legged mammal.

 

Why do elephants have tusks?

 

The tusks are used for obtaining food, fighting (amongst males) and for self defence. They are actually their upper incisors, and grow continuously until they die at around 60 years old. Although their skin is up to 3cm (1 inch) thick, it is quite sensitive.

 

Diet

 

Elephants are voracious feeders which in a day consume up to 272 kg (600 pounds) of grass, tender shoots and bark from trees. An adult Elephant can drink up to 200 litres of water in a single session. A single Elephant deposits up to 150kg (330 pounds) of dung every day - about one dollop every 15 minutes!

 

Breeding

 

African Elephant are not seasonal breeders. Generally they produce one calf every 3 to 4 years. The gestation period is about 22 months. At birth calves weigh about 100 kg (220 pounds) and are fully weaned between 18-24 months. An orphaned calf will usually be adopted by one of the family's lactating females or suckled by various females. Elephants are very attentive mothers, and because most Elephant behavior has to be learned, they keep their offspring with them for many years. Tusks erupt at 16 months but do not show externally until 30 months. Once weaned, usually at age 4 or 5, the calf still remains in the maternal group. Females mature at about 11 years and stay in the group, while the males, which mature between 12 and 15, are usually expelled from the maternal herd. Even though these young males are sexually mature, they do not breed until they are in their mid, or late 20s or even older and have moved up in the social hierarchy.

 

Behaviour

 

Mature males form bachelor groups and become solitary bulls. Elephant form strong family units of cows, calves and young offspring. Such herds are always led by an old female. Apart from drinking large quantities of water they also love wading or swimming in it. Elephants clearly relish mud baths.

It was once thought that family groups were led by old bull elephants, but these males are most often solitary. The female family groups are often visited by mature males checking for females in oestrus. Several interrelated family groups may inhabit an area and know each other well.

 

How do you tell an elephant's mock charge from a serious one?

 

It is imperative to keep in mind that Elephant are extremely intelligent, and each individual has a distinct character. Although there will be exceptions to the rules, the common signs of a mock charge are bush-bashing, dust-throwing, trumpeting and other vocalizations, open ears and an intimidating presence, can be considered a mock-display. Aggressive or startled elephants usually make sudden headshakes and flap their large ears against their head. Serious charges usually occur after all attempts to intimidate have failed, and the Elephant feels threatened. The ears are pinned back and head and trunk are lowered. Ultimately, the key lies in the intelligence of the animal and how they will react to the 'target' and unfamiliar actions, and a conscious decision is made.

 

Why do elephants rhythmically flap their ears?

 

Contrary to common belief, it is not an expression of anger. Being an animal of such a large size, with no sweat glands and a dark body colour, elephants flap their ears to cool the body and rid themselves of irritating insects.

 

Where are they found?

 

Once ranging across most of Africa the Elephant population has declined dramatically across the continent. In South Africa the Addo Elephant and Kruger National Park protect large herds. Due to rigorous conservation measures the Elephant population in South Africa has grown from a estimated 120 in 1920 in 4 locations, to 10 000 at 40 locations to date.

 

Notes

 

The African Elephant has recently been classified into two separate species, the more common African Bush Elephant [Loxodonta Africana] and the smaller African Forest Elephant [Loxodonta cyclotis] of the rainforest of Central Africa.

 

(krugerpark.co.za)

 

(Wikipedia)

 

Der Kruger-Nationalpark (deutsch häufig falsch Krüger-Nationalpark) ist das größte Wildschutzgebiet Südafrikas. Er liegt im Nordosten des Landes in der Landschaft des Lowveld auf dem Gebiet der Provinz Limpopo sowie des östlichen Abschnitts von Mpumalanga. Seine Fläche erstreckt sich vom Crocodile-River im Süden bis zum Limpopo, dem Grenzfluss zu Simbabwe, im Norden. Die Nord-Süd-Ausdehnung beträgt etwa 350 km, in Ost-West-Richtung ist der Park durchschnittlich 54 km breit und umfasst eine Fläche von rund 20.000 Quadratkilometern. Damit gehört er zu den größten Nationalparks in Afrika.

 

Das Schutzgebiet wurde am 26. März 1898 unter dem Präsidenten Paul Kruger als Sabie Game Reserve zum Schutz der Wildnis gegründet. 1926 erhielt das Gebiet den Status Nationalpark und wurde in seinen heutigen Namen umbenannt. Im Park leben 147 Säugetierarten inklusive der „Big Five“, außerdem etwa 507 Vogelarten und 114 Reptilienarten, 49 Fischarten und 34 Amphibienarten.

 

(Wikipedia)

 

Der Afrikanische Elefant (Loxodonta africana), auch Afrikanischer Steppenelefant oder Afrikanischer Buschelefant, ist eine Art aus der Familie der Elefanten. Er ist das größte gegenwärtig lebende Landsäugetier und gleichzeitig das größte rezente landbewohnende Tier der Erde. Herausragende Kennzeichen sind neben den Stoßzähnen und dem markanten Rüssel die großen Ohren und die säulenförmigen Beine. In zahlreichen morphologischen und anatomischen Merkmalen unterscheidet sich der Afrikanische Elefant von seinen etwas kleineren Verwandten, dem Waldelefanten und dem Asiatischen Elefanten. Das Verbreitungsgebiet umfasst heute große Teile von Afrika südlich der Sahara. Die Tiere haben sich dort an zahlreiche unterschiedliche Lebensräume angepasst, die von geschlossenen Wäldern über offene Savannenlandschaften bis hin zu Sumpfgebieten und wüstenartigen Regionen reichen. Insgesamt ist das Vorkommen aber stark fragmentiert.

 

Die Lebensweise des Afrikanischen Elefanten ist durch intensive Studien gut erforscht. Sie wird durch einen stark sozialen Charakter geprägt. Weibliche Tiere und ihr Nachwuchs leben in Familienverbänden (Herden). Diese formieren sich wiederum zu einem enger verwandten Clan. Die einzelnen Herden treffen sich zu bestimmten Gelegenheiten und trennen sich danach wieder. Die männlichen Tiere bilden Junggesellengruppen. Die verschiedenen Verbände nutzen Aktionsräume, in denen sie teils im Jahreszyklus herumwandern. Für die Kommunikation untereinander nutzen die Tiere verschiedene Töne im niedrigen Frequenzbereich. Anhand der Lautgebung, aber auch durch bestimmte chemische Signale können sich die einzelnen Individuen untereinander erkennen. Darüber hinaus besteht ein umfangreiches Repertoire an Gesten. Hervorzuheben sind auch die kognitiven Fähigkeiten des Afrikanischen Elefanten.

 

Die Nahrung besteht sowohl aus weicher wie auch harter Pflanzenkost. Die genaue Zusammensetzung variiert dabei regional und jahreszeitlich. Generell verbringt der Afrikanische Elefant einen großen Teil seiner Tagesaktivitäten mit der Nahrungsaufnahme. Die Fortpflanzung erfolgt ganzjährig, regional gibt es Tendenzen zu einer stärkeren Saisonalisierung. Bullen kommen einmal jährlich in die Musth, während deren sie auf Wanderung zur Suche nach fortpflanzungswilligen Kühen gehen. Während der Musth ist die Aggressivität gesteigert, es finden dann auch Rivalenkämpfe statt. Der Sexualzyklus der Kühe dauert vergleichsweise lange und weist einen für Säugetiere untypischen Verlauf auf. Nach erfolgter Geburt setzt er in der Regel mehrere Jahre aus. Zumeist wird nach fast zweijähriger Tragzeit ein Jungtier geboren, das in der mütterlichen Herde aufwächst. Junge weibliche Tiere verbleiben später in der Herde, die jungen männlichen verlassen diese.

 

Die wissenschaftliche Erstbeschreibung des Afrikanischen Elefanten erfolgte im Jahr 1797 mit einer formalen artlichen Trennung des Afrikanischen vom Asiatischen Elefanten. Der heute gebräuchliche Gattungsname Loxodonta wurde offiziell erst dreißig Jahre später eingeführt. Die Bezeichnung bezieht sich auf markante Zahnunterschiede zwischen den asiatischen und den afrikanischen Elefanten. Im Verlauf des 20. Jahrhunderts wurden mehrere Unterarten unterschieden, darunter auch der Waldelefant des zentralen Afrikas. Letzterer gilt heute genetischen Untersuchungen zufolge als eigenständige Art, die weiteren Unterarten sind nicht anerkannt. Stammesgeschichtlich lässt sich der Afrikanische Elefant erstmals im beginnenden Mittleren Pleistozän belegen. Der Gesamtbestand gilt als gefährdet. Ursachen hierfür sind hauptsächlich die Jagd nach Elfenbein und Lebensraumverlust durch die zunehmend wachsende menschliche Bevölkerung. Der Afrikanische Elefant zählt zu den sogenannten „Big Five“ von Großwildjagd und Safari.

 

(Wikipedia)

Sometimes military tactical blunders are the result of poor communication...other times...well, this is the 916th Wall Locker Repair and Replacement Company.

Vader: No, you idiot...I did not say 'you have permission to ARM the local population.' I said 'YOU HAVE PERMISSION TO HARM THE LOCAL POPULATION!!!'

Copyright © 2013 by Ian J MacDonald. Permission required for any use. All rights reserved

 

Pen and ink on paper

 

This scene sets to evoke the impromptu, rustic countryside feel of a minor festival. I do not know what this holiday might be, nor do I know the season - fall or spring or summer - but I imagine that festivals and rites were not as formalized or centralized as we think of today. Although there are commonalities (at least archeologically speaking) between many Celtic people and there were certainly shared values it did not have a central ruling authority. Ancient writings suggest that learned men met periodically to discuss pertinent issues and make rulings, but ultimately the local leader went back to his people and made rulings. It is not clear how binding those rules were either.

 

There were certainly some broad rituals and sayings that joined Celts together (although I do not think they had a cohesive self identity as Celts). Aside from the main deities local areas, in such extreme isolation, had very local flavors of deities, rituals, lore and iconography strongly flavored by the local conditions. It is hard to understand the level of isolation these people must have known. Most people probably never left their village, and while they might have understood there were others like them off in the distances, the average person probably did not meet anyone who wasn't part of a local family. Thus many of these people lived for generations in isolation. It was be silly to think that there wasn't village to village variance in culture, language, and religion.

 

Religion was also likely inextricably interwoven into grind of daily life. From farming to hunting to metal work to caring for children to eating etc... religion was so ingrained that no one could imagine it not being. IN the iron age life was tough and short and in lack of scientific knowledge or any real control of the environment religion was as reasonable a way as any to try to ensure a better life.

 

On a good festival day I imagine that the gathering begins somewhat haphazardly, when all the work is done. There were no clocks very little artificial light, so life had to move with the rhythms of sunrise and sunset and feelings weather, abundance or scarcity, health and sickness, and human feelings. The place may have current religious. I think of the Southern German countryside which is dotted with crosses with little shelters over them. Many were erected to commemorate the death of someone, such as a farmer that had been struck by lightning, others were erected to give thanks for prosperity and many were erected for reasons now unknown. The places may be a cemetery or may have meanings meanings lost in time. They may have adapted a place that earlier cultures considered holy.

 

I try to avoid the stereotype of the Celts ad drunken brutes, but archeology shows that they did consume copious amounts of wine and alcohol. The Romans (although they too could drink heavily as well) highlighted their machismo and alcohol-fueled bravado, Archeology shows that huge numbers of wine amphorae were imported into Cletic lands and so likely they is a kernel of truth in this behavior, especially amongst the warriors and leaders.

 

Food and wine might have arrived as people gravitated to the gathering. Perhaps there was a fresh animal slaughtered to share. Finally I imagine the party went on until the last person finally passed out and then late the following day life began again.

 

Sacred Places

Archeology and ancient sources suggest that the ancient Celts revered certain natural places. These were perhaps regarded as places that connected the living world to that of gods, the underworld, the dead, or were places with healing properties such as hot springs.

 

I have been fascinated by this subject for years and have devoured many books about the archeology and culture of these people. However I am also always left with a feeling that the artifacts and studies are sterile and out of context. This isn't to imply that there is anything missing in modern archeology, in fact the goal is to reconstruct and understand the past as fully as possible. Barry Cunliffe, in his books about the ancient Celts suggests that the they didn't make art for art's sake. In "The Ancient Celts" he shows a pair of forged fire dogs with bull's heads on them and profoundly relates that this imagery was not merely artistic but had meaning to them that was as obvious as modern religious symbols would mean to us - the crucifix for example. I can imagine archeologists thousands of years in the future unearthing a richly adorned crucifix, without an image of Christ on it and concluding that it is an artistic pair of crossed sticks - but having no idea of the extensive body of meaning implied by that crucifix. This is what I mean when I say the artifacts seem sterile and out of context.

 

In these pictures I am attempting to mentally recreate their world and see it as much as is possible in the eyes of the ancient people. This is naturally impossible since as time marches on our knowledge and control of the world has grown far beyond what they could have ever imagined. Like a genie, new knowledge cannot be un-discovered, as many people wish could happen.

 

The world in pre-Roman and pre-Christian eras was a small, uncertain and a violent place. Diseases, disasters, invading bands and armies came seemingly out of nowhere and struck ferociously. Knowledge has provided us an unparallelled amount of certainty in our lives, but until recently a spate of bad weather could mean mass starvation - something that still occurs in places in the modern world. I religions probably arise formed from our insatiable desire to connect events with reason. Coupled with the ability to have abstract thought this powerful adaptation has made humans one of the most powerful forces on earth.

 

Religions provided some explanation and feeling of control over the world. Some authors have noted connections between ancient Indo-European religions originating in India and Iran, that are often nowadays associated with Yoga and meditation. I often see the Gundestrup cauldron held up as an example as their is a horned deity, similar to depictions of Cunernos,sitting in the lotus position, possibly meditating and holding a torc and snake - a symbol also associated with Eastern religions. It seems plausible to me that many tenets of European religions could have originated from ancient Indo-European society, but I hesitate to take this comparison too far as meditation and quiet introspection are features of many religions including Christianity. Christianity similarly contains elements of many ancient Pagan religions but it is only murky shadows of them. Besides we really have no firsthand description of even the most basic tenets of their religions, only reconstructions based on archeology and some ancient writings which contain considerable amounts of bias and misunderstanding. I believe the local conditions and experiences shaped their religions which would account for the huge variety of deities that have been uncovered through archeology.

 

As a reflection of the world around them, Celtic deities appear to be fearsome beings with fickle personalities. We'll never know for sure, but forgiveness and fairness do not seem to be their main attributes. A personal relationship with the deities also does not appear to be likely either. These were deities that affected the world and meted out harsh retribution for...tbc

 

Care must be used when using the word "natural" as it comes loaded with modern implications. Natural means things that occurred naturally such springs, bogs water bodies, mountains, caves etc... In modern parlance "natural" means closer to the land, organic, environmentally aware and so on. This modern meaning of natural cannot be applied to the ancient Celts as the whole world was "natural" and everyone was more connected to the land and weather and the cycles of nature as a means of survival. There was no other alternative to that world. Imposing the modern meaning on them reduces them to the stereotypical "noble savage" or barbarians just as the ancient Roman writers often did intentionally (e.g. Caesar ) or not (e.g. Pliny and Tacitus).

 

In these pictures I have tried to get into the head of the ancient Celts and depict their holy places without relying on the cliches, stereotypes, and misinformation - e.g. Stonehenges and scrolling knot work, white-robed druids praying to the sun etc... I imagine that sacred places evolved for reasons, perhaps long lost to the ancient Celts. I also envision that sacred places were subtle and perhaps not noticeable until you were on top of them. A foreigner might never recognize them.

 

I don't believe we can ever see the world as ancient people did, or anyone in the past for that matter. Knowledge is like a genie - once it is out it cannot be put back and the world cannot be experienced as it was before, no matter how hard one tries. Ancient writers have described "fearsome" wooden idols standing in dark groves. Ancient writers also seemed to highlight the most lurid aspects of these ancient religions, although all societies practiced animal and human sacrifice. The Romans describe the Celts ...and all barbarians....as spooky and superstitious but Romans were no less spooky or superstitious. They were the conquerors wrote the history, and found their Celtic superstitions to be strange and creepy and theirs moral and right.

Contrary to the narrative that is being pushed by the mainstream that the COVID 19 virus was the result of a natural mutation and that it was transmitted to humans from bats via pangolins, Dr Luc Montagnier the man who discovered the HIV virus back in 1983 disagrees and is saying that the virus was man made.Professor Luc Montagnier, 2008 Nobel Prize winner for Medicine, claims that SARS-CoV-2 is a manipulated virus that was accidentally released from a laboratory in Wuhan, China. Chinese researchers are said to have used coronaviruses in their work to develop an AIDS vaccine. HIV DNA fragments are believed to have been found in the SARS-CoV-2 genome. We knew that the Chinese version of how the coronavirus emerged was increasingly under attack, but here’s a thesis that tells a completely different story about the Covid-19 pandemic, which is already responsible for more than 110,000 deaths worldwide. According to Professor Luc Montagnier, winner of the Nobel Prize for Medicine in 2008 for “discovering” HIV as the cause of the AIDS epidemic together with Françoise Barré-Sinoussi, the SARS-CoV-2 is a virus that was manipulated and accidentally released from a laboratory in Wuhan, China, in the last quarter of 2019. According to Professor Montagnier, this laboratory, known for its work on coronaviruses, tried to use one of these viruses as a vector for HIV in the search for an AIDS vaccine! “With my colleague, bio-mathematician Jean-Claude Perez, we carefully analyzed the description of the genome of this RNA virus,” explains Luc Montagnier, interviewed by Dr Jean-François Lemoine for the daily podcast at Pourquoi Docteur, adding that others have already explored this avenue: Indian researchers have already tried to publish the results of the analyses that showed that this coronavirus genome contained sequences of another virus, … the HIV virus (AIDS virus), but they were forced to withdraw their findings as the pressure from the mainstream was too great. To insert an HIV sequence into this genome requires molecular tools. In a challenging question Dr Jean-François Lemoine inferred that the coronavirus under investigation may have come from a patient who is otherwise infected with HIV. No, “says Luc Montagnier,” in order to insert an HIV sequence into this genome, molecular tools are needed, and that can only be done in a laboratory. According to the 2008 Nobel Prize for Medicine, a plausible explanation would be an accident in the Wuhan laboratory. He also added that the purpose of this work was the search for an AIDS vaccine. The truth will eventually come out In any case, this thesis, defended by Professor Luc Montagnier, has a positive turn. According to him, the altered elements of this virus are eliminated as it spreads: “Nature does not accept any molecular tinkering, it will eliminate these unnatural changes and even if nothing is done, things will get better, but unfortunately after many deaths.” Luc Montagnier added that with the help of interfering waves, we could eliminate these sequences and as a result stop the pandemic. This is enough to feed some heated debates! So much so that Professor Montagnier’s statements could also place him in the category of “conspiracy theorists”: “Conspirators are the opposite camp, hiding the truth,” he replies, without wanting to accuse anyone, but hoping that the Chinese will admit to what he believes happened in their laboratory.

 

www.pourquoidocteur.fr/Articles/Question-d-actu/32184-EXC...

 

To entice a confession from the Chinese he used the example of Iran which after taking full responsibility for accidentally hitting a Ukrainian plane was able to earn the respect of the global community. Hopefully the Chinese will do the right thing he ads. “In any case, the truth always comes out, it is up to the Chinese government to take responsibility.”

 

www.gilmorehealth.com/chinese-coronavirus-is-a-man-made-v...

 

Back in January, when the pandemic now consuming the world was still gathering force, a Berkeley research scientist named Xiao Qiang was monitoring China’s official statements about a new coronavirus then spreading through Wuhan and noticed something disturbing. Statements made by the World Health Organization, the international body that advises the world on handling health crises, often echoed China’s messages. “Particularly at the beginning, it was shocking when I again and again saw WHO’s [director-general], when he spoke to the press … almost directly quoting what I read on the Chinese government’s statements,” he told me.

 

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The most notorious example came in the form of a single tweet from the WHO account on January 14: “Preliminary investigations conducted by the Chinese authorities have found no clear evidence of human-to-human transmission of the novel #coronavirus.” That same day, the Wuhan Health Commission’s public bulletin declared, “We have not found proof for human-to-human transmission.” But by that point even the Chinese government was offering caveats not included in the WHO tweet. “The possibility of limited human-to-human transmission cannot be excluded,” the bulletin said, “but the risk of sustained transmission is low.”

 

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This, we now know, was catastrophically untrue, and in the months since, the global pandemic has put much of the world under an unprecedented lockdown and killed more than 100,000 people.

 

Read: The pandemic will cleave America in two

 

The U.S. was also slow to recognize the seriousness of this new coronavirus, which caught the entire country unprepared. President Donald Trump has blamed the catastrophe on any number of different actors, most recently, singling out the WHO. “They missed the call,” Trump said about the body at a briefing this week. “They could have called it months earlier.”

 

Trump may well be looking to deflect blame for his own missed calls, but inherent structural problems at the WHO do make the organization vulnerable to misinformation and political influence, especially at a moment when China has invested considerable resources cultivating influence in international organizations whose value the Trump administration has questioned. (Trump just in March announced he would nominate someone to fill the U.S. seat on the WHO’s Executive Board, which has been vacant since 2018.)

 

Even in January, when Chinese authorities were downplaying the extent of the virus, doctors at the epicenter of the outbreak in Wuhan reportedly observed human-to-human transmission, not least by contracting the disease themselves. In the most famous example, Dr. Li Wenliang was censured for “spreading rumors” after trying to alert other doctors of the new respiratory ailment; he later died of the virus himself at age 33. China now claims him as a martyr. Asked about Li’s case at a press conference, the executive director of the WHO’s Health Emergencies Programme, Michael Ryan, said, “We all mourn the loss of a fellow physician and colleague” but stopped short of condemning China for accusing him. “There is an understandable confusion that occurs at the beginning of an epidemic,” Ryan added. “So we need to be careful to label misunderstanding versus misinformation; there's a difference. People can misunderstand and they can overreact.”

 

Those lost early weeks also coincided with the Chinese New Year, for which millions of people travel to visit family and friends. “That’s when millions of Wuhan people were misinformed,” Xiao said. “Then they traveled all over China, all over the world.”

 

Read: China hawks are calling the coronavirus a ‘wake-up call’

 

The WHO, meanwhile, was getting its information from the same Chinese authorities who were misinforming their own public, and then offering it to the world with its own imprimatur. On January 20, a Chinese official confirmed publicly for the first time that the virus could indeed spread among humans, and within days locked down Wuhan. But by then it was too late.

 

It took another week for the WHO to declare the spread of the virus a global health emergency—during which time Dr. Tedros Adhanom Ghebreyesus, the WHO’s director-general, visited China and praised the country’s leadership for “setting a new standard for outbreak response.” Another month and a half went by before the WHO called COVID-19 a pandemic, at which point the virus had killed more than 4,000 people, and had infected 118,000 people across nearly every continent.

  

The organization’s detractors are now seizing on these missteps and delays to condemn the WHO (for which the U.S. is the largest donor), call for cutting the organization’s funding, or demand Tedros’s resignation. At the White House, Trump’s trade adviser Peter Navarro has been a sharp critic.

 

“Even as the WHO under Tedros refused to brand the outbreak as a pandemic for precious weeks and WHO officials repeatedly praised the [Chinese Communist Party] for what we now know was China’s coordinated effort to hide the dangers of the Wuhan virus from the world, the virus spread like wildfire, in no small part because thousands of Chinese citizens continued to travel around the world,” Navarro wrote to me in an email. Secretary of State Mike Pompeo recently said the administration was “reevaluating our funding with respect to the World Health Organization;” Trump has said an announcement on the matter will come next week. On the Hill, Republican Senators Martha McSally of Arizona and Rick Scott of Florida are both seeking an investigation of the WHO’s performance in the crisis and whether China somehow manipulated the organization. “Anybody who’s clear-eyed about it understands that Communist China has been covering up the realities of the coronavirus from Day 1,” McSally, who has called for Tedros to resign, told me. “We don’t expect the WHO to parrot that kind of propaganda.” Scott told me he wants to know whether the WHO followed their own procedures for handling a pandemic and why the organization hasn’t been forceful in condemning China’s missteps.

 

Asked for comment, a representative from the WHO pointed to a press conference Tedros gave this week. “Please quarantine politicizing COVID,” Tedros said then. “We will have many body bags in front of us if we don’t behave … The United States and China should come together and fight this dangerous enemy.” Even in early January, when it was still describing the disease as a mysterious new pneumonia, the WHO was publishing regular guidance for countries and health-care workers on how to mitigate its spread. And the organization says it has now shipped millions of pieces of protective gear to 75 countries, sent tests to more than 126, and offered training materials for health-care workers.

 

In any case, it’s not the WHO’s fault if China obscured the problem early on, says Charles Clift, a senior consulting fellow at Chatham House’s Center for Universal Health who worked at the WHO from 2004 to 2006. “We’d like more transparency, that’s true, but if countries find reasons to not be transparent, it’s difficult to know what we can do about it.” The organization’s major structural weakness is that it relies on information from its member countries—and the WHO team that visited China in February to evaluate the response did so jointly with China’s representatives. The resulting report did not mention delays in information-sharing, but did say that “China’s bold approach to contain the rapid spread of this new respiratory pathogen has changed the course of a rapidly escalating and deadly epidemic.” The mission came back telling reporters they were largely satisfied with the information China was giving them.

  

Read: The problem with China’s victory lap

 

If this is something short of complicity in a Chinese cover-up—which is what former National Security Adviser John Bolton has alleged of the WHO—it does point to a big vulnerability: The group’s membership includes transparent democracies and authoritarian states and systems in between, which means the information the WHO puts out is only as good as what it’s getting from the likes of Xi Jinping and Russian President Vladimir Putin. North Korea, for instance, has reported absolutely no coronavirus cases, and the WHO isn’t really in a position to say otherwise.

 

The structure also gives WHO leaders like Tedros an incentive not to anger member states, and this is as true of China as it is of countries with significantly less financial clout. During the Ebola epidemic in 2014, Clift said, WHO took months to declare a public-health emergency. “That’s three very small West African countries, and WHO didn’t want to upset them,” Clift said. “WHO didn’t cover itself in glory in that one.” The response this time has been much faster and better, in Clift’s observation. “It doesn’t mean it shouldn’t be examined afterwards to see what they could have done better,” he said. “And one should really investigate the origins of what happened in China.”

 

The WHO has also shown, however, that it can walk the line between the need for cooperation and information-sharing from member states and the need to hold them accountable for mistakes. During the SARS outbreak in 2003, a WHO spokesman criticized China for its lack of transparency and preparation, which had allowed the virus to spread unchecked. China even later admitted to mistakes in handling the outbreak.

 

No such critique has been forthcoming this time. One study found that China could have limited its own infections by up to 95 percent had the government acted in that early period when doctors were first raising the alarm and the Chinese Communist Party was still denying the extent of the problem. “The WHO at that time didn’t do their job,” Xiao said. “The opposite: They actually compounded Chinese authorities’ misinformation for a few weeks. That is, to me, unforgivable.”

 

We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.

 

www.theatlantic.com/politics/archive/2020/04/world-health...

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today, Lettice is entertaining the world famous British concert pianist, Sylvia Fordyce in her well appointed her Cavendish Mews drawing room. Lettice met Sylvia at a private audience after a performance at the Royal Albert Hall*. Sylvia is the long-time friend of Lettice’s fiancée, Sir John Nettleford-Hughes and his widowed sister Clementine (known preferably now by the more cosmopolitan Clemance) Pontefract, the latter of whom Sylvia has known since they were both eighteen. Lettice, Sir John and Clemance were invited to join Sylvia in her dressing room after her Schumann and Brahms concert. After a brief chat with Sir John (whom she refers to as Nettie, using the nickname only his closest friends use) and Clemance, Sylvia had her personal secretary, Atlanta, show them out so that she could discuss “business” with Lettice. Anxious that like so many others, Sylvia would try to talk Lettice out of marrying Sir John, who is old enough to be her father and known for his philandering and not so discreet dalliances with pretty chorus girls of Lettice’s age and younger, Lettice was surprised when Sylvia admitted that when she said that she wanted to discuss business, that was what she genuinely meant. Sylvia owns a small country property just outside of Belchamp St Paul** on which she had a secluded little house she calls ‘The Nest’ built not so long ago by architect Sydney Castle***: a house she had decorated by society interior designer Syrie Maugham****. However, unhappy with Mrs. Maugham’s passion for shades of white, Sylvia wanted Lettice to inject some colour into the drawing room of her country retreat by painting a feature wall for her. Thus, she invited Lettice to motor up to Essex with her for an overnight stay at the conclusion of her concert series at The Hall to see the room for herself, and perhaps get some ideas as to what and how she might paint it. Lettice agreed to Sylvia’s commission, and originally had the idea of painting flowers on the wall, reflecting the newly planted cottage garden outside the large drawing room windows of ‘The Nest’. However, after hearing the story of Sylvia’s life – a sad story throughout which, up until more recent years, she had felt like a bird trapped in a cage, Lettice has opted to paint the wall with stylised feathers, expressing the freedom to fly and soar that Sylvia’s later life has given her the ability to do. Delighted with the outcome of her new feature wall, Sylvia has come to Cavendish Mews today to pay the remainder of her bill in full, a result not always so easily come by, by some of Lettice’s previous wealthy clients.

 

Just as Edith, Lettice’s maid, is arranging one of her light and fluffy sponge onto a white gilt edged plate in the kitchen to serve to Lettice and her guest, she hears the mechanical buzz of the Cavendish Mews servant’s call bell. Glancing up she notices the circle for the front door has changed from black to red, indicating that it is the front door bell that has rung.

 

“Oh blast.” she mutters. “Just as I’m about to serve cake too.”

 

Quickly whipping off the stained apron she is wearing which has splashes of cream and strawberry juice from decorating the cake, she hurries from the kitchen into the public area of the flat via a door in the scullery adjoining the kitchen, snatching up a clean apron from a hook by the door as she goes. Quickly fastening the freshly laundered apron over her blue and white striped calico print morning uniform as she walks into the entrance hall.

 

The front door buzzer goes again, sounding noisily, filling the atmosphere with a jarring echo.

 

“Edith?” Lettice’s voice calls from the drawing room where she is sitting with Sylvia.

 

“On my way, Miss!” Edith assures her mistress in a harried tone as she hurries across the think Chinese silk carpet to the front door. “I’m coming, alright. I’m coming.” mutters Edith irritably to herself as she makes her way toward the front door with rushed footsteps. “Keep your hair on****.”

 

She pats her cap and the hairpins holding her blonde waves neatly in place as she goes, hoping that she looks presentable as she opens the front door.

 

“It’s only little me, dear Lettice.” Gerald simpers as he walks into the drawing room where Lettice sits in her usual black japanned, rounded back, while upholstered tup armchair next to the telephone, whilst Sylvia Fordyce lounges languidly in the one opposite.

 

“Oh Gerald! What a lovely surprise!” Lettice says, standing up, the lilt in her voice cheerful, but the look in her sparkling blue eyes murderous as she glances at Gerald. “I… I thought I told you I was entertaining Miss Fordyce is afternoon.”

 

“Oh, you may well have,” he answers, lightly tapping the side of his head beneath the brim of his straw boater absently. “But silly me, it must have completely slipped my mind. I’m so sorry!” His words are apologetic, and his behaviour contrite, but there is a mischievous hazel tinted glint in his own dark brown eyes, and a cheeky curl upturning the corner of his mouth as she speaks that betrays his true thoughts. “It’s only a fleeting visit. I merely came by to drop off a little something for you.” He holds out a small parcel wrapped in brown paper and tied with twine towards Lettice.

 

For the moment, Gerald politely ignores Sylvia’s dark sloe eyed stare as she remains draped languidly in her armchair, her long fingers steepled in front of her chest. He can feel her silently appraising his well-cut navy blue blazer with glinting gold buttons, his pressed white trousers with a crisp crease down the middle at both the front and back, his natty yet at the same time slightly foppish blue and white striped tie with a matching pocket square*****, his bold red carnation boutonnière****** and his stylish straw boater.

 

“Oh Gerald! Lettice says, accepting the gift. “You shouldn’t have.”

 

“Oh,” Gerald retorts, waving his hand dismissively. “It’s nothing really, just a new scarf in silk I had printed with one of my designs in Lyon. I had a few made up, but I wanted you to the be first to have one, of course. They are very much your colours, my dear Lettice.”

 

“Ahh!” exclaims Sylvia, suddenly breaking her languid pose and leaning forward in her seat, looking up at Gerald with great interest as her red painted mouth hangs open in anticipation, her tongue pressed to the base of her mouth behind her slightly discoloured teeth. “So, this is the wunderkind******* Gerald Bruton, of whom I have read so much about in The Lady******** as he takes the London fashion scene by storm.”

 

“Oh! Where are my matters!” Lettice remarks, quickly putting Gerald’s unopened parcel aside. “Sylvia darling, may I introduce Mr. Gerald Bruton, Grosvenor Street couturier, and my oldest, dearest and sometimes,” She pauses for effect. “My most frustrating chum from childhood. Gerald darling, may I introduce Miss Sylvia Fordyce, the world famous British concert pianist.”

 

“And you latest client… and hopefully new friend.” Sylvia adds with a smile.

 

It is only then that Gerald allows himself to truly take his attention away from Lettice and focus upon her guest. Wearing an over-sized chocolate brown velvet cloche, Sylvia’s black dyed sharp bob pokes out from beneath it, framing her striking, angular face which is caked with a thick layer of white makeup. Her lips are painted a bright red, which appears even more garish against the white of her face paint, just as the darkness of her glittering eyes are intensified by her white, almost ethereal, pallor. She wears no necklace, nor any earrings that Gerald can discern beneath the bottom of her cloche. In fact, her only piece of jewellery is a large aquamarine and diamond cluster ring on the left middle finger on her elegant pianist’s right hand. However, being the only piece of ornamentation she wears, it makes the ring, already a striking piece in its own right, even more so as it sparkles and winks beneath the electric light of Lettice’s chandelier overhead. Her outfit is simple and stripped back: a white satin blouse accessorised with a black and white cheque silk scarf tied in a loose and artistic style, and a long column like skirt in black, beneath the hem of which poke the pointed toes of a pair of high heeled black patent leather boots. Far from being conventionally beautiful, the pianist has captured the power of dressing to make her presence unignorable, and she wears her cultivated look with unabashed pride.

 

“Miss Fordyce needs no introduction.” Gerald enthuses as he bends down and raises Sylvia’s elegant hand, kissing it gently just above the sparkling cluster ring. “Enchanté.” he breathes in French.

 

“Charmante,” Sylvia replies with an enigmatic smile, bowing her head slightly as she slowly withdraws her hand from Gerald’s, enjoying the attention her is lavishing upon her. “I could say the same about you, Mr. Bruton, for Lettice speaks of you fondly, and often. I believe that it is you I have to thank for our clever Lettice finishing my feature wall. She has just been telling me that when her inspiration or energy was flagging whilst she was painting it, you spurned her on to complete it. I’m most grateful.”

 

“I did my best, Miss Fordyce.” Gerald replies, his cheeks flushing red at Sylvia’s compliment. “Lettice is,” He turns his head away from Sylvia and focuses upon his best friend. “A remarkable artist, and highly skilled.”

 

“Oh Gerald!” Lettice gasps.

 

“It sounds like you are also her biggest champion, my dear Mr. Bruton.” Sylvia opines.

 

“But,” Gerald goes on. “She doesn’t have the faith in her own abilities that she should.” He returns his attentions to Sylvia. “I’m sure you agree, Miss Fordyce.”

 

“Indeed I do, Mr. Bruton. Your friend is highly accomplished, and I was just telling our clever Lettice how delighted I am with my new feature wall.”

 

“I think it is very beautiful too, Miss Fordyce. You are most fortunate.” Gerald replies.

 

Without saying anything, Lettice gently puts her hand on Gerald’s forearm.

 

“Well!” Gerald says, clearing his throat a little awkwardly, taking Lettice’s silent hint in his stride. “I did say that this was only a fleeting visit. I really should be off.” He looks at Lettice with a meaningful look. “I’ve been here enough times to show myself out, whilst you entertain your guest. I do hope you like the scarf.”

 

“Oh really?” Sylvia interjects rising elegantly from her seat, the fabric of her outfit draping down over her slender frame like shivering water. “Must you go?” She turns her head to Lettice. “Must he go, Lettice darling? Your maid was fetching us cake wasn’t she? Surely there is enough for three?” She turns back to Gerald. “Please, Mr. Bruton. I’d so love you to stay! Darling Lettice and I have finished up the tedious part of my visit, settling my account, and we were just prattling away idly, weren’t we Lettice darling? Besides, I would value your opinion, since you are an arbiter of fashion, Mr. Bruton. Please?” She pouts her scarlet painted lips, which even in a plumped up form still have a slender look about them. “Please!”

 

“Well I…” Gerald looks between Sylvia and Lettice. “I suppose I could tarry for a short while. I don’t have to be at my next appointment just yet, and I do so love Edith’s sponges, which she has told me she has made for you, Miss Fordyce.”

 

“Oh Gerald!” Lettice laughs. “Please drop the pretence and save yourself the embarrassment. Bring that chair over and join us.” She indicates with a sweeping gesture to the black japanned Chippendale chair, upholstered in silver and blue Art Deco fabric, which whilst unorthodox with such clashing styles , works under Lettice’s clever eye for design. “I’ll tell Edith we’re a trio now.” She steps over and depresses the servants’ call button by the fireplace, the buzzer echoing in the service area of the flat.

 

“Thank you, Lettice.” Gerald says gratefully as he takes off his straw boater and places it on one of Lettice’s black japanned side tables before drawing up the chair she has indicated to the coffee table and takes a seat.

 

“Did Cyril put you up to this?” Lettice asks him, mentioning Gerald’s young, fey and more overtly homosexual lover who lives in a boarding house for theatrical types in Putney with Gerald’s friend Harriet Milford, who designs hats in addition to running her rather dramatic boarding house. “Turning up on my doorstep, knowing that Miss Fordyce would be here?”

 

“Well...” Gerald says, blushing red as he speaks.

 

“I knew you hadn’t forgotten that I told you Miss Fordyce was visiting today!” Lettice wags a finger at Gerald. “It isn’t like you to forget a date, even if it isn’t one of your own.”

 

“Who is Cyril, Mr. Bruton?” Sylvia asks, intrigued as she resumes her languid stance in her tub chair again.

 

“Cyril is my… my friend, Miss Fordyce.” Gerald pipes up quickly. “He’s… he’s an oboist who plays in the West End theatres, and like me,” He bushes even deeper. “He is a very big fan of yours, Miss Fordyce.”

 

“A friend.” Sylvia muses, looking Gerald up and down knowingly, but keeping her impressions to herself behind her heavily painted face, only smiling politely in acknowledgement of Gerald.

 

“When I told him that I was going with Lettice to stay at your very lovely little country retreat in Essex, he was more than a little jealous.”

 

“Was he indeed?” Sylvia chuckles indulgently.

 

Just at that moment, Edith walks into the drawing room.

 

“You rang, Miss?” Edith says, bobbing a polite curtsey.

 

“Yes Edith.” Lettice replies. “Mr. Bruton is staying now, so it will be tea for three now, if you can manage it.”

 

“Of course Miss.” Edith replies. “May I take your hat, Mr. Bruton.”

 

“Thank you Edith.” he says, passing her his straw boater. “I do like your delicious sponge cake, Edith.” Gerald compliments the young girl.

 

“Thank you, Sir.” Edith replies, blushing as she basks momentarily in Gerald’s compliment before bobbing another quick curtsey to the assembled company and retreating back into the dining room and through the green baize door, back into the service area of the flat.

 

“Even if my figure suffers for it.” Gerald adds, turning his attentions back to Sylvia.

 

“Such high praise for your cook, Lettice darling.” Sylvia says with her expertly plucked black eyebrows arching high over her eyes. “I am in for a treat!”

 

“Edith is an excellent cook when it comes to cakes, Sylvia darling, so I asked her to bake her speciality today, a cream filled strawberry sponge cake.”

 

“Goodness!” Sylvia gasps. “No wonder your figure suffers, Mr. Bruton, at the sound of such extravagance. I myself,” She raises a hand to her throat. “Do not suffer the same problem. As a performer, I have far too much frenetic energy to burn.”

 

“And you do it with such theatricality,” Gerald enthuses.

 

“Why thank you, Mr. Bruton.” Sylvia says, smiling indulgently as she does. “Such a lovely compliment.”

 

“Oh Gerald!” Lettice giggles. “I do believe you are quite smitten with Sylvia.”

 

“Don’t be cheeky…” Gerald goes to call Lettice by her most hated childhood pet name, ‘Lettuce Leaf’, but being the presence of the pianist he so admires, and wanting to maintain a good impression, he swallows awkwardly and finishes a little lamely, “Lettice.”

 

Sylvia laughs heartily. “You two do know each other well, don’t you, Lettice darling? You have a way between you that seems very comfortable. Have you known Mr. Bruton all your life?”

 

“Yes.” Lettice replies.

 

“I’m just a little older than Lettice, and we grew up on neighbouring estates in Wiltshire,” Gerald goes on. “And all of Lettice’s siblings, with the exception of her beast of a brother Lionel, are much older that we are, and my own brother Roland is a few years my senior and never had time for me.”

 

“So we just ended up playing together, didn’t we Gerald?”

 

“We did, Lettice.”

 

“And so, we became the best of chums and have stayed as such ever since.”

 

“How utterly delightful!” Sylvia opines with a clap of her hands. “But please, do go on about your friend, Cyril, Mr. Bruton. I love the West End theatre scene, and attend whenever my schedule allows. We theatrical types must support one another and stick together. Perhaps I’ve seen, or rather heard, your young oboist friend in a show?”

 

“Well, Cyril was performing in Julian Wylie’s********* revue, ‘Better Days’********** at the Hippodrome***********, but it’s just finished, so he is between engagements at the moment.”

 

“I see.” Sylvia replies, nodding and staring deeply into Gerald’s eyes.

 

“You… err, you wanted to ask me something about fashion, I believe, Miss Fordyce?” Gerald asks, feeling uncomfortable under Sylvia’s inscrutable stare.

 

“I did, Mr. Bruton!” Sylvia replies animatedly, releasing Gerald from her scrutiny. “Thank you for reminding me. Being the arbiter and setter of current London fashion trends that you are…”

 

“Oh, I don’t know if I’d go quite that far, Miss Fordyce.” Gerald chuckles, blushing yet again.

 

“Nonsense! Mr. Bruton!” Sylvia scoffs. “False modesty doesn’t suit you any more than it does darling Lettice, and,” She wags her index finger admonishingly at him, the cluster of diamonds and aquamarines on the finger next to it glinting and gleaming in the light. “It’s no good for business. Did you not design this divine frock for Lettice?”

 

Gerald turns to face Lettice, although he has no need to, as he recognised the rose and marone silk georgette knife pleated frock, the same one she wore when she first arrived at ‘The Nest’ with Sylvia when she went to look at the wall her hostess wanted redecorated, as being one of his own designs for Lettice the moment he laid eyes on her upon walking into the drawing room. “Indeed it is, Miss Fordyce.”

 

“Then I stand by what I say, Mr. Bruton. You have an eye for colour and cut, style and panache, and you create things that flatter your customers.”

 

“Well, Lettice is a special case, Miss Fordyce. As you’ve heard, she is my best friend, and she has always been so supportive of my frock making, ever since I first began. She’s something of a muse to me.”

 

“Muse or not, if you couldn’t design frocks, had no style or awareness of colour, poor Lettice might be wearing something that makes her look perfectly hideous at the moment. Although,” She turns and ponders over Lettice sitting comfortably in her armchair. “I do think that would be very hard to do, since she is so lithe and lovely.”

 

“We concur in that opinion, Miss Fordyce.” Gerald agrees.

 

“However, I stand by what I said before, you are an arbiter of fashion, and your creations are influencing what London women are wearing. So, I wanted to ask you, what is your opinion on,” She stands up suddenly, and spreads her legs slightly, the movement causing the black fabric of what Gerald had thought was a dress to reveal itself as being a pair of roomy Oxford bags************. “Women wearing trousers?”

 

Lettice immediately sees this as being a test for Gerald, as to whether Sylvia, who doesn’t suffer fools or people who don’t tend to share her opinion, will want to invite him to join her exclusive coterie of friends, as she has Lettice. Lettice sits forward slightly in her seat, causing an almost imperceptible widening of her guest’s eyes opposite her, the change, and slight flash in her eyes as she stares at Gerald causing Lettice to sit back in her seat.

 

Without batting an eyelid, Gerald replies firmly. “I always admired Paul Poiret************* for introducing wide legged trousers for women in 1910. I thought it a pity that they only caught on amongst the most avant-garde and daring of his clients.”

 

Lettice releases the pent-up breath she has silently been holding, sighing with relief, knowing by the subtle curl in Sylvia’s red streak of a mouth that she is pleased with Gerald’s response.

 

“And when do you think it will be commonplace to see trousers for women in London shops, Mr. Bruton?” Sylvia goes on, placing her hands in a stance of defiance on her hips. “Currently I have to travel to Berlin to get mine.” She kicks up her right heel a little, making her slacks billow for a moment before falling back down elegantly against her legs.

 

“Ahh, that is a very good question, Miss Fordyce.” Gerald replies. “If I had my way, they would be readily available for all women to wear. However…”

 

“However?” Sylvia asks.

 

“However, the English are conservative by nature, Miss Fordyce, and women wearing trousers would be too shocking for their taste, at least currently. London is not Paris, or Berlin, madam.”

 

At that moment, the conversation is broken by the sound of china rattling against silver, as Edith pushes open the green baize door leading from the scullery to the dining room carrying a large silver tray laden with Lettice’s best Art Deco Royal Doulton ‘Falling Leaves’ tea set, cups, saucers and plates to match, and one of her beautiful strawberry sponge cakes. The trio watch, transfixed as she slowly walks across the dining room and into the drawing room carrying the tray, which looks far to heavy for a girl as dainty as Edith. They observe in silence as she lowers the tray onto the low, black japanned coffee table, before rising and bobbing a curtsy to her mistress.

 

“Will there be anything else, Miss?” Edith asks, aware of the attention and curiosity she has created with her presence, but determined not to let it impact her polite and calm manner.

 

“No, thank you, Edith.” Lettice replies politely. “However, I’ll be sure to call if we need anything else.”

 

“Very good, Miss.” She bobs another curtsey and quickly retreats back to the kitchen.

 

“Yes,” Sylvia says quietly with a sigh as she watches Edith’s retreating figure disappear back through the green baize door. “The idea of women wearing trousers does seem to be too unpalatable for so much of the British population. Take your maid, for example, Lettice darling. Both times I have visited you here at Cavendish Mews, she cannot help but look aghast at my outlandish roomy trousers, her horror as plain as the nose on her face!”

 

“Oh Sylvia, darling!” Lettice protests, as she begins to unpack the tray and set up the teacups onto saucers. “That isn’t fair to poor Edith!”

 

“Whyever not, Lettice darling?” Sylvia retorts. “Surely it would be more practical for her to do her job, were she to wear trousers than some calico frock like she is wearing now. She should find the idea of me wearing trousers exciting, not abhorrent!”

 

“That may well be, Miss Fordyce, but she’ll never wear them.” Gerald replies.

 

“How ridiculous! I ask again, whyever not?” Sylvia asks again, throwing her hands up in the air in exasperation.

 

“Because Edith is what is known as a good girl.” Lettice elucidates. “She was brought up by her parents: a factory worker and a laundress I believe, to have moral scruples.”

 

“Moral scruples!” Sylvia scoffs dismissively.

 

“Where she comes from, Sylvia darling, women are servants, wives or mothers. They don’t rune businesses. They aren’t concert pianists. And they certainly don’t wear trousers.”

 

“She’ll never wear them, Miss Fordyce,” Gerald agrees. “Never!”

 

“And you, Mr. Bruton?” Sylvia asks with a cunning smile.

 

“Me, Miss Fordyce?”

 

“Would you be willing to make trousers for women, even if it would shock some parts of London society?”

 

“Well, as a matter-of-fact, Miss Fordyce,” Gerald says with a conspiratorial smile and a twinkle in his eyes. “I happen to be in the process of designing a range of beach pyjamas************* at the moment.”

 

“Beach pyjamas?” Sylvia asks, licking her lips with excitement. “What are they?”

 

“Well, rather like the name suggests, it’s a pair of wide-legged trousers with a matching blouse, made from colourful, brightly patterned cotton fabrics, similar to what you might wear to bed.”

 

“I don’t wear anything to bed, Mr. Bruton.” Sylvia replies with a throaty chuckle.

 

“Sylvia!” Lettice admonishes her guest as Gerald blushes red.

 

“Please pardon my lack of moral scruples, Mr. Bruton.” Sylvia says teasingly. “Perhaps I should take a leaf from your maid, Lettice darling.” She then continues, “Do go on about your beach pyjamas, Mr. Bruton! They sound positively delicious!” Sylvia murmurs.

 

“They are all the rage in Deauville.” Gerald goes on.

 

“Deauville is hardly Bournemouth, Brighton or Lyme Regis.” Lettice counters as she removes Edith’s cake from the tray.

 

“I just need an exponent of them who would be brave enough and willing to wear them.” Gerald defends.

 

“Maybe.” Lettice mutters doubtfully.

 

“Could they be made of silk or satin, Mr. Bruton?” Sylvia asks, sitting up, her eyes twinkling darkly.

 

“Of course, Miss Fordyce. In fact, they lend themselves to being made of something so deliciously extravagant.”

 

“Surely you aren’t suggesting you’d be Gerald’s proponent and wear beach pyjamas, Sylvia darling?” Lettice asks.

 

“Well why not, Lettice darling?” Sylvia counters her friend. “You know me well enough by now to know I don’t give a fig what people think! I am my own woman.” She pats her chest proudly. “Besides,” she adds with a throaty chuckle. “I’d enjoy nothing more than shocking those ghastly prudish Edwardian matrons sitting in their deckchairs along the pier at Bognor Regis*************** as I parade before them in a pair of Mr. Bruton’s beach pyjamas!” She pauses. “Made of satin, of course!”

 

“Of course, Miss Fordyce.” Gerald agrees, quickly getting swept up in the promise of the idea.

 

“Excellent!” Sylvia laughs. “What jolly fun!”

 

“Rather!” Gerald agrees, growing excited at the thought. “Jolly good show, Miss Fordyce!”

 

“Do you know what, Mr. Bruton?” Sylvia asks, as she accepts a cup of freshly poured tea from her hostess. “I’ve just had the most marvellous idea! I was saying to Lettice here, just before you arrived, how I was thinking of throwing a small soirée at ‘The Nest’ with a few like-minded friends: musicians, artists and the like,” She gesticulates about her as if demonstrating who the people’s professions might be. “To celebrate the completion of my fabulous Lettice Chetwynd original feature wall, and for me to be able to show it off to a few of my dearest friends.”

 

“That sounds splendid, Miss Fordyce.” Gerald says.

 

“Well I was just thinking, why don’t you join us? Lettice will have a familiar face beyond mine and Nettie’s to look at.”

 

“Nettie?” Gerald queries.

 

“It’s John’s pet name given him by Clemance and a select group of close friends.” Lettice pipes up as she hands Gerald his teacup. “But please don’t you call him that, Gerald darling!” she implores. “I don’t think I could take it seriously, coming from you.”

 

“Have no fear, Lettice darling!” Gerald chuckles. “I don’t think I could come at calling Sir John that, even if you wanted me too.” He screws up his nose in a mixture of perplexity and distaste. “Nettie…. Nettie.” He shakes his head.

 

“You could bring your… friend,” Sylvia goes on, her eyebrows arching over her eyes before she gives Gerald a cheeky and conspiratorial wink. “Cyril. Playing the oboe, he’s a musician after all, so he’d be in good company, and you did say just before that he was a trifle jealous of you getting to visit ‘The Nest’ without him.”

 

“That really is most generous of you, Miss Fordyce!” Gerald exclaims.

 

“Oh, my offer doesn’t come for free.” Sylvia’s dark eyes widen and sparkle in the light of the room. “There are strings attached to my invitation. I’m an artist, Mr. Bruton. I can’t afford to be that altruistic. No. I’d do you a trade. You and Cyril may come for a weekend at ‘The Nest’ and enjoy my company, and my largess, in return for a pair of your delicious sounding beach pyjamas, in satin! Deal?” she holds out her right hand, rather like an American businessman.

 

Gerald feels awkward as he mimics Sylvia, but he reaches out and shakes her hand. “Deal.”

 

*The Royal Albert Hall is a concert hall on the northern edge of South Kensington in London, built in the style of an ancient amphitheatre. Since the hall's opening by Queen Victoria in 1871, the world's leading artists from many performance genres have appeared on its stage. It is the venue for the BBC Proms concerts, which have been held there every summer since 1941.

 

**Belchamp St Paul is a village and civil parish in the Braintree district of Essex, England. The village is five miles west of Sudbury, Suffolk, and 23 miles northeast of the county town, Chelmsford.

 

***Sydney Ernest Castle was born in Battersea in July 1883. He trained with H. W. Edwards, a surveyor and worked as chief assistant to Arthur Jessop Hardwick (1867 - 1948) before establishing his own practice in London in 1908. From 1908 to 1918 he was in partnership with Gerald Warren (1881-1936) as Castle & Warren. He worked on St. George's Hill Estate in Weybridge, Surrey with Walter George Tarrant (1875-1942). Castle was elected a Fellow of the Royal Institute of British Architects (FRIBA) in 1925. He designed many buildings, including the Christian Association building in Clapham, a school in Balham and a private hotel in the Old Brompton Road, as well as many private residences throughout Britain. His firm’s address in 1926, when this story is set was 40, Albemarle Street, Piccadilly. He died in Wandsworth in March 1955.

 

****Syrie Maugham was a leading British interior decorator of the 1920s and 1930s and best known for popularizing rooms decorated entirely in shades of white. She was the wife of English playwright and novelist William Somerset Maugham.

 

****Meaning to keep calm and be patient, the earliest occurrence of the phrase “to keep your hair on” is recorded in The Entr’acte magazine in London in 1873, which mentioned that at the Winchester, a London music hall, an artist named Ted Callingham sang “Roving Joe” and “Keep Your Hair On”, two very laughable comic songs. A year later in 1874, it was being used commonly amongst the working classes. It is generally said that the phrase is based on the image of pulling one’s hair out in exasperation, anger or frustration, however some connect it to an earlier phrase from the Eighteenth Century “pulling off one’s wig” which refers to irascible and aged gentlemen, “when mad with passion,” have been known not only to curse and swear, but to tear their wigs from their heads, and to trample them under their feet, or to throw them into the fire.

 

*****A pocket square is a decorative square of fabric, typically silk or linen, that is displayed in the breast pocket of a jacket or suit. It serves as a fashion accessory to add a touch of style and visual interest to an outfit. Pocket squares can be folded in various ways, and the fabric is often chosen to complement or contrast with the rest of the attire. The exact origins of the pocket square are open to debate, but many believe they began in Ancient Egypt and Greece. These white fabric squares originally served practical purposes, such as maintaining cleanliness or deterring smells. Men would store them out of sight, only pulling them out when needed. Over time, pocket squares became a fashion statement and status symbol. Wealthy men would purchase brightly coloured fabrics, especially in bold red hues, to stand out from the crowd. They also often had infused scents to block unwanted smells. Throughout the Eighteenth Century, the popularity of pocket squares spread across Europe, even making their way into royal outfits. Pocket squares remained popular throughout the Eighteenth Century, but they truly evolved into the modern accessory we know today in the Nineteenth and Twentieth Centuries.

 

******A boutonnière is a floral decoration, typically a single flower or bud, worn on the lapel of a tuxedo or suit jacket. While worn frequently in the past to distinguish a gentleman from a common labourer, boutonnières are now usually reserved for special occasions for which formal wear is standard, such as at balls and weddings.

 

*******The term "wunderkind," meaning a child prodigy or someone who achieves exceptional success at a young age, was invented in the late Nineteenth Century. Specifically, the first documented use in English dates back to 1891, with the term being borrowed from German, where it had been in use earlier.

 

********The Lady was a British women's magazine. It published its first issue on 19 February 1885 and was in continuous publication until its last issue in April 2025, at which time it was the longest-running women's magazine in Britain. Based in London, it was particularly notable for its classified advertisements for domestic service and child care; it also has extensive listings of holiday properties. It still has an online presence which offers a classified advertisements, jobs board and recruitment service.

 

*********Julian Wylie (1878 – 1934), originally Julian Ulrich Samuelson Metzenberg, was a British theatrical agent and producer. He began as an accountant and took an interest in entertainment through his brothers, Lauri Wylie and G. B. Samuelson. About 1910, he became the business manager and agent of David Devant, an illusionist, then took on other clients, and formed a partnership with James W. Tate. By the end of his life, he was known as the 'King of Pantomime'.

 

**********Julian Wylie’s last revue at the London Hippodrome was ‘Better Days’ in 1925. Comprising 19 scenes, Better Days had a try-out at the Liverpool Empire from 9th March 1925 before its debut at the London Hippodrome on 19th March 1925. The stars of the first edition of Better Days were Maisie Gay, Stanley Lupino, Madge Elliott, Connie Emerald with Ruth French and Anatole Wiltzak. The production had the usual Wylie flourish and touch with the dances and ensembles arranged by Edward Dolly and all the gowns and costumes designed by Dolly Tree. The modern gowns were created by Peron and Florence Henry and the costumes by Alias, Clarkson and Betty S. Roberts. ‘Better Days’, only ran for 135 performances and closed in early June, proving to be the last of Wylie’s run of productions at the London Hippodrome.

 

***********The Hippodrome is a building on the corner of Cranbourn Street and Charing Cross Road in the City of Westminster, London. The name was used for many different theatres and music halls, of which the London Hippodrome is one of only a few survivors. Hippodrome is an archaic word referring to places that host horse races and other forms of equestrian entertainment. The London Hippodrome was opened in 1900. It was designed by Frank Matcham for Moss Empires chaired by Edward Moss and built for £250,000.00 as a hippodrome for circus and variety performances. The venue gave its first show on 15 January 1900, a music hall revue entitled "Giddy Ostend" with Little Tich. The conductor was Georges Jacobi. In 1909, it was reconstructed by Matcham as a music-hall and variety theatre with 1340 seats in stalls, mezzanine, gallery and upper gallery levels. It was here that in 1910 Tchaikovsky's ‘Swan Lake’ received its English première in the form of Act 2 with Olga Preobajinska as the Swan Queen. The Hippodrome hosted the first official jazz gig in the United Kingdom, by the Original Dixieland Jazz Band, in 1919.

 

************Oxford bags were a loose-fitting baggy form of trousers favoured by members of the University of Oxford, especially undergraduates, in England from the mid-1920s to around the 1950s. The style had a more general influence outside the university, including in America, but has been somewhat out of fashion since then. It is sometimes said that the style originated from a ban in 1924 on the wearing of plus fours by Oxford (and Cambridge) undergraduates at lectures. The bagginess allegedly allowed plus fours to be hidden underneath – but the argument is undermined by the fact that the trousers (especially in the early years) were not sufficiently voluminous for this to be done with any success. The original trousers were 22–23 inches (56–58 cm) in circumference at the bottoms but became increasingly larger to 44 inches (110 cm) or more, possibly due to a misunderstanding of the measurement as the width rather than circumference.

 

*************Paul Poiret was a French fashion designer, a master couturier during the first two decades of the 20th century. He was the founder of his namesake haute couture house. Poiret established his own house in 1903. In his first years as an independent couturier, he broke with established conventions of dressmaking and subverted other ones. In 1903, he dismissed the petticoat, and later, in 1906, he did the same with the corset. Poiret made his name with his controversial kimono coat and similar, loose-fitting designs created specifically for an uncorseted, slim figure. Poiret designed flamboyant window displays and threw sensational parties to draw attention to his work. His instinct for marketing and branding was unmatched by any other Parisian designer, although the pioneering fashion shows of the British-based Lucile (Lady Lucy Duff Gordon) had already attracted tremendous publicity. In 1909, he was so famous, Margot Asquith, wife of British prime minister H. H. Asquith, invited him to show his designs at 10 Downing Street. The cheapest garment at the exhibition was thirty guineas, double the annual salary of a scullery maid. Jeanne Margaine-Lacroix presented wide-legged trousers for women in 1910, some months before Poiret, who took credit for being the first to introduce the style.

 

*************Beach pyjamas, which generally consisted of a pair of wide-legged trousers and a jacket of matching fabric, first gained popularity in the years immediately following the Great War, with evidence pointing to the early 1920s, specifically at European seaside resorts like Deauville in France. It is thought that French fashion designer, Coco Chanel, was also an early proponent of this style.

 

**************Deauville is a seaside resort on the Côte Fleurie of France’s Normandy region. An upper-class holiday destination since the 1800s, it’s known for its grand casino, golf courses, horse races and American Film Festival. Its wide, sandy beach is backed by Les Planches, a 1920s boardwalk with bathing cabins. The town has chic boutiques, elegant belle epoque villas and half-timbered buildings. As the closest seaside resort to Paris, Deauville is one of the most notable seaside resorts in France. The city and its region of the Côte Fleurie (Flowery Coast) have long been home to the French upper class's seaside houses and is often referred to as the Parisian Riviera.

 

***************Bognor Regis, also known as Bognor, is a town and seaside resort in West Sussex on the south coast of England, fifty-six miles south-west of London, twenty-four miles west of Brighton, six miles south-east of Chichester and sixteen miles east of Portsmouth. A seaside resort was developed by Sir Richard Hotham in the late Eighteenth Century on what was a sand and gravel, undeveloped coastline. It has been claimed that Hotham and his new resort are portrayed in Jane Austen's unfinished novel ‘Sanditon’. The resort grew slowly in the first half of the Nineteenth Century but grew rapidly following the coming of the railway in 1864.

 

This 1920s upper-class domestic scene is different to what you may think, for it is made up entirely of 1:12 size dollhouse miniatures including items from my own childhood.

 

Fun things to look for in this tableaux include:

 

Lettice’s tea set sitting on the coffee table is a beautiful artisan set featuring a rather avant-garde Art Deco Royal Doulton design from the Edwardian era. The very realistic looking chocolate sponge cake topped with creamy icing and strawberries has been made from polymer clay and was made by Karen Ladybug Miniatures in the United Kingdom. The green tinged bowl behind the tea set is made of glass and has been made by hand by Beautifully Handmade Miniatures in Kettering. Made by the Little Green Workshop who specialise in high-end artisan miniatures, the black leather diary with the silver clasp is actually bound and has pages inside. The silver pen with the pearl end is also from the Little Green Workshop.

 

The black Bakelite and silver telephone is a 1:12 miniature of a model introduced around 1919. It is two centimetres wide and two centimetres high. The receiver can be removed from the cradle, and the curling chord does stretch out. The vase of yellow tiger lilies and daisies on the Art Deco occasional table is beautifully made by hand by the Doll House Emporium. The vase of roses and lilies in the tall white vase on the table to the right of the photo was also made by hand, by Falcon Miniatures who are renowned for their realistic 1:12 size miniatures.

 

Lettice’s drawing room is furnished with beautiful J.B.M. miniatures. The black japanned wooden chair is a Chippendale design and has been upholstered with modern and stylish Art Deco fabric. The mirror backed back japanned china cabinet is Chippendale too. On its glass shelves sit pieces of miniature Limoges porcelain including jugs, teacups and saucers, many of which I have had since I was a child.

 

To the left of the Chippendale chair stands a blanc de chine Chinese porcelain vase, and next to it, a Chinese screen. The Chinese folding screen I bought at an antiques and junk market when I was about ten. I was with my grandparents and a friend of the family and their three children, who were around my age. They all bought toys to bring home and play with, and I bought a Chinese folding screen to add to my miniatures collection in my curio cabinet at home! It shows you what a unique child I was.

 

The painting in the gilt frame is made by Amber’s Miniatures in America. The carpet beneath the furniture is a copy of a popular 1920s style Chinese silk rug. The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.

Let me take you down, 'cause I'm going to Strawberry Fields.

Nothing is real and nothing to get hung about.

Strawberry Fields forever.

Living is easy with eyes closed, misunderstanding all you see.

It's getting hard to be someone but it all works out.

It doesn't matter much to me.

 

Across the Universe Inspired

 

Fingal's Cave is a sea cave on the uninhabited island of Staffa, in the Inner Hebrides of Scotland, known for its natural acoustics. The National Trust for Scotland owns the cave as part of a national nature reserve. It became known as Fingal's Cave after the eponymous hero of an epic poem by 18th-century Scots poet-historian James Macpherson.

 

Fingal's Cave is formed entirely from hexagonally jointed basalt columns within a Paleocene lava flow and is similar in structure to both the Giant's Causeway in Northern Ireland and Ulva.

 

In these locations, cooling on the upper and lower surfaces of the solidified lava resulted in contraction and fracturing, starting in a blocky tetragonal pattern and transitioning to a regular hexagonal fracture pattern with fractures perpendicular to the cooling surfaces. As cooling continued these cracks gradually extended toward the centre of the flow, forming the long hexagonal columns we see in the wave-eroded cross-section today. Similar hexagonal fracture patterns are found in desiccation cracks in mud where contraction is due to loss of water instead of cooling.

 

Fingal's Cave was originally part of the Ulva estate of the Clan MacQuarrie from an early date until 1777. The cave was brought to the attention of the English-speaking world by 18th-century naturalist Sir Joseph Banks in 1772.

 

It became known as Fingal's Cave after the eponymous hero of an epic poem by 18th century Scots poet-historian James Macpherson. It formed part of his Ossian cycle of poems claimed to have been based on old Scottish Gaelic poems. In Irish mythology, the hero Fingal is known as Fionn mac Cumhaill, and it is suggested that Macpherson rendered the name as Fingal (meaning "white stranger") through a misunderstanding of the name which in old Gaelic would appear as "Finn". The legend of the Giant's Causeway has Finn (or Fionn) building the causeway between Ireland and Scotland.

 

The cave has a large arched entrance and is filled by the sea. Several sightseeing cruises organised from April to September by local companies pass the entrance to the cave. In calm conditions, one can land at the island's landing place (as some of these cruises permit) and walk the short distance to the cave, where a row of fractured columns forms a walkway just above high-water level permitting exploration on foot. From the inside, the entrance seems to frame the island of Iona across the water.

 

Romantic composer Felix Mendelssohn visited in 1829 and wrote an overture, The Hebrides, Op. 26, (also known as Fingal's Cave Overture), and was said to be inspired by the weird echoes in the cave. Mendelssohn's overture popularized the cave as a tourist destination. Other famous 19th-century visitors included author Jules Verne, who used it in his book Le Rayon Vert (The Green Ray), and mentions it in the novels Journey to the Center of the Earth and The Mysterious Island. Poets William Wordsworth, John Keats, and Alfred, Lord Tennyson and Romantic artist J. M. W. Turner, who painted Staffa, Fingal's Cave in 1832 also made the trip. In 1860 the German novelist Theodor Fontane visited the cave and described it in his travel report Jenseit des Tweed (Beyond the Tweed, Pictures and Letters from Scotland), Queen Victoria also made the trip.

 

The 19th century Austro-Hungarian guitarist and composer Johann Kaspar Mertz included a piece entitled Fingals-Höhle in his set of character pieces for guitar Bardenklänge.

 

The playwright August Strindberg also set scenes from his play A Dream Play in a place called "Fingal's Grotta". Scots novelist Sir Walter Scott described Fingal's Cave as "one of the most extraordinary places I ever beheld. It exceeded, in my mind, every description I had heard of it… composed entirely of basaltic pillars as high as the roof of a cathedral, and running deep into the rock, eternally swept by a deep and swelling sea, and paved, as it were, with ruddy marble, [it] baffles all description."

 

Artist Matthew Barney used the cave along with the Giant's Causeway for the opening and closing scenes of his art film, Cremaster 3. In 2008, the video artist Richard Ashrowan spent several days recording the interior of Fingal's Cave for an exhibition at the Foksal Gallery in Poland.

 

One of Pink Floyd's early songs bears this location's name. This instrumental was written for the film Zabriskie Point, but not used.

 

Lloyd House at Caltech has a mural representing Fingal's Cave.

 

The Alistair MacLean novel-based movie, When Eight Bells Toll, starring Anthony Hopkins, was filmed there.

 

It is possible that the township of Fingal, Tasmania was named after the cave in MacPherson's honour.

 

Staffa (Old Norse for stave or pillar island) is an island of the Inner Hebrides in Argyll and Bute, Scotland. The Vikings gave it this name as its columnar basalt reminded them of their houses, which were built from vertically placed tree-logs.

 

Staffa lies about 10 kilometres (6 miles) west of the Isle of Mull; its area is 33 hectares (82 acres) and the highest point is 42 metres (138 feet) above sea level.

 

The island came to prominence in the late 18th century after a visit by Sir Joseph Banks. He and his fellow-travellers extolled the natural beauty of the basalt columns in general and of the island's main sea cavern, which Banks renamed 'Fingal's Cave'. Their visit was followed by those of many other prominent personalities throughout the next two centuries, including Queen Victoria and Felix Mendelssohn. The latter's Hebrides Overture brought further fame to the island, which was by then uninhabited. It is now in the care of the National Trust for Scotland.

 

In prehistoric times (Pleistocene) Staffa was covered by the ice sheets which spread from Scotland out into the Atlantic Ocean beyond the Outer Hebrides. After the last retreat of the ice around 20,000 years ago, sea levels were up to 125 metres (410 ft) lower than at present. Although the isostatic rise of land makes estimating post-glacial coastlines a complex task, around 14,000 years ago it is likely that Staffa was part of a larger island, just off the coast of mainland Scotland, which would have included what are now Mull, Iona and the Treshnish Isles.

 

Steadily rising sea levels then further isolated this little island, which is entirely of volcanic origin. It consists of a basement of tuff, underneath colonnades of a black fine-grained Tertiary basalt, overlying which is a third layer of basaltic lava without a crystalline structure. By contrast, slow cooling of the second layer of basalt resulted in an extraordinary pattern of predominantly hexagonal columns which form the faces and walls of the principal caves. The lava contracted towards each of a series of equally spaced centres as it cooled and solidified into prismatic columns, a process known as columnar jointing. The columns typically have three to eight sides, six being most common. The columns are also divided horizontally by cross joints. These columnar jointed sections represent the tops and bottoms of individual lava flows. Between these sections lie regions of much more chaotic jointing, known as the entablature. The origin of the entablature is unknown, but could be due to flooding of the lava flow, causing much more rapid cooling, or the interaction of stress fields from the two regions of columnar jointing as they approach one another.

 

Similar formations are found at the Giant's Causeway in Northern Ireland, on the island of Ulva and at Ardmeanach on the Isle of Mull. Grooves in the roof of MacKinnon's cave indicate either a pyroclastic flow or a series of eroded ash falls in the rock above the columnar basalt. The 'Staffa Group' is the name given to the series of olivine tholeiite basalts found in the vicinity of Mull which erupted 55–58 million years ago.

 

Staffa lies about 10 kilometres (6 mi) west of Mull, and 9 km northeast of Iona. It is longitudinally oriented north–south, and is a kilometre long by about half a kilometre wide. The circumference is about 3.8 km in extent. In the northeast the isle shelves to a shore, but otherwise the coast is rugged and much indented; numerous caves have been carved out by rain, streams and sea. There is enough grass to feed a few cattle, and the island has a spring.

 

On the east coast are Goat Cave and Clamshell Cave. The latter is 10 m high, about 6 m wide at the entrance, and some 45 m long, and on one side of it the ridges of basalt stand out like the ribs of a ship. Near this cave is the pyramidal rock islet of Am Buachaille ('The Herdsman'), a pile of basalt columns seen fully only at low tide. Other outlying rocks include Eilean Dubh to the north-west and a series of skerries stretching for half a kilometre to the south-west. On the southwest shore are Boat Cave and Mackinnon's Cave (named after a 15th-century abbot of Iona), which has a tunnel connecting it to Cormorant Cave. These caves lie to the south-west and can be accessed from the bay of Port an Fhasgaidh at low tide. In 1945 a mine exploded near Boat Cave, causing damage to the cliff face which is still visible. Mackinnon's Cave is 107 metres long.

 

Staffa's most famous feature is Fingal's Cave, a large sea cave located near the southern tip of the island some 20 m high and 75 m long formed in cliffs of hexagonal basalt columns. This cliff face is called the Colonnade or The Great Face and it was these cliffs and their caves that inspired Felix Mendelssohn's Die Hebriden (English: Hebrides Overture opus 26), which was premiered in London in 1832. The original Gaelic name for Fingal's Cave is An Uamh Bhin – "the melodious cave" – but it was subsequently renamed after the 3rd-century Irish warrior Fionn MacCool. Mendelssohn was nonetheless inspired by the sound of the waves in the cave and waxed lyrical about his visit, claiming that he arrived in Scotland "with a rake for folk-songs, an ear for the lovely, fragrant countryside, and a heart for the bare legs of the natives."

 

Little is known of the early history of Staffa, although the Swiss town of Stäfa on Lake Zurich was named after the island by a monk from nearby Iona. Part of the Ulva estate of the MacQuarries from an early date until 1777, it was brought to the English-speaking world's attention after a visit by Sir Joseph Banks in August 1772. En route to Iceland in the company of the painter Johann Zoffany, the Bishop of Linköping, and the Swedish naturalist Daniel Solander, Banks (later a president of the Royal Society) was entertained by Maclean of Drummen, on the Isle of Mull. Hearing about Staffa he resolved to visit and set out from Tobermory the next day. The winds were light and they did not arrive until darkness had fallen. Banks wrote: It was too dark to see anything, so we carried our tent and baggage near the only house on the island, and began to cook our suppers, in order to be prepared for the earliest dawn, and to enjoy that which, from the conversation of the gentlemen we had, now raised the highest expectations of.

 

They were not disappointed. Despite becoming infested with lice during his short stay on the island, he provided glowing reports of his visit. He confessed that he was: forced to acknowledge that this piece of architecture, formed by nature, far surpasses that of the Louvre, that of St. Peter at Rome, all that remains of Palmyra and Paestum, and all that the genius, the taste and the luxury of the Greeks were capable of inventing.

 

Samuel Johnson and his protege James Boswell visited clan MacQuarrie on Ulva in 1773, the year after Banks' visit. Perhaps aware that Banks considered that the columnar basalt cliff formations on Ulva called "The Castles" rivalled Staffa's Johnson wrote:

 

When the islanders were reproached with their ignorance or insensibility of the wonders of Staffa, they had not much to reply. They had indeed considered it little, because they had always seen it; and none but philosophers, nor they always, are struck with wonder otherwise than by novelty.

 

Amongst the first eminent overseas visitors to Staffa were Barthélemy Faujas de Saint-Fond, a wealthy French zoologist and mineralogist and the American architect and naturalist William Thornton. Visiting in 1784, they were suitably impressed, Faujus writing: "this superb monument of nature, which in regard to its form bears so strong a resemblance to a work of art, though art can certainly claim no share in it."

19th and 20th centuries

 

Subsequently, a stream of famous visitors came to view Staffa's wonders including Robert Adam, Sir Walter Scott (1810), John Keats (1818), J. M. W. Turner, whose 1830 visit yielded an oil painting exhibited in 1832, William Wordsworth (1833), Jules Verne (1839), Alice Liddell (the inspiration for Alice in Wonderland) in 1878, David Livingstone (1864), Robert Louis Stevenson (1870) and Mendelssohn himself in 1829. Wordsworth, however, found the volume of tourism disappointing.

 

Writing more than a century later the writer W. H. Murray agreed, complaining that the visitors spoiled the "character and atmosphere", and rather stand-offishly suggesting that "to know Staffa one must go alone".

 

Others were more enthusiastic, despite the presence of numerous others. Queen Victoria and Prince Albert were rowed into the cave in the royal barge in 1847, and The Times correspondent recorded:

 

As the Royal Squadron cleared out of the Sound of Mull, and round the northern extremity of the island, a noble prospect lay before it, the steep and barren headlands of Ardnamurchan stretching away into the Atlantic on the right, on the left the precipitous cliffs of the Mull coast, and far away and embosomed in the ocean, the fantastic and varied forms of the adjacent islands. The horizon toward the north was a good deal obscured by haze, but, notwithstanding, Skye was distinctly visible... The deserted and solitary aspect of the island was brought out with a strange and startling effect by the presence of so many steamers; and as Her Majesty's barge with the Royal Standard floated into the cave, the crew dipping their oars with the greatest precision, nothing could be more animated and grand than the appearance which the vast basaltic entrance, so solemn in its proportions, presented.

 

Keats complained about the expense of the ferry, but was captivated by what he saw nonetheless. Displeased with his first efforts to describe this "cathedral of the sea" he finally settled on:

 

Not Aladdin magian/Ever such a work began, Not the wizard of the Dee, Ever such a dream could see; Not St John, in Patmos Isle, In the passion of his toil, When he saw the churches seven, Golden Aisl'd, built up in heaven, Gazed at such a rugged wonder.

 

--John Keats, Staffa

 

However inspiring the scenery, it was not an easy place in which to live. In 1772 there was only a single family, living on a diet of barley, oats, and potatoes, and whatever their grazing animals could provide, and growing flax. By the end of the 18th century they had deserted Staffa, apparently terrified by the severity of winter storms. Signs of "rig and furrow" agriculture can still be seen on the island but the only surviving building is the ruin of a 19th-century shelter for travellers.

 

By 1800 the island was under the ownership of Colin MacDonald of Lochboisdale. In 1816 his son Ranald MacDonald sold Staffa into the care of trustees. In 1821 these trustees sold the island to Alexander Forman as trustee, the purchase money being paid by his brother John Forman WS. It remained in the Forman family until sold by Bernard Gilpin Vincent "Pat" Forman in 1968. There were several private owners after that, including Alastair de Watteville, a descendant of Colin MacDonald who wrote a book about the island, until finally Jock Elliott Jr. of New York gifted it to the National Trust for Scotland in 1986 to honour the 60th birthday of his wife, Eleanor. A grateful National Trust bestowed upon her the honorific "Steward of Staffa". In a 2005 poll of Radio Times readers, Staffa was named as the eighth-greatest natural wonder in Britain.

 

During the 20th century there were issues of bogus postage stamps bearing Staffa's name.

 

In 1800 there were three red deer on the island, later replaced by goats and then by a small herd of black cattle. Subsequently, the summer grazing was used for sheep by crofters from Iona, but in 1997 all livestock was removed. This has led to a regeneration of the island's vegetation. The island supports a diverse range of plants, with species such as common heather, kidney vetch, common-bird's-foot trefoil, wild thyme and tormentil all found. The clifftop grassland supports species such as red fescue, yorkshire fog, thrift, sea campion, sea plantain and ribwort plantain.

 

Staffa is nationally important for breeding fulmars, common shags and puffins, and great skuas and gulls also nest on the island. The surrounding waters provide a livelihood for numerous seabirds, grey seals, dolphins, basking sharks, minke, and pilot whales.

 

The island has been designated as a national nature reserve since 2001. The national nature reserve is classified as a Category II protected area by the International Union for Conservation of Nature. Staffa is also a Site of Special Scientific Interest (SSSI), whilst the seas surrounding the island are designated as a Special Area of Conservation (SAC) due to the presence of harbour porpoises. Staffa is part of the Loch Na Keal National Scenic Area, one of 40 in Scotland.

 

Boat trips from Tiree, Tobermory, Oban, Ulva Ferry and Fionnphort on Mull, and Iona allow visitors to view the caves and the puffins that nest on the island between May and September. There is a landing place used by the tourist boats just north of Am Buachaille, but disembarkation is only possible in calm conditions. The island lacks a genuine anchorage.

 

The Hebrides is a concert overture that was composed by Felix Mendelssohn in 1830, revised in 1832, and published the next year as Mendelssohn's Op. 26. Some consider it an early tone poem.

 

It was inspired by one of Mendelssohn's trips to the British Isles, specifically an 1829 excursion to the Scottish island of Staffa, with its basalt sea cave known as Fingal's Cave. It was reported that the composer immediately jotted down the opening theme for his composition after seeing the island. He at first called the work To the Lonely Island or Zur einsamen Insel, but then settled on the present title. However, in 1834, the year after the first publication, Breitkopf & Härtel issued an edition with the name Fingalshöhle (Fingal's Cave) and this title stuck, causing some confusion.

 

Fingal's cave is a spot on the Hebridan Isle of Staffa, some fifty miles off the Scottish coast. According to legend the cave is the site of what was once the royal castle of Fion na Gael (anglicized to "Fingal"), ruler of the kingdom of Morven and father of the celebrated third-century warrior and bard known as Ossian. Every trace of the structure of the supposed castle has vanished and its floor has given way to the sea.

 

Being a concert overture, The Hebrides does not precede a play or opera, but is instead a standalone composition in a form common for the Romantic period. Dedicated to Frederick William IV of Prussia, then Crown Prince of Prussia, the B minor work became part of the standard orchestral repertoire and retains this position to the present day. The original handwritten score for the overture was purchased by the Bodleian Library on the 400th anniversary of its founding in 2002 for £600k.

 

As an indication of the esteem in which it is held by musicians, Johannes Brahms once said "I would gladly give all I have written, to have composed something like the Hebrides Overture".

 

Mendelssohn's first visited England in 1829 following invitations from Sir George Smart and the Philharmonic Society. Following his tour of England, Mendelssohn proceeded to Scotland, where he began work on his Symphony No. 3, Scottish. He was engaged on a tour of Scotland with his travelling companion Karl Klingemann when he sent a letter to his family with the opening phrase of the overture written on it. In a note to his sister Fanny, he said: "In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there." The cave at that time was approximately 35 feet (11 m) high and over 200 feet (61 m) deep, and contained black basalt pillars.

 

The work was completed on 16 December 1830 and was originally entitled Die einsame Insel (The Lonely Island). However, Mendelssohn later revised the score and renamed the piece Die Hebriden (The Hebrides). Despite this, the title of Fingal's Cave was also used: on the orchestral parts he labelled the music The Hebrides, but on the score Mendelssohn labelled the music Fingal's Cave. This revision of the overture was premiered on 14 May 1832 in London in a concert conducted by Thomas Attwood, that also featured Mendelssohn's Overture to A Midsummer Night's Dream. The final revision was completed by 20 June 1832. and premiered on 10 January 1833 in Berlin under the composer's own baton.

 

The music, though labelled as an overture, is intended to stand as a complete work. Although programme music, it does not tell a specific story and is not "about" anything; instead, the piece depicts a mood and "sets a scene", making it an early example of such musical tone poems. The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude. The second theme, meanwhile, depicts movement at sea and "rolling waves".

 

The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

 

Performances of the overture typically last between 10½ and 11 minutes. The autograph manuscript of the work is held in the Bodleian Library, Oxford.

 

The overture can be heard in Luis Buñuel's film L'Age d'Or (1930).

The full work provides the soundtrack for the 1941 experimental film Moods of the Sea by Slavko Vorkapić and John Hoffman.

An extract served as a leitmotif for the inscrutable, omnipotent mynah bird who featured in the Inki cartoon series produced by Warner Bros., inevitably hopping along with the music.

An a cappella arrangement can be heard in Crash Twinsanity.

Heard in the 1943 film The Life and Death of Colonel Blimp by Michael Powell.

The overture is used in a 1949 CSIRO video "Division of radiophysics" .

Can be heard in the 1954 Warner Bros. Looney Tunes animated cartoon short From A to Z-Z-Z-Z.

The opening 2 minutes of the piece featured in the PlayStation video game Colony Wars: Vengeance during selected cutscenes.

The passages after the second theme, leading to the end of the exposition, were used for great dramatic effect on the "Lone Ranger" radio broadcasts.

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"#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! #HEARTRECORDS #GOINGTOCALIFORNIA #OZZY+MEDICINEHEALING +++++++++ #3+ #OZZY+GOODTIMES ++++++++++++++ +#SHIRTS #OZZY+ +++++++++++++ +++#3+++++RECORDS #L #GATLINBURG+++++ #35 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #WWWRHYTHMSECTIONGATLINBURGCOMTREE #GATLINBURGSTONETEMPLEPILOTS+++++ #WWWFLICKRCOMPHOTOSMUSIC1978 #WWWREDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #LRECORDSTORES #MTNS+ #POSTERS+RAINBOW #SPARK! #PRAYERSFORRAIN+GOINGTOCALIFORNIA #PRAYERSFORRAINPURP #PRAYERSFORRAINPURPTENNESSEE #PRAYERSFORRAIN+GOLDEN #OCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIAOCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIALUCK #CREATIONLIBRARY #LUCK #PRAYERSFORRAIN+GOINGTOCALIFORNIARAINBOW #PRAYERSFORRAINGREEN #GRE ♈♉♊♋♌♍♎♏♐♑♒⛎ #WHENTHESHIPCOMESIN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜RAINBOW ❄️ 💚💙 💚💙💜#INBETWEEN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜 ⛎ 🙏🌻 🐉 🐦 ❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💚💙💜💚💙💜 💚 💙 💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💙❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜 ♈♉♊♋♌♍♎♏♐♑♒⛎⛎🙏❤️💛💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎❤️💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎💙✨⭐💚💟💛🐈🐢🐉🐦🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎♥🌻🐦😻🌝🌜🔵🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀 ☔ 💚💟 💜💚💙💜 🌷🍄❤️💛💚💙💜💜💙💚💛❤️❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 ♈ ♉ ♊ ♋ ♌🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚

Be Full of Love for God | A Cappella "Praise the New Life" (The Best Christian Music Video)

 

www.holyspiritspeaks.org/videos/mv-praise-the-new-life/

 

Hallelujah! Thank and praise You!

 

Hallelujah! Thank and praise You, Almighty God!

 

Christ of the last days has appeared, working and speaking among man.

 

His word judges, chastises and purifies us, leading us onto the right way of human life.

 

It is God’s word that has changed me,

 

so I have the new life of praising God. (Hallelujah!)

 

Pain and perplexity are gone; I’m released in spirit and sing a song. (Hallelujah!)

 

It is really good to understand the truth. I’ve transcended the flesh, I’m so free! (Praise God!)

 

All notions and misunderstandings are cleared away, my disobedient disposition is changed.

 

I walk on the bright way of human life; God’s love is so precious and so real! (Praise God!)

 

It’s God’s exaltation to enjoy God’s love.

 

I’ve tasted God’s love and can never leave God again.

 

Brothers and sisters are together, without barriers or distance.

 

We serve coordinated in the church, with one heart and mind, and merrily we sing a song of praise.

 

The singing is full of love for God. We sing out sincere hearts.

 

The practical God has renewed and changed us into a new man.

 

Who does not express the affection in his heart? Who does not express the love in his heart?

 

You dance to praise God, and I clap my hands aside.

 

We’ve transcended burdens of the world, family, and flesh; loving each other, we are so sweet!

 

The past old life will never return, and a golden time is ahead.

 

It’s so enjoyable to perform my duty and bear witness; we fellowship about the truth, released and free.

 

God’s people enjoy the new life; the bright human life is waving to me. (Oh.)

 

It’s so enjoyable to perform my duty and bear witness; we fellowship about the truth, released and free.

 

God’s people enjoy the new life; the bright human life is waving to me.

 

I will worship the practical God forever!

 

Hallelujah!

 

from Follow the Lamb and Sing New Songs

 

These are the series of illustrations to newest story – The flight of the swan telling about Dannee’s struggle with keeping peace between her friend and one of her romantic flashbacks in the past.

Even while Skyrim being at state of fragile peace Dannee learns that not all fights are tied with something epic as she tries to out some order and peace between two of her closest friends who had big misunderstanding along with nasty quarrel. In attempt to make her friend Serana see things from her perspective Dannee dwells in her own past as well as helping Serana deal with terrible but unseen wounds of her darkest memories…

The first part – www.nexusmods.com/skyrim/images/433485/?

The second part of the story – www.nexusmods.com/skyrim/images/433486/?

  

Daredevil: I don't know of anyone more familiar with the universes represented here in Paprihaven than you.

 

Shi: Well... it's really been just a hobby to try and keep track of it all.

 

Daredevil: As you know, until now, there have only been a handful from my universe, 616. More have arrived and more are coming. The train station has more of us arriving every day.

 

Shi: Wow. Super humans?

 

Daredevil: Very. The Avengers are forming.

 

Shi: The Avengers?

 

Daredevil: It's a team that rivals the Justice League and the Queen's Defenders in power.

 

Shi: Well... that's hard to believe, but okay. The warp is open, war is coming, so maybe your 'Avengers' will turn the tide for good like the Justice League did last time. What do you need from me?

 

Daredevil: I don't want misunderstandings like what's been going on with the League and the Queen. I'd like my people to meet the Universe 52 heroes up front.

 

Shi: Okay.

 

Daredevil: You can help arrange that.

 

Shi: Why me? You know where the Hall of Justice is. Go talk to Superman.

 

Daredevil: Those 52 heroes have been jerks. I can't patrol for crime without that Black Canary woman giving me grief. I went to a new area and now it's Green Lantern. They're jerks. But you know the Bat.

 

Shi: Oh, you've had personality conflicts with 52 and so your solution is to start with Batman?? Look, Superman is much friendlier.

 

Daredevil: You know Batman well. Would you please arrange a meeting with him? I'll get the person from 616..

 

Shi: Sure... okay.

Lewis et Elsa ont eu un bain. Comme chaque fois après le bain Lewis a voulu appliquer sa méthode de séchage dans l'herbe. Le problème c'est que lorsqu'Elsa l'a vu ramper ainsi elle a cru qu'il jouait et a voulu jouer avec lui, or Lewis ne joue pas. Il a fallu un moment pour qu'Elsa comprenne qu'il ne jouerait pas et que Lewis puisse reprendre son séchage.

 

Lewis and Elsa had a bath. Like every time after the bath Lewis wanted to apply his method of drying in the grass. The problem is that when Elsa saw him crawling she thought he was playing and wanted to play with him, but Lewis doesn't play. It took a moment for Elsa to understand that he would not play and for Lewis to resume his drying.

Brimham Moor in North Yorkshire, England the rocks began taking their shape roughly 320 million years ago, when water, grit, and sand washed down from Scotland and Norway to form the land of Yorkshire.

 

Brimham Rocks is a stunning spectacle on the Moors in North Yorkshire. But what makes these rock formations special? The natural spectacle was created by a river 100million years BEFORE the first dinosaurs walked the earth.

 

When was the rock idol at Brimham Rocks created?

In 1844, Druidic theories were strong enough for the Worcester Journal to publish a list of "British monuments, commonly called Druidical," to correct misunderstandings, including those by "antiquarian writers of celebrity." The list included the Rock Idol at Brimham Rocks.

Fraction of a Dot

 

"The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot...

 

It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”

 

― Carl Sagan, Pale Blue Dot: A Vision of the Human Future in Space

 

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