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Kasteel van Horst
Het kasteel van Horst is een kasteel in Sint-Pieters-Rode (deelgemeente van Holsbeek in Vlaanderen). Het kasteel is goed bewaard en heeft nog de traditionele slotgracht. Het kasteel bezit een zeer grote vijver annex slotgracht. Buiten de slotgracht is er ook een koetshuis, dat in de jaren 90 van de 20e eeuw werd gerestaureerd en verbouwd tot taverne. Herita vzw beheert het kasteel en zorgt voor de restauratie en ontsluiting. Prominent aanwezig in het gebouw is het stucwerk van de 17e-eeuwse kunstenaar Jan Hansche. Het kasteeldomein is Europees beschermd als onderdeel van Natura 2000-gebied 'Valleien van de Winge en de Motte met valleihellingen'
De oudste bekende heren van Horst zijn Jan van Horst en zijn zoon Arnold (13e eeuw). Jan van Horst behoort samen met zijn zonen Arnold en Adam van Landwijk tot de familie Van Thunen. Later, toen ze zich definitief in Horst vestigden, ging de familie zich 'van Horst' noemen.
In 1369 werd de heerlijkheid Horst verkocht aan Amelric Boote. Toen Amelric in 1405 overleed, erfde zijn dochter Elisabeth de heerlijkheid en verkocht het aan haar neef Amelric Pynnock. Pynnock bouwde de versterkte hoeve om tot een waterburcht. Tijdens de opstand van 1488-1489 tegen Maximiliaan van Oostenrijk werd het kasteel verwoest. De toenmalige eigenaar, Lodewijk III Pynnock, bouwde het kasteel weer op met een lening van Maximiliaan van Oostenrijk maar raakte toch in financiële moeilijkheden. Daarom moest hij in augustus 1500 Horst afstaan aan Ivan van Cortenbach.
Aan het eind van de 15e eeuw werden ook de vierkante donjon, de aula en de camera gebouwd, die nu nog altijd bestaan. Onder Franchoys van Busleyden (1545-1555) werden de grote kruisramen aan de grachtkant aangebracht waardoor het kasteel zijn versterkt karakter kwijtraakte. In 1587 werd Horst verwoest door de geuzen. Het bos, kort bij het kasteel (de huidige Horststraat) werd toen de ketterije genoemd. In de 17e eeuw werden de twee westelijke vleugels met dienstvertrekken beneden en pronkzalen boven bijgebouwd door Olivier van Schoonhoven. In die tijd werd ook de kapel toegevoegd. Maria-Anne van den Tympel, de laatste kasteelvrouwe, liet in 1655 de stucplafonds in de grote zalen van de westelijke vleugel aanbrengen.
Er worden elk jaar Kasteelfeesten gehouden, waarbij er ridderspelen in scène worden gezet. In oktober 2007 verkocht gravin de Hemricourt de Grunne het kasteeldomein samen met de 113 hectare grond eromheen aan het Vlaams Gewest. Er was geen geld meer om de erfpacht te verlengen.
Located in the Winge valley to the east of Leuven, Horst Castle has remained largely untouched since the middle of the 17th century.
To get the most out of a visit to Horst Castle, you should know what not to expect. There are no works of art hanging from the walls; no ancient tapestries in the bedrooms. The living rooms are empty of tables and chairs; the kitchen devoid of pots and pans. In fact, Horst Castle is empty and unlived in, and has been for over three hundred years. And that’s precisely why it’s worth visiting.
Horst Castle is special because it’s authentic. Most of the castles in Flanders were renovated or rebuilt in the eighteenth or nineteenth centuries, but at Horst nothing happened; everything stood still after 1658.
The castle was built in the mid 14th century by Amelric Boote, described in local records as a wealthy money-changer. By 1482 it had come into the hands of Lodewijk Pynnock, Bailiff of Leuven. Being bailiff has always been an unpopular profession, and residents of Leuven expressed their displeasure at Pynnock by burning down part of the castle. However, he rebuilt it and re-started his feasts and tournaments – until his money ran out in 1500 when he was forced to sell the castle.
In 1650 a remarkable woman came on the scene, when widow Maria-Anna van den Tympel inherited the estate. She fell in love with Horst, and carried out major work on the property. A deeply religious woman, she built a new chapel. Three living rooms were decorated with superb stuccos. A servants’ wing was added. Outside the main gate, a coach house was constructed. This was a particularly forward-thinking decision as the horse-drawn carriage had not yet become a common mode of transport. However, the coach house never realised its full potential; the lady of the castle died in 1658 and Horst has been uninhabited ever since.
So what can you expect to see at Horst Castle? Entering the courtyard across the wooden bridge you can see the original medieval perimeter wall and the slot where the portcullis would have been. From the courtyard you get a good view of the traditional Brabantine brick and sandstone wall with stepped gables and cruciform windows. Note the difference between the plain servants’ windows and the ornate windows of the floors above.
The biggest room is the Ovid Hall, where feasts were held and dances organised, with its haut-relief stucco work on the ceiling, including six scenes from the Metamorphoses by Ovid, the impressive work of Jan-Christian Hansche.
The walls of the 600-year-old keep certainly have some stories to tell. The first floor is the reception area where visitors were received. The entrance door dates back to 1422. Today’s visitors can examine the cramped privy and tiny washbasin. The faded pictures and emblems on the walls can still be seen – red, blue and gold, reflecting the wealth of the owners.
The narrow stairs take you up to the living quarters and the bedroom. Occupants would have slept sitting on the wide window ledges (lying down was for the dead). Higher up would have been the barracks and finally the battlements with their crenellations and throwing holes. From here you get a good view of the lake in which the castle stands. Maria-Anna van den Tympel would have had a different view. The lake was dug in the early 20th century and stocked with fish, although the castle always had a moat.
Edited from the Victoria County History:
The parish church of St Edmund, Abbess Roding, consists of nave, chancel, west tower, north vestry, and south porch. The walls are of flint rubble, roughly coursed except where they have been restored, and the original dressings are of clunch. The plan indicates a 12th century origin and the dedication suggests that there was a church here before the Norman Conquest. The nave was probably rebuilt in the 14th century and the chancel in the 14th and 15th. The tower and porch were rebuilt in 1866-8 and the vestry was probably added before the end of the 19th century. The most interesting features of the church are the oak screen and the stained glass, both of the 15th century.
www.flickr.com/photos/barryslemmings/sets/72157629306452140/ to see the full set.
The position of the north and south doorways suggests that the nave was originally built in the 12th century. The font is of the late 12th century and is similar in type to others in the area. The square bowl, which is bound with iron, has vine ornament carved on two sides and conventionalized flowers on another. On the fourth side appear the disk, crescent, whorl, and stars which are characteristic of these fonts. The stem is circular and has small angle shafts. The nave was probably rebuilt in the 14th century. There are two pointed windows with tracery of this date. The doorways are also 14th-century in style but the south doorway has been completely rebuilt. West of the doorways are single-light windows which are either modern or very thoroughly restored. A 14th-century piscina in the south wall has an ogee head on a square drain.
The chancel arch, much restored, is of two moulded orders. The windows on the north side of the chancel have tracery of the 14th century, but the later rebuilding of the rear arches has blocked the spandrels. There is much 15th-century work in the chancel. The two south windows have moulded jambs and fourcentred heads. The east window, entirely rebuilt in the 19th century, has tracery in the style of the 15th century and may replace a similar window of that date. The late 15th-century south doorway has a fourcentred head with carved spandrels and a square label externally. The stonework has been partly renewed.
The chancel roof has two tie-beams and a deep moulded and embattled wall-plate. Below the east tie-beam are moulded wall-posts and arched braces springing from modern corbel brackets. The nave roof, of similar date, has two tie-beams with traceried spandrels between the arched braces and the moulded wall-posts. At the west end are indications of the former bell turret, 'a little wooden turret with a spire'. This is shown in an engraving of 1797. In the same picture appears a large timber-framed south porch, also probably of the 15th century, having seven pointed lights along the sides. The turret and porch were both rebuilt in 1867 but there is still a 15th-century stoup outside the south door.
The fine oak screen is of the late 15th century. It has evidently been brought from elsewhere and cut to fit the present chancel arch. There are three full bays, one of which forms the entrance to the chancel, and an extra half bay at the south end. The upper panels have four-centred heads and are filled with elaborately cusped perpendicular tracery. The principal mullions are carved with buttresses and crocketed finials. The rail is enriched with a running vine ornament and the lower panels have tracery carving. The cresting is modern.
In one of the 15th-century chancel windows is some painted glass of the same period. It includes tabernacle work and two figures, one being a bishop in mass vestments and the other a woman, probably St. Margaret. Above the pulpit is a fine early-18th-century sounding board with an inlaid soffit and an enriched cornice. It is supported on a fluted Doric pilaster in the angle between the south and east walls of the nave.
The octagonal oak pulpit may be partly of the same date, altered later. The wrought-iron hour-glass stand near the pulpit is probably also of the 18th century. In 1866-7 the church was restored and refitted at the expense of Capel Cure of Blake Hall. The work included the rebuilding of the tower and the south porch. The present tower is of flint rubble with freestone dressings and is of three stages surmounted by a castellated parapet. Its style is mainly of the 14th century. The south porch is of timber. At the same time the east wall of the chancel was completely rebuilt, there were repairs to windows and roofs, the nave was repaved and new seats and new stained glass were installed. The total cost of the restoration was about £2,000.
The carved oak reredos, which has traceried panels and other enrichments, is the work of the late Miss Capel-Cure and was added in 1938. There are three bells. Two are probably of the 15th century, one being by John Walgrave. The third is by John Hodson, 1665.
On the north wall of the nave is a fine carved and painted wall tablet of alabaster and black marble. It is in memory of Sir Gamaliel Capell (1613) and has figures of himself and his wife kneeling at a prayer desk. Below, also kneeling, are six sons and three daughters. The monument was formerly in the chancel. On the opposite wall of the nave is a tablet in similar materials but of very unusual design. It commemorates Mildred (Capell) wife of Sir William Lucklyn (1633) and shows a lady looking out from a curtained recess, the curtains being held back by cherubs. Behind her, angels are descending to place a crown on her head. Above is a segmental pediment and an achievement of arms.
During the Middle Ages the advowson of the parish church of Abbess Roding was held by Barking Abbey.
The owners of Langham House (formerly Rode or Road Hill House) kindly opened their lovely gardens to the public on Sunday, the first time this has ever happened I believe. Because of its infamy in 1860, and the numerous books written about the murder of a child from the house, the place was overwhelmed with visitors, eager to test their own theories as well as have a nose around a glorious garden. Nice day.
St Mary, Aythorpe Roding, Essex
A new entry on the Essex Churches site.
It was May 2014, the most beautiful spring of the century. I had taken my bike on the train from Ipswich to Bishops Stortford before heading off away from the hell of Stansted airport into the wilds of Essex. Now I veered eastwards from the forest, entering the emptiest and most remote area of the county. No villages for miles, just hamlets, fields and the occasional farmstead. The road to my next target would have meant a five mile ride, but I spotted a half-mile bridleway, of which there are lots in this part of Essex. It would cut three miles off the journey, so I took it. It was a farm track, deeply rutted, and it took me down the side of a barley field to copses in the distance, the hysterical yellow of acres of rapeseed in full flower beyond.
At first, it was just about cycleable, but then it wasn't, so I pushed my bike for about ten minutes or so. As I approached the country lane at the far end of it I thought there seemed something vaguely familiar about it, and then I realised what it was. Ah, I thought to myself, I'm entering East Anglia again. Now I was on hedged lanes through rolling fields of barley and rapeseed. Profound green, intense yellow. The road climbed, and over the rise I saw a spire. I headed down a track for half a mile or so and came to one of the most remote churches in all Essex.
It was locked, there was no keyholder notice. An inexpressibly lonely place. The church itself is a poor little thing, its wooden spire shot through with woodpecker holes. There were no notices of service in the porch, and so I expect it has fallen into disuse. Redundancy beckons, and perhaps it will be left to go quietly back to nature. It might just as well be left open, in which case it would at least serve some purpose to passing walkers, pilgrims and strangers.
And yet there was something very special about just standing in the churchyard, in the silence. It felt like nothing had happened here for a very long time. I looked down at the inscription on a memorial cross to Our Dear Son, Bertie George Emberson, who died at the Military Hospital, Caterham, Surrey, September 7th 1918 aged 19 years. How awful. And yet, I thought, the churchyard they stood in to watch him put into the earth has not changed. The one they knew is the one there now.
Simon Knott, April 2018
'Strength of a Woman' is a sculpture dedicated by Mayo-born businessman and philanthropist Bill Durkan to the women of Mayo who remained at home while their men sought work abroad during the mass emigration of the 1950s. Located in the centre of Swinford, it was created by the Australian-born Mayo-based sculptor Mark Rode and installed in 2007.
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Das Kalksandsteinwerk am Rodinger Bahnhof produzierte schon vor dem Ersten Weltkrieg. Im Jahr 2000 wurde der Betrieb endgültig eingestellt.
Rode Rivier
de trein kwam te laat
te voet was het te ver
de rivier te nabij
de haat te groot
kogels door je kop
rivier van bloed
rode Donau
dood Boedapest
© by Jan Theuninck
versindaba.co.za/2011/05/19/jan-theuninck-rode-rivier-ea-...
it.e-stories.org/read-stories.php?sto=7196
schrijversweb.nl/tekst.php?id=6788
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Jan Theuninck is a Belgian painter and poet
www.boekgrrls.nl/BgDiversen/Onderwerpen/gedichten_over_sc...
www.forumeerstewereldoorlog.be/wiki/index.php/Yperite-Jan...
www.graphiste-webdesigner.fr/blog/2013/04/la-peinture-bel...
charterforcompassion.org/belgium
rode bikes all day, ate sushi & drank pbr w/ lex. a good day.
1960s cat & owl print mini dress - etsy (i have this exact print in a long-sleeved cut too!)
dot tights - target?
superga platform sneakers - ebay
vintage skull pin - ebay
unworn (it was warmer than i thought!) 1950s beaded cardigan - goodwill bins
Russian postcard by Izdanije Byuro Propogandy Sovietskogo Kinoiskusstva, nr. M 11 268, 1970. (This postcard was printed in an edition of 250.000 cards. The price was 6 kop.)
Russian superstar Rodion Nahapetov (1944) works as an actor as well as a writer and director for both the Russian cinema and for Hollywood. He appeared in more than 60 leading roles, including his spot-on depiction of Lenin in Serdtse materi/A Mother’s Heart (1967).
Rodion (Rodin) Rafailovich Nahapetov was born in Pyatikhatki, located in the Dnepropetrovsk region of the Ukraine in the former Soviet Union, in 1944. His mother, Galina Antonovna Prokopenko was a schoolteacher. During the Nazi occupation, Galina was involved in the underground organization Motherland that operated in Krivoi Rog. Rodion was delivered by Russian soldiers during the liberation of the Ukraine. Galina aptly named her son Rodina, which means Motherland. Later, his name was changed to Rodion. Rodion’s father, Raphael Nahapetov, never met his son. After the war, Raphael returned to his family. Galina never married. Rodion lived with his grandmother in the village of Skelevatka (a suburb of Krivoi Rog) until he was 5. In 1950, Galina and Rodion moved to the city of Dniepropetrovsk. She found a job teaching in Elementary School Number 34. By the early 1950’s she was suffering from pulmonary tuberculosis. The management of the school decided to place Rodion in an orphanage, where he spent almost two years. Galina’s health improved and the school helped her procure a small room in a communal apartment. She brought ten-year-old Rodion home from the orphanage and he resumed his place in school. Rodion was once asked to play the part of a bear in a school play celebrating the new year. Wearing a mask, he began to growl fiercely and imitate the bear so well the students applauded his performance enthusiastically. This experience influenced his professional path in the days to come. In 1960, he traveled to Moscow after receiving his high school diploma. His goal was to be accepted in the prestigious acting department of VGIK (USSR University of Cinema). Rodion played the part of an old man for his audition, reading a passage from Gorky’s novel Childhood. Renowned masters of Russian cinema, Sergei Gerasimov and Tamara Makarova recognized the talent in the sixteen-year old, and he moved into the dormitory of the Institute of Cinematography in Moscow.
Rodion Nahapetov acting career started in his third year of studies. His film debut role was an engineer named Gena in the romantic comedy Zhivyot takoy paren/There Lived Such a Lad (1966, Vasili Shukshin). An important acting challenge was playing the young Vladimir Lenin in Serdtse materi/A Mother’s Heart (1967, Mark Donskoy) and the sequel Vernost materi/A Mother’s Loyalty (1968, Mark Donskoy). Rodion was only twenty-years-old and was required to portray the life of Lenin over a period of 31 years (age 16 to 47). His talent to play much older people served him well. In response to his lauded performance of Lenin, Nahapetov received the Moscow Komsomol Award and was presented the Order of Merit medal. These roles in the 1960’s made Nahapetov tremendously popular among a loyal following of fans. Among his most famous films is Vlyublyonnye/Tenderness (1971, Elyer Ishmukhamedov) with Anastasiya Vertinskaya. During this period Rodion’s mother had become seriously ill. The last film she saw which starred her son was A Mother’s Heart. Galina Prokopenko died in Moscow in 1966. Rodion grieved deeply over the death of his beloved mother. Despite his marked success in acting, Rodion chose to return to VKIG to widen the scope of his talent and study directing. His debut work as a director S toboy i bez tebya/With You and Without You (1974, Rodion Nahapetov) was filmed at Mosfilm Studios in Moscow. The film was popular among public and the critics. Nahapetov married actress Vera Glagoleva in 1974. They had collaborations in many films. Their first daughter Anna was born in 1978. Their second daughter Maria was born in 1980. They divorced in 1988. In 1975, Nikita Mikhalkov chose Rodion for the lead role of Pototsky in Raba lyubvi/Slave of Love (1975, Nikita Mikhalkov). This role brought him major fame. The film remains a classic in international cinema – applauded by both critics and audiences. One of Rodion’s most famous roles was playing pilot Belobrov in the classic film Torpedonostsy/Torpedo Bombers (1983, Semyon Aranovich). In 1985 he received The Gold Medal award (equivalent to an Academy Award) for this role. He also continued his directorial work. He directed such films as the comedy Vragi/Enemies (1979, Rodion Nahapetov) after Maxim Gorky and the romantic drama Zontik dlya novobrachnykh/Umbrella for Newlyweds (1987, Rodion Nahapetov) .
In 1987 Rodion Nahapetov filmed the epic Na iskhode nochi/At The Edge of the Night (1988, Rodion Nahapetov) about the early days of World War II. Twentieth Century Fox purchased it for international distribution. The studio sold the film to 91 countries around the world. While promoting the international release of the film in Los Angeles he met media consultant Natasha Shliapnikoff. She started to manage Nahapetov’s career in Hollywood, and projects started slowly to materialize. Nahapetov and Shliapnikoff married in 1991. In 1995, he directed his first American film, Stir (1995, Rodion Nahapetov) starring Traci Lords. Natasha produced the film. Nahapetov wrote about this period in his biographical book In Love (1999). In 2000, the Russian TV channel ORT asked Rodion to direct three episodes of their TV series Uboynaya sila/Lethal Force (2000-2007). These segments, filmed in Los Angeles, became the most popular of the entire series. After this success, ORT asked Rodion to create a series for them. This resulted in the popular 12-part series Russkie v Gorode Angelov/Russians in The City of Angels (2002, Rodion Nahapetov) with guest stars as Gary Busey, Eric Roberts and Sean Young. Rodion also directed the comedy Moya bolshaya armyanskaya svadba/My Big Armenian Wedding (2004, Rodion Nahapetov) with the participation of Armenian and Russian stars, and the psychological thriller Contamination (2007, Rodion Nahapetov) starring Karen Black. Rodion Nahapetov’s oldest daughter Anna is a ballerina with the Bolshoi Theatre Ballet and an actress in films and theatre. His daughter Maria is an artist. Natasha and Rodion’s daughter, Katia, is a photographer and singer-songwriter who performs in Los Angeles clubs. Rodion has a granddaughter, Paulina, born in 2006 to Anna Nahapetova and Egor Simachev and a grandson, Kiril, born in 2007 to Maria Nahapetova and Eugene Dzyura. Currently, Rodion Nahapetov is working on a new film, Dandelion Wine, based upon Ray Bradbury’s novel of the same name.
Sources: Rodionnahapetov.com, and IMDb.