View allAll Photos Tagged Testers
A Saab 9-5 surface friction tester leaves the airfield after completing its measurements. These specially modified vehicles are used to measure the coefficient of friction along the runway surface to determine what type of treatment is needed by maintenance crews. MSP also operates a Volvo V70 version (vehicle No. 52).
Read more about this type of vehicle here.
...needed for a quilt pattern... If you are interested and will be able to finish until middle of September please Write in the comment here... Will be finished the next one- two weeks... Zhanks
Suche tester für eine quiltanleitung. Die sollte in ein- zwei Wochen fertig, so dass dann bis Mitte September Zeit zum Nähen ist. Interesse? Dann bitte im Kommentar reinschreiben, danke
In a million years I never thought I would be glad to find one of these at a garage sale, but alas, after learning about using older CRT monitors and tube type televisions as a shutter tester from Rick Oleson I've been looking for one of these for over a year.
I was only guessing this particular TV would work the same as it's larger cousins so the $5 investment was a meager gamble. It works great on both focal plane and leaf shutters and is portable.
©TOLOS DERECHOS RESERVAOS©
Banco de Portugal: drum tester
Moment of a parade through the Rúa do Comercio, in the A Baixa area, Lisbon. A musician, very concentrated, plays a big drum in front of one of the buildings of the Banco de Portugal. To see without the cut of Instagram go to www.flickr.com/photos/ivangfernandez/
#drum #parade #lisboa #abaixa #musicians #photo #photography #streetphoto #streetshot #streetphoto_bw #canonphoto #nofilter #canonofficial #life_is_street #bestplacetogo #dametraveler #portugram #super_portugal #portugal_a_gramas #instaportugal #liveforthestory #portraits_captures
again just a test shot ,to check out sharpness with the t.c fitted ,stopped down 1 click and i'm happy with this result hand held at 840mm .
Moreton Corbet was my main target for the afternoon and despite my later than planned arrival St Bartholomew's church was happily still open. It is a relatively small building but packed full of interest and easily one of the main highlights of the day. It sits close to the dramatic ruins of Moreton Corbet Castle, which stands immediately south of the churchyard.
The tower is very late medieval, begun in the 1530s but not finished till 1769. Inside the nave and chancel at first sight appear fairly humble, but the chancel gradually reveals it's gilded decoration and the spacious south aisle is full of monuments, many elaborate wall tablets and two large tombs with effigies; the older tomb of Richard Corbet (d.1513) and wife has been recoloured, and has weepers all around (some difficult to see owing to the general clutter engulfing two sides of it), all looking rather restored. The other tomb is of Sir Richard Corbet (d.1567) and his wife, again coloured and adorned with intriguing heraldic motifs. A small, almost domestic looking chapel opens up to the south and contains a further huge wall tablet to another Sir Richard (d.1691), all oddly proportioned with the biggest cherub head I've ever seen on such a position with a bust above under a curiously pointed arch.
The main interest in the chancel is rather more recent, thanks to it's makeover by Sir Ninian Comper which endowed it with some rich gilded stencilling, a tester canopy, new glass and further ornamental detailing including two small colonettes borne on the backs of miniature alabaster elephants.
This church is a real gem and easily one of the most enjoyable in Shropshire.
I thought I had visited St Mary years ago. And indeed I had, or stood on the green in front of it, but didn't set foot inside.
This I didn't realise until Saturday when I was standing outside it looking at the row of cottages leading to the lych gate, I knew the scene was new to me.
The drizzle was still falling, so I could not linger in the churchyard, and scampered along the south side of the building, looking for the porch, but there wasn't one. Instead a simple door near to the chancel gave way when I turned the handle, after stepping over the void that acts as a drain for rainwater falling from the roof.
I tried hard to find the lightswitches, as in the gloom of the early afternoon, it was almost dark inside. Even when I found the switches in the south chapel, there seemed to be no power to them, so the church remained in half darkness.
What I did see, and was dazzled by, were tiles used to line the lower part of the chancel walls, like a mosaic, creating fantastic patterns.
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A mainly thirteenth century church restored by Sir George Gilbert Scott. There is a high window which originally shed light onto the Rood figures (see also Capel le Ferne). Some medieval glass survives in the heads of the windows in the chancel showing angels holding crowns. The west window was designed by Morris and Co in 1874 to commemorate a former Rector, whilst the south chapel has a set of continental glass brought here by the Beckingham family from their house in Essex. Above the nave arcade is a good set of murals including a figure of St Nicholas. The famous Elizabethan theologian Richard Hooker is commemorated in the chancel.
www.kentchurches.info/church.asp?p=Bishopsbourne
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Bishopsbourne is another example of a parish church belonging to the church (the archbishop, in this case), which was totally rebuilt on a large(r) scale in the 13th century (cf. Chartham). The chancel, as rebuilt, was as wide as the nave, and there is no chancel arch (and probably never has been).
The nave and chancel both show at least two phases of work of about the mid to later 13th century, so it seems likely that a rebuilding programme was being carried on in stages during the 2nd half of the 13th century (no sign exists, above-ground, of the earlier church).
Perhaps the earliest visible work are the two pairs of two-light windows on either side of the chancel. They have geometrical tracery and all sit on an internal moulded string course (there is medieval glass at the top of all these windows). This string course rises up in the east wall, and has on it the five-light east window, within trefoiled lancets, which is perhaps slightly later in date. There is also a late 13th century piscina at the east end of the south wall (though with a 19th century back wall). Externally the N.E. and S.E. corners of the chancel have angle buttresses, but these are heavily restored. It is also just possible that there were further geometrical windows further west in the chancel, which were covered/removed when the 15th century additions were made.
In the nave, as John Newman has pointed out, the two slender arcades have slight differences (N. capitals more complex than the S. ones). Also that the nave abaci are undercut, while the chancel string course is not. Originally the south arcade was at least three bays long (ie. longer than the present nave), but on the north this is not so clear. The aisles themselves are very narrow, with shed roofs continuing the slope of the main nave roof (though this shape may only be 15th century when the aisles were remodelled). The only surviving feature of the 13th century in the outer aisle walls (again heavily restored externally in the 19th century) is the north doorway with its niche (called a stoup by some writers, but not necessarily one) immediately to the east. This doorway has slightly projecting pilasters on either side, and the whole was covered by a porch until 1837.
The second main phase of work took place in the later 15th century. First, the whole of the west end of the church was demolished and a new tower was constructed with diagonal buttresses. The tower is of three main stages with the top stage rendered. The whole of the south face is mostly rendered. As this was being built, short walls were erected from the eastern diagonal buttresses to the 13th century arcade (ie. leaving the western ends of the aisles outside). (This is perhaps due to a population decrease in the parish). New west walls (containing two light perpendicular square headed windows) to the shortened aisles were also built, and four new 2-light perpendicular windows were inserted into the outer aisle walls. Along the top of the inside of the aisles walls a new moulded timber stringcourse was made (the roofs were perhaps also remade, but they are hidden beneath plaster in the aisles, and the main nave roof was replaced in 1871). At the west end of the nave the new short north and south walls contain five 3-light windows with perpendicular tracery under a 2-centred arch in their heads. On the upper nave walls, above the arcade, are remains of some fine painted figures on a painted 'ashlar' background. These were perhaps painted after the 15th century rebuilding (a date of around 1462 for the rebuilding is perhaps suggested by the will of William Harte (see below). At the extreme west end of the nave are two areas (N. and S.) of in situ medieval floor tiles. It is just possible that they predate the tower building work. (They must continue eastwards under the pews). There is also a 15th cent. octagonal font bowl (on a 1975 base). The southern chapel (the Bourne Pew after the Reformation) with its diagonal buttresses and 3-light east window is also 15th century but it was very heavily restored in c. 1853 (date over new S. door). It has a separate roof (and plaster ceiling). The rectangular N. addition with a plinth is also 15th century and was perhaps built as a vestry. It had an external door and only a small door into the chancel until the rebuilding of 1865, when a massive new arch was put in to accommodate a new organ (earlier the organ was under the tower arch). At this time also a totally new pitched roof was built over the vestry, perhaps replacing a low pitched 15th century roof. There is a high up window on the north side above the pulpit, with some old glass in it.
A new boiler house was dug under the western half of the vestry (in the 1880s - date on radiator), and its N.W. corner was rebuilt, incorporating a fireplace and chimney. The cut through N. chancel wall (and foundation) can be seen in the boiler room below.
The door into the Rood loft is in the S.E. corner of the nave.
In 1871-2 a major restoration took place under Scott, when the boarded wagon roofs were put in (nave and chancel) and new pews were installed (and choir stalls). The c. 18th century pulpit was remodelled and has its larger tester removed. The west window contains 1874 Morris & Co glass with figures by Burne Jones. There is also much c. 1877 mosaic work on the lower chancel walls and a large Reredos. The chancel floor was also raised.
BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles, etc.):
The main building materials are flintwork with Rag and Caenstone quoins/jambs, etc. However much of this has been removed externally by the heavy 19th century restoration. The nave arcades are of Reigate stone. The 15th century tower has fine large quoins of Kent Rag (Hythe/Folkestone stone with boring mollusc holes), and a few reused pieces of Caen, Reigate and Roman brick.
The south chapel was "partly of brick" in 1846 (Glynne) but this has now gone in the Restoration. There is also some fine early post-medieval glass in the east window of this chapel.
(For medieval glass, wall paintings and floor tiles ,see above).
(Also 15th century choir stalls, see below). There are also the arms and Cardinals Cap of Cardinal Morton (hence 1494-1500) in the S.W. chancel window.
There are now 4 bells (2 J Hatch of 1618; Christopher Hodson 1685 and Robert Mot 1597). The later from St. Mary, Bredman, Canterbury was installed in 1975 (a cracked bell was 'discarded').
A late medieval brass (of John and Elizabeth Colwell) lies under the organ - another of 1617 (John Gibon) is under the choir stalls.
EXCEPTIONAL MONUMENTS IN CHURCH To Richard Hooker (1633) - originally on N chancel wall and moved to S chancel will c. 1865.
Also John Cockman (+1734) - also on N. chancel wall and moved to E. wall of N. aisle c. 1865 (when the organ was put under new vestry arch).
Also a fine Purbeck marble (14th century) grave slab under the N.E. corner of the tower.
There are also two fine 15th century (c. 1462) stall fronts in the chancel with carved panels and ends (and 'poppy heads'). The added Victorian choir stalls copy them.
CHURCHYARD AND ENVIRONS:
Shape: Rectangular
Condition: Good
Earthworks:
enclosing: drop on N. and W. sides (?Ha-Ha) into Bourne Park adjacent:
Building in churchyard or on boundary: Lychgate of 1911
HISTORICAL RECORD (where known):
Earliest ref. to church: Domesday Book
Evidence of pre-Norman status (DB, DM, TR etc.):
Late med. status: Rectory
Patron: The Archbishop
Other documentary sources: Test. Cant. (E. Kent 1907) 23 mentions 'one piece of that stone on which the Archangel Gabriel descended when he saluted the 'BVM' to the Image of the BVM of the church of Bourne. Towards the work of the Church of Bourne, of the stalls and other reparations, 4 marcs. Wm. Haute (1462). Also 'Beam, now before altar of B. Mary in the church' (1477) and Lights of St. Mary, St. Katherine and St. Nicholas (1484) and light of Holy Cross (1462) and 'The altar of St. Mary and St. Nicholas in the nave' (1476).
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: Good - main nave and chancel floor raised in 19th century (earlier levels should be intact beneath (except where burials, etc.).
Outside present church: Drainage trench cut round outside of church.
Quinquennial inspection (date\architect): October 1987 David Martin
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
The church and churchyard: A fine 13th and 15th century church, with an impressive collection of medieval wall paintings, stained glass, floor tiles and pew fronts inside. The 13th century architectural details of the chancel windows and nave arcade are very good. There are, no doubt, the remains of the earlier church beneath.
The wider context: One of a group of fine later 13th century rebuildings (cf. Hythe, Chartham, Adisham, etc.)
REFERENCES: Notes by FC Elliston Erwood, Arch. Cant. 62 (1949), 101-3 (+ plan) + S. R. Glynne Notes on the Churches of Kent (1877), 130-1 (He visited in 1846); Hasted IX (1800), 335-7; Newman BOE (N.E. and E Kent) (3rd ed. 1983) 144-5.
Guide book: by Miss Alice Castle (1931, rev. 1961, 1969, 1980) - no plan.
Plans & drawings: Early 19th century engraving of interior looking W. NW (before restoration).
DATES VISITED: 25th November 1991 REPORT BY: Tim Tatton-Brown
www.kentarchaeology.org.uk/01/03/BIS.htm
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BISHOPSBORNE
LIES the next parish eastward from Bridge, described before, in the hundred of that name. It is called in Domesday, Burnes, that is, borne, from the bourn or stream which rises in it, being the head of the river, called the Lesser Stour; and it had the name of Bishopsborne from its belonging to the archbishop, and to distinguish it from the several other parishes of the same name in this neighbourhood. There is but one borough in this parish, namely, that of Bourne.
THIS PARISH lies about five miles eastward from Canterbury, just beyond Bridge, about half a mile from the Dover road, and the entrance of Barham downs in the valley on the left hand, where the church and village, the parsonage, the mansion and grounds of Bourne place, and the seat of Charlton at the opposite boundary, with the high hills behind them, topped with woods, from a most pleasing and luxuriant prospect indeed. In this beautiful valley, in which the Lesser Stour rises, and through which the Nailbourne at times runs, is the village of Bourne-street, consisting of about fifteen houses, and near it the small seat of Ofwalds, belonging to Mr. Beckingham, and now inhabited by his brother the Rev. Mr. Beckingham, and near it the church and court-lodge. On the rise of the hill is the parsonage, an antient building modernized, and much improved by the present rector Dr. Fowell, and from its whiteness a conspicuous object to the road and Barham downs. About a mile distant eastward, in the vale, close to the foot of the hills, is Charlton, in a low and damp situation, especially when the nailbourne runs. On the opposite side of the church westward, stands the ornament of this parish, the noble mansion of Bourne-place, (for several years inhabited by Sir Horace Mann, bart. but now by William Harrison, esq.) with its paddocks, grounds, and plantations, reaching up to the downs, having the bourn, which is the source of the Lesser Stour, which rises here in the front of it, directing its course from hence to Bridge, and so on by Littleborne, Ickham and Wickham, till it joins the Greater Stour river. This valley from this source of the bourn upwards, is dry, except after great rains, or thaws of snow, when the springs of the Nailbourn occasionally over flow at Liminge and Elham, and directing their course through this parish descend into the head of the bourn, and blend their waters with it. From this valley southward the opposite hills rise pretty high to the woodland, called Gosley wood, belonging to Mr. Beckingham, of large extent, and over a poor, barren and stony country, with rough healthy ground interspersed among it, to the valley at the southern boundary of the parish, adjoining to Hardres; near which is the house of Bursted, in a lonely unfrequented situations, hardly known to any one.
THE MANOR OF BOURNE, otherwise Bishopsborne, was given by one Aldhun, a man of some eminence in Canterbury, from his office of præfect, or bailiff of that city, (qui in hac regali villa bujus civitatis prafectus suit), (fn. 1) to the monks of Christ-church there, towards the support of their refectory. After which, anno 811, the monks exchanged it, among other estates, with archbishop Wlfred, for the manor of Eastry, and it continued part of the possessions of the see of Canterbury, at the time of taking the survey of Domesday, in which it is thus entered, under the title of the archbishop's lands:
In Berham hundred, the archbishop himself holds Burnes in demesne. It was taxed for six sulings. The arable land is fifty carucates. In demesne there are five carucates, and sixty-four villeins, with fifty-three borderers having thirty carucates and an half. There is a church, and two mills of eight shillings and six pence, and twenty acres of meadow. Wood for the pannage of fifteen hogs. Of herbage twenty-seven pence. In its whole value, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, now thirty pounds.
The manor of Bishopsborne appears by the above entry to have been at that time in the archbishop's own hands, and it probably continued so as long as it remained part of his revenues, which was till the 35th year of king Henry VIII. when archbishop Cranmer, by an act specially passed for the purpose, exchanged this manor with the park, grounds and soil of the archbishop in this parish, called Langham park, with Thomas Colepeper, sen. esq. of Bedgbury, who that year alienated it to Sir Anthony Aucher, of Otterden, who gave this manor, with the rest of his possessions in this parish, to his second son Edward. Since which it has continued in the same line of ownership as Bourne-place, as will be more particularly mentioned hereafter, down to Stephen Beckingham, esq. the present owner of it. A court leet and court baron is held for this manor.
BOURNE-PLACE, formerly called the manor of Hautsbourne, is an eminent seat in this parish, for the manor has from unity of possession been for many years merged in the paramount manor of Bishopsborne. It was in very early times possessed by a family who took their name from it. Godric de Burnes is mentioned in the very beginning of the survey of Domesday, as the possessor of lands in it. John de Bourne had a grant of free-warren and other liberties for his lands in Bourne and Higham in the 16th year of king Edward I. He left an only daughter Helen, who carried this estate in marriage to John de Shelving, of Shelvingborne, whose grandson, of the same name, died anno 4 Edward III. at which time this manor had acquired from them the name of Shelvington. He left an only daughter and heir Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, whose son Nicholas Haut gave to William, his youngest son, this estate of Bishopsborne, where he afterwards resided, and died in 1462, having been knight of the shire and sheriff of this county. From him it descended down to Sir William Haut, of Hautsborne, sheriff in the 16th and 29th year of king Henry VIII. whose son Edmund dying unmarried in his life-time, his two daughters, Elizabeth, married to Thomas Colepeper, esq. of Bedgbury, and Jane, to Sir Thomas Wyatt, of Allington-castle, became his coheirs, and on the division of their estates, this of Hautsborne was allotted to the former, and her hus band Thomas Colepeper, in her right, became possessed of it, and having acquired the manor of Bishopsborne by exchange from the archbishop, anno 35 Henry VIII. immediately afterwards passed away both that and Hautsborne to Sir Anthony Aucher, of Otterden, whose family derived their origin from Ealcher, or Aucher, the first earl of Kent, who had the title of duke likewise, from his being intrusted with the military power of the county. He is eminent in history for his bravery against the Danes, in the year 853. They first settled at Newenden, where more of the early account of them may be seen. He at his death gave them to his second son Edward, who afterwards resided here at Shelvington, alias Hautsborne, as it was then called, whose great-grandson Sir Anthony Aucher was created a baronet in 1666, and resided here. He left surviving two sons Anthony and Hewitt, and two daughters, Elizabeth, afterwards married to John Corbett, esq. of Salop, LL. D. and Hester, to the Rev. Ralph Blomer, D. D. prebendary of Canterbury. He died in 1692, and was succeeded by his eldest son, who dying under age and unmarried, Hewitt his brother succeeded him in title and estate, but he dying likewise unmarried about the year 1726, the title became extinct, but his estates devolved by his will to his elder sister Elizabeth, who entitled her husband Dr. Corbett afterwards to them, and he died possessed of the manor of Bishopsborne, with this seat, which seems then to have been usually called Bourneplace, in 1736, leaving his five daughters his coheirs, viz. Katherine, afterwards married to Stephen Beckingham, esq. Elizabeth, to the Rev. Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignat. Geohegan, esq. and Margaret-Hannah-Roberta, to William Hougham, esq. of Canterbury, the four latter of whom, with their respective husbands, in 1752, jointed in the sale of their shares in this estate to Stephen Beckingham, esq. above-men tioned, who then became possessed of the whole of it. He married first the daughter of Mr. Cox, by whom he had the present Stephen beckingham, esq. who married Mary, daughter of the late John Sawbridge, esq. of Ollantigh, deceased, by whom he had an only daughter, who married John-George Montague, esq. eldest son of John, lord viscount Hinchingbrooke, since deceased. By his second wife Catherine, daughter of Dr. John Corbet, he had two daughters, Charlotte and Catherine, both married, one to Mr. Dillon and the other to Mr. Gregory; and a son John Charles, in holy orders, and now rector of Upper Hardres. They bear for their arms, Argent, a sess, crenelle, between three escallop shells, sable. He died in 1756, and his son Stephen Beckingham, esq. above-mentioned, now of Hampton-court, is the present owner of the manor of Bishopsborne, and the mansion of Bourneplace.
BURSTED is a manor, in the southern part of this parish, obscurely situated in an unfrequented valley, among the woods, next to Hardres. It is in antient deeds written Burghsted, and was formerly the property of a family of the same name, in which it remained till it was at length sold to one of the family of Denne, of Dennehill, in Kingston, and it continued so till Thomas Denne, esq. of that place, in Henry VIII.'s reign, gave it to his son William, whose grandson William, son of Vincent Denne, LL. D. died possessed of it in 1640, and from him it descended down to Mr. Thomas Denne, gent. of Monkton-court, in the Isle of Thanet, who died not many years since, and his widow Mrs. Elizabeth Denne, of Monktoncourt, is the present possessor of it.
CHARLTON is a seat, in the eastern part of this parish, which was formerly the estate of a family named Herring, in which it continued till William Herring, anno 3 James I. conveyed it to John Gibbon, gent. the third son of Thomas Gibbon, of Frid, in Bethers den, descended again from those of Rolvenden, and he resided here, and died possessed of it in 1617, as did his son William in 1632, whose heirs passed it away to Sir Anthony Aucher, bart. whose son Sir Hewitt Aucher, bart. in 1726, gave it by will to his sister Elizabeth, and she afterwards carried it in marriage to John Corbett, LL. D. of Salop, who died possessed of it in 1735, leaving his window surviving, after whose death in 1764 it came to her five daughters and coheirs, who, excepting Frances, married to Sir William Hardres, bart. joined with their husbands in the sale of their respective fifth parts of it in 1765, to Francis Hender Foote, clerk, who resided here. Mr. Foote was first a barrister-at-law, and then took orders. He married Catherine, third daughter of Robert Mann, esq. of Linton, by whom he had three sons, John, mentioned below, who is married and has issue; Robert, rector of Boughton Malherb, and vicar of Linton, who married Anne, daughter of Dobbins Yate, esq. of Gloucestershire, and Edward, in the royal navy; and three daughters, of whom two died unmarried, and Catherine, the second, married first Mr. Ross, and secondly Sir Robert Herries, banker, of London. Mr. Foote died possessed of them in 1773, leaving his wife Catherine surviving, who possessed them at her death in 1776, on which they descended to their eldest son John Foote, esq. of Charlton, who in 1784, purchased of the heirs of lady Hardres, deceased, the remaining fifth part, and so became possessed of the whole of it, of which he is the present owner, but Mr. Turner now resides in it.
Charities.
MRS. ELIZABETH CORBETT, window, executrix of Sir Hewit Aucher, bart. deceased, in 1749, made over to trustees, for the use and benefit of the poor, a tenement called Bonnetts, and half an acre of land adjoining, in this parish; now occupied by two poor persons, but if rented, of the annual value of 3l.
The poor constantly relieved are about eleven, casually seven.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
¶The church, which is dedicated to St. Mary, is a large building, consisting of three isles and three chancels, having a tower steeple at the west end, in which are four bells. This church is a large handsome building, but it is not kept so comely as it ought to be. In the chancel is a monument for Richard Hooker, rector of this parish, who died in 1600; on it is his bust, in his black gown and square cap. A monument for John Cockman, M. D. of Charlton. His widow lies in the vault by him, obt. 1739; arms, Argent, three cocks, gules, impaling Dyke. Memorial for Petronell, wife of Dr. John Fowell, the present rector, second daughter of William Chilwich, esq. of Devonshire, obt. 1766. She lies buried in a vault under the altar. A large stone, twelve feet long, supposed to be over the remains of Mr. Richard Hooker. A memorial on brass for John Gibbon, gent. of this parish, obt. 1617; arms, Gibbon, a lion rampant-guardant, between three escallops, impaling Hamon, of Acrise, quartering Cossington. Memorials for Mrs. Jane Gibbon, his wife, obt. 1625, and for William Gibbon, gent. obt. 1632. A memorial for William Gresham, obt. 1718. In one of the windows are the arms of the see of Canterbury impaling Warham. In the middle isle, in the south wall, above the capital of the pillar, opposite the pulpit, is a recess, in which once stood the image of the Virgin Mary, the patron saint of this church, to which William Hawte, esq. by will anno 1462, among the rest of his relics, gave a piece of the stone on which the archangel Gabriel descended, when he saluted her, for this image to rest its feet upon. On the pavement near this, seemingly over a vault, is a stone with an inscription in brass, for William, eldest son of Sir William Hawt. A memorial for Farnham Aldersey, gent. of this parish, only son of Farnham Aldersey, gent. of Maidstone, obt. 1733. Memorials for several of the Dennes, of this parish. In a window of the south isle, are the arms of Haut, impaling Argent, a lion rampant-guardant, azure. The south chancel is inclosed and made into a handsome pew for the family of Bourne-place, under which is a vault appropriated to them. The window of it eastward is a very handsome one, mostly of modern painted glass; the middle parts filled up with scripture history, and the surrounding compartments with the arms and different marriages impaled of the family of Beckingham. On each side of this window are two ranges of small octagon tablets of black marble, intended for the family of Aucher, and their marriages, but they were not continued. In the church-yard, on the south side, is a vault for the family of Foote, of Charlton, and a tomb for Mrs. Elizabeth Corbett, obt. 1764; arms, Corbett, which were Or, two ravens, sable, within a bordure, gules, bezantee. At the north-east corner of the church-porch are several tombs for the Dennes.
The church of Bishopsborne, with the chapel of Barham annexed, was antiently appendant to the manor, and continued so till the exchange made between the archbishop and Thomas Colepeper, in the 35th year of king Henry VIII. out of which the advowson of this rectory was excepted. Since which it has continued parcel of the possessions of the see of Canterbury to the present time, his grace the archbishop being the present patron of it.
This rectory, (including the chapel of Barham annexed to it) is valued in the king's books at 39l. 19s. 2d. and the yearly tenths at 3l. 19s. 11d. In 1588 here were communicants one hundred. In 1640 one hundred and forty-eight, and it was valued, with Barham, at two hundred and fifty pounds per annum.
Church of Bishopsborne with the Chapel of Barhan annexed.
www.british-history.ac.uk/survey-kent/vol9/pp328-337
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Richard Hooker (March 1554 – 3 November 1600) was an English priest in the Church of England and an influential theologian.[2] He was one of the most important English theologians of the sixteenth century.[3] His defence of the role of redeemed reason informed the theology of the seventeenth century Caroline Divines and later provided many members of the Church of England with a theological method which combined the claims of revelation, reason and tradition.[3] Scholars disagree regarding Hooker's relationship with what would later be called "Anglicanism" and the Reformed theological tradition. Traditionally, he has been regarded as the originator of the Anglican via media between Protestantism and Catholicism.[4]:1 However, a growing number of scholars have argued that he should be considered as being in the mainstream Reformed theology of his time and that he only sought to oppose the extremists (Puritans), rather than moving the Church of England away from Protestantism.
This sermon from 1585 was one of those that triggered Travers attack and appeal to the Privy Council. Travers accused Hooker of preaching doctrine favourable to the Church of Rome when in fact he had just described their differences emphasising that Rome attributed to works "a power of satisfying God for sin;..." For Hooker, works were a necessary expression of thanksgiving for unmerited justification by a merciful God.[11] Hooker defended his belief in the doctrine of Justification by faith, but argued that even those who did not understand or accept this could be saved by God.
Of the Lawes of Ecclesiastical Politie is Hooker's best-known work, with the first four books being published in 1594. The fifth was published in 1597, while the final three were published posthumously,[2] and indeed may not all be his own work. Structurally, the work is a carefully worked out reply to the general principles of Puritanism as found in The Admonition and Thomas Cartwright's follow-up writings, more specifically:
Scripture alone is the rule that should govern all human conduct;
Scripture prescribes an unalterable form of Church government;
The English Church is corrupted by Roman Catholic orders, rites, etc.;
The law is corrupt in not allowing lay elders;
'There ought not to be in the Church Bishops'.[12]
Of the Lawes has been characterised as "probably the first great work of philosophy and theology to be written in English."[13] The book is far more than a negative rebuttal of the puritan claims: it is (here McAdoo quotes John S. Marshall) 'a continuous and coherent whole presenting a philosophy and theology congenial to the Anglican Book of Common Prayer and the traditional aspects of the Elizabethan Settlement."[14]
Quoting C. S. Lewis,[15] Stephen Neill underlines its positive side in the following terms: Hitherto, in England, "controversy had involved only tactics; Hooker added strategy. Long before the close fighting in Book III begins, the puritan position has been rendered desperate by the great flanking movements in Books I and II. . . . Thus the refutation of the enemy comes in the end to seem a very small thing, a by-product."[16]
It is a massive work that deals mainly with the proper governance of the churches ("polity"). The Puritans advocated the demotion of clergy and ecclesiasticism. Hooker attempted to work out which methods of organising churches are best.[2] What was at stake behind the theology was the position of the Queen Elizabeth I as the Supreme Governor of the Church. If doctrine were not to be settled by authorities, and if Martin Luther's argument for the priesthood of all believers were to be followed to its extreme with government by the Elect, then having the monarch as the governor of the church was intolerable. On the other side, if the monarch were appointed by God to be the governor of the church, then local parishes going their own ways on doctrine were similarly intolerable.
In political philosophy, Hooker is best remembered for his account of law and the origins of government in Book One of the Politie. Drawing heavily on the legal thought of Thomas Aquinas, Hooker distinguishes seven forms of law: eternal law ("that which God hath eternally purposed himself in all his works to observe"), celestial law (God's law for the angels), nature's law (that part of God's eternal law that governs natural objects), the law of reason (dictates of Right Reason that normatively govern human conduct), human positive law (rules made by human lawmakers for the ordering of a civil society), divine law (rules laid down by God that can only be known by special revelation), and ecclesiastical law (rules for the governance of a church). Like Aristotle, whom he frequently quotes, Hooker believes that humans are naturally inclined to live in society. Governments, he claims, are based on both this natural social instinct and on the express or implied consent of the governed.
The Laws is remembered not only for its stature as a monumental work of Anglican thought, but also for its influence in the development of theology, political theory, and English prose.
Hooker worked largely from Thomas Aquinas, but he adapted scholastic thought in a latitudinarian manner. He argued that church organisation, like political organisation, is one of the "things indifferent" to God. He wrote that minor doctrinal issues were not issues that damned or saved the soul, but rather frameworks surrounding the moral and religious life of the believer. He contended there were good monarchies and bad ones, good democracies and bad ones, and good church hierarchies and bad ones: what mattered was the piety of the people. At the same time, Hooker argued that authority was commanded by the Bible and by the traditions of the early church, but authority was something that had to be based on piety and reason rather than automatic investiture. This was because authority had to be obeyed even if it were wrong and needed to be remedied by right reason and the Holy Spirit. Notably, Hooker affirmed that the power and propriety of bishops need not be in every case absolute.
King James I is quoted by Izaak Walton, Hooker's biographer, as saying, "I observe there is in Mr. Hooker no affected language; but a grave, comprehensive, clear manifestation of reason, and that backed with the authority of the Scriptures, the fathers and schoolmen, and with all law both sacred and civil."[17] Hooker's emphasis on Scripture, reason, and tradition considerably influenced the development of Anglicanism, as well as many political philosophers, including John Locke.[2] Locke quotes Hooker numerous times in the Second Treatise of Civil Government and was greatly influenced by Hooker's natural-law ethics and his staunch defence of human reason. As Frederick Copleston notes, Hooker's moderation and civil style of argument were remarkable in the religious atmosphere of his time.[18] In the Church of England he is celebrated with a Lesser Festival on 3 November and the same day is also observed in the Calendars of other parts of the Anglican Communion.
Testing a Canon PowerShot A80 at OEM Electronics. I think I had the image quality on the lowest setting!
only a little clean-up needed, new battery and some de-oxit spray on the switches. good as new, now!
it auto-identifies which leads are the E/B/C. you then have to set those leads to the right slots for the manual tests (gain, leakage).
if you enable the beeper, it sounds off as its testing.
the photo didn't capture the TWO 'collector leds' that light up. in auto mode, its hard to tell the diff between the C and E wires (or drain and source). in auto-test, it identifies the base and polarity but that's all. after you are done the lower 'red' region of test, you move the test mode switch over to the green/right, the ORIENT the transistor properly in the socket (yes, you may have to remove it and change leads) and then you can do leak and gain tests. you still won't know if you got C/E properly until you find that Vbe is sitting on .6v (Si = silicon) region and that gain is showing something 'reasonable'. if your Vbe test is not showing a nice green band region, swap C E pins and try again; it should work fine, then.
(posted on Makezine blog: blog.makezine.com/2012/06/03/make-flickr-pool-weekly-roun... )
Here's a cute little tube tester made by Radio City Products Co out of New York. Most likely from the 30's, it appears very easy to use. Having said that, I've never plugged it in to try it. This tester was given to me by a friend out in Victoria, BC to add to my growing collection. If you're ever looking for a tube, try John at pacifictv.ca. He should have what you need.
I purchased a shutter tester from vfmoto on Ebay a few months ago. I'm very happy with it, but it's a bit unwieldy. Made this handy jig to hold the light and sensor. Adjustable horizontally and vertically to accommodate most cameras.
Testers are, Jim Brown, Ray Armstrong, George Pickering and Jack Clucas. The lad on the right was the pump boy who added petrol and oil to each bike ready for testing.
during a week of bad weather etc ,i have done another mico adjust of the lens ,and a firmware update on the camera .what i need to know is does this look like an improvement ???
Compositionally Challenged image for Weeks 51 & 52 'Vintage'
TMK 500 Meter that my dad brought in the 1970's and I now have and it still works perfectly.
Empire Test Pilots School's 'Raspberry Ripple' schemed Sikorsky SH-3 Sea King, XV370, parked out on the grass at Shoreham Airport during their annual visit to Singer-Link-Miles, the cockpit simulator manufacturer that until it's sad demise, used to be based at nearby Lancing.
This helicopter or their recently retired twin-prop HS Andover would arrive here making a welcome and colourful addition to the annual movements.
This particular Sea King was the first on the UK military register being a Sikorsky manufactured example acquired ahead of Westland Helicopter's Yeovil based licence-built production of the type for the Royal Navy, RAF and some overseas export models too.
Back then the old WWII Gunnery Training Dome at the extreme right was still silver being pre-fire after which it was painted a horrible green/brown camouflage and the trees on the hill known as Lancing Clump (above the dorsal radome) were still intact until the 'Great Gale' (or Hurricane) of 1987 devastated the area and ripped most of them out!
Scanned 35mm transparency
Looking for Scratch Hardness Tester? We are manufacturer, supplier and exporter of Scratch Hardness Tester testing instruments & equipments. Visit Prestogroup.com for more testing machines information.
UMO: 82932329 Seyboth Fabric Tester, Penetrating Cone Type; Sharp point on black stainless steel end that is spring loaded inside the handle, to be pressed against a single layer of fabric or canvas to test the strength of the material before it gives way; In wood box with directions on black plate inside--Image from SDASM's Curatorial collection--Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Fotos por Cortesia de Alejandro Blanco
www.flickr.com/photos/alejandro5000
HISTORIA Y ARTE
Se ha llegado a afirmar que San Juan de los Reyes es el primer monumento de Toledo que no adopta la más leve señal del arte árabe o mudéjar, queriendo defender con ello que su estilo pertenece a la gran corriente occidentalista que invadió Castilla a mediados del siglo XV. Si esta opinión ha podido ser defendida para hacer resaltar la innovación que el arte gótico-flamenco supone, no sólo para Toledo sino para toda la cultura española de la época de los Reyes Católicos, no es menos cierto que el cruce del arte gótico-flamenco con la tradición islámica y medieval en España va hacer de San Juan de los Reyes un monumento muy peculiar. En efecto, las formas europeas, debido a su inserción en las formas autóctonas mudéjares- debidamente matizadas - conseguirán hacer de él la obra más representativa de un arte nuevo y original, arte que será llamado hispano-flamenco, conocido también por arte isabelino.
Dos grandes corrientes históricas, la política y la religiosa van a servir de matiz para la fundación de San Juan de los Reyes. Fue Isabel de Castilla quien mando construir este monumento, templo votivo y memorial a la vez de la victoria obtenida el 1 de marzo de 1476 en los campos de Toro (Zamora), al derrotar los ejércitos de Fernando de Aragón a la facción contraria que favorecía a los secuaces de Juana la Beltraneja, presunta hija de Enrique IV,apoyada por las pretensiones al trono castellano de Alfonso V, rey de Portugal. Fue esta victoria la que abrió a Isabel las puertas de su glorioso reinado y en Toledo quiso dejar memoria histórica, a la vez que lugar sagrado donde sepultar sus restos mortales y los de su esposo. Este motivo condicionaría toda la arquitectura de la edificación, si bien circunstancias posteriores desaconsejarían semejante empeño inicial. La devoción de la casa Trastamara al apóstol San Juan evangelista (Juan le llamaban padres y abuelos) halló en Isabel un motivo más para dedicarlo al santo de su devoción personal, como dejaría constancia en el escudo de armas con el águila nimbada del discípulo de Cristo.
Resuelta la guerra de sucesión al trono de Castilla, un nuevo motivo habría de interferirse, esta vez para la dedicación del monasterio a la memoria de San Francisco de Asís y residencia de sus hijos en la inmortal Toledo.
La construcción del monasterio comenzó hacia el 1477, figurando como arquitecto principal Juan Guas (1433-1496). En 1484 es nombrado aparejador de las obras de la catedral toledana, simultaneando su actividad entre Segovia y el propio San Juan de los Reyes. Sigue en importancia Simón de Colonia (1450-1511), llamado a la muerte de Juan Guas "para informar y dar trazas para la terminación de San Juan de los Reyes." Entre los decoradores y escultores principales destacamos Antón y Enrique, hijos de Egas Cueman. La obra se realizó en varias etapas: iglesia-cimborrio (1486), decoración del crucero (1490), edificación del Claustro bajo (1495) y edificación definitiva del monasterio, concluyendo hacia el 1525-26 (gracias al interés que le prestó Carlos V, tras la muerte de la reina Isabel, su abuela materna).
Por efectos de la guerra de la Independencia (1808) y de la posterior desamortización y exclaustración (1836), tanto el monasterio como la iglesia y claustros se vieron lastimosamente danados en parte ruinosos, por lo que en 1883 se inició la obra de restauración a cargo de los arquitectos Arturo Melida y Cecilio Bejar. La Academia de Bellas Artes y más tarde, después de la Guerra Civil, la Dirección General de Regiones Devastadas, consiguieron su terminación, siendo su último impulsor Moreno Torres. Se entregó el monumento a la Orden Franciscana en 1954 y la iglesia se abrió al culto en 1967.
VISTA EXTERIOR
El esbelto cimborrio que podemos contemplar hace funciones de torre, gran cápsula geométrica que coronaría el monumental mausoleo, según la idea primigenia de servir cual panteón real al enterramiento de Fernando e Isabel.
Del mismo modo, el visitante puede observar mejor lo que podríamos llamar primer intento de influencia mudéjar; nos referimos al planteamiento geométrico del volumen, que en el cimborrio presenta figura octogonal, geometrización muy del gusto oriental, que en San Juan de los Reyes es vertida del ladrillo a la piedra.
Los ventanales habrían de procurar luz y ventilación al interior, con lo que la estructura torreada ganaría en prestancia por sus decoradas vidrieras; medidas de seguridad arquitectónica aconsejarían cegarlos terminándose su construcción. Aún así, las cresterías caladas del cimborrio y templo, más la abundancia de agujas volatilizan y dan ingravidaez al conjunto de dura piedra berroqueña. Un espigón, rematado por veleta y cruz, señala el punto elevado y concéntrico del octógono piramidal; la espadaña sobresale frontalmente con sus espaciosos claros y un pequeño campanil que presenta doble pináculo, único en su género, completan la airosa silueta de San Juan de los Reyes.
FACHADA
La portada principal o de ingreso al templo, que hoy se ve al poniente, fue abierta con posterioridad y labrada según diseño de Covarrubias, pero se realizó muchos años más tarde (1606-10), cuando se había perdido el gusto por el gótico, la que algún autor llama, humorísticamente, "semigótica y semirenacentista", o sea, ni una cosa ni otra. Ostenta variedad de esculturas de santos franciscanos que cortejan la imagen elevada de San Juan Evangelista, dentro de un arco conopial. Escudo y cruz coronan el conjunto entre yugos y flechas. Dos soldados, con cota y manto romanos, vigilan la entrada desde la altura de unos contra-fuertes, apunte de renacimiento fuera de lugar.
CADENAS
Motivo de extrañeza para el visitante es la presencia de la "tracería" (horizontal y vertical) de cadenas que en su día serían más numerosas. Son restos y reliquias de cadenas de los cautivos cristianos rescatados de las batallas de Málaga y Almería (1485-86) y que ellos mismos trasladaron hasta Toledo como exvotos de perenne agradecimiento a Dios y a su Reina.
NAVE PRINCIPAL
Conforme al estilo gótico del tiempo, la planta de la iglesia es de cruz latina, con brazos poco salientes. La nave central mide 55 metros de longitud, 12 de anchura, 20 la nave del crucero, más 30 de altitud. Está dividida en cuatro cuerpos con sus correspondientes bóvedas de crucería, abriéndose entre los pilares sendas capillas a uno y otro lado, poco entrantes, en un intento semidecorativo y funcional.
Los pilares van cubiertos por esculturas de tamaño natural, sostenidas por ménsulas y cubiertas por doseles afiligranados, referentes a santos o personajes bíblicos de no fácil identificación. Los nervios o palmas góticas de las bóvedas no se cruzan en diagonal sino transversalmente, lo que acusa influencia alemana. Apliques y florones rematan las junturas de los nervios, con un escudo central y numerosos signos de yugos y haces de flechas e iniciales coronadas de los Reyes, como si de un cielo estrellado se tratase.
Una tracería rematada con adorno vegetal recorre todo el perímetro de la nave, dividiendo los lienzos laterales en dos partes y subrayando, entre cenefas, una inscripción castellana en caracteres góticos, de derecha a izquierda, que dice así:
"ESTE MONESTERIO E IGLIA MANDARON HASER LOS MUY ESCLARESCIDOS PRINCIPES E SEÑORES DO HERNANDO E DOÑA YSABEL REY E REYNA DE CASTILLA DE LEON DE ARAGON DE CECILIA LOS CUALES SEÑORES POR BIENAVENTURADO MATRIMONIO SE IUTARO LOS DICHOS REYNOS SEYENDO EL DICHO SEÑOR Y SEÑORA Y SEÑOR NATURAL DE ARAGON Y CECILIA Y SEYENDO LA DICHA SEÑORA REYNA Y SEÑORA NATURAL DE LOS REYNOS DE CASTILLA Y DE LEON EL CUAL FUNDARON A GLIA DE NRO SEÑOR DIOS Y DE LA BIENAVENTURADA MADRE SUYA NUESTRA SEÑORA LA VIRGEN MARIA Y POR ESPECIAL DEVOCION QUE TUVIERON".
CRUCERO Y CIMBORRIO
Recordando que el templo estaba destinado para panteón de los Reyes y, por consiguiente, que los túmulos habían de ser colocados en el centro mismo de la iglesia, bajo la estrella del alto cimborrio y el cruce mismo de las naves, no puede sorprendernos que su autor haya reservado lo mejor de la decoración para este lugar que llamamos Crucero.
En la decoración repetitiva de los temas sobresale, en primer lugar, la de los escudos reales, agarrados y sostenidos por águilas y leones, seis a la derecha, seis a la izquierda, doce en total, como si de un apostolado se tratase. Las águilas están nimbadas en sus cabezas rítmicas por halos de santidad, en expresió del águila de Patmos, a quien el monumento está dedicado y que los Reyes hicieron suya junto al escudo monárquico.
Maravilla del arte gótico-flamenco que admira a cuantos lo contemplan es el cimborrio o lucernario octogonal, comenzado por Juan Guas y terminado, a su muerte, por Simón de Colonia, como se desprende de la decoración estrellada de su bóveda, de inspiración alemana y que recuerda el mudéjar por su geometrismo. Lleva ocho ventanales, que en su origen debieron pensarse vidriados para iluminar el Crucero, pero que dificultades de estabilidad aconsejarán cegarlos. Ocho ángeles sostienen, sobre sus hombros, sencillos capiteles coronados, de los que arrancan los nervios de la bóveda; en los ángulos, vistosas pechinas que simulan tribunas decoran el total de la geométrica cúpula.
CAPILLA MAYOR Y RETABLO
En cuanto al retablo del presbiterio, el original desapareció víctima de la guerra napoleónica. El actual proviene, desde el siglo pasado, del Hospital de Santa Cruz de Toledo, fundado por don Pedro González de Mendoza, Cardenal de la Santa Cruz de Jerusalén. Su autor es Francisco de Coomontes, entallador y pintor, según consta en el contrato: "el dicho retablo a de hazer, ansí la talla como la obra de pinzel".
Las pinturas son alusivas a la historia de la invención de la Cruz por Santa Elena; a los pasos de la pasión, Caida y Descendimiento, el autor añade la del longevo padre de Judas Iscariote, encontrando para Santa Elena las tres cruces del Gólgota; asímismo, a la derecha, la de la milagrosa resurrección de un muerto al contacto de la verdadera cruz de Cristo, milagro que permitió identificarla de entre las de los otros crucificados ladrones. En las calles laterales van pinturas que representan la flagelación, el "Ecce Homo", la Resurrección y la Bajada al Limbo. En su parte inferior, santos Doctores al centro, y Profetas del Antiguo Testamento en sus ángulos, ataviados a la usanza del tiempo. En la calle central, de arriba a abajo, un Calvario con María y Juan evangelista; una talla de San Juan, obra actual de Félix Granda, que sustituye a un conjunto con Santa Elena y la Cruz, acompañada por San Pedro y el Cardenal, orante; un relieve con la Virgen y el Niño; en lugar del original sagrario, desaparecido, un precioso retablito plateresco con la imagen de San Francisco de Asis, de la escuela de José de Mora. En las entrecalles, un apostolado pintado al óleo, con profusión de cruces de Jerusalén, armas del Cardenal, signos de la Pasión y medallones decorativos.
PÚLPITO Y TRIBUNAS
El púlpito, hexagonal, es del tiempo, con entrada por el lado del claustro, hoy impracticable. Según Gaspar Gómez de la Serna, es de componente mudéjar del estilo isabelino.
Pero, donde el derroche de ornamentación llega a ser desbordante, como si de una yesería árabe se tratara, es en las tribunas reales, sin duda lo más llamativo de la decoración. Nacen las tribunas a mitad de los pilares, dobles o bifrontes, con paneles a modo de trapecios, donde resaltan repetitivamente potentes y coronadas iniciales de los Reyes, entre emblemas de yugos y flechas. Pequeñísimas estatuas con ménsulas y doseles primorosos decoran el soporte, también bifronte, de extraño diseño poliédrico, hasta terminar en los antepechos de las tribunas propiamente dichas, monumental encaje en piedra de primoroso calado flamígero. La ornamentación vegetal, tan característica de este estilo, ha prestado sus ramas, hojas y flores para enriquecer una de las obras de arte mejor definidas en la historia: estilo isabelino.
CAPILLAS LATERALES
Correspondiendo a los cuatro cuerpos de la nave, ocho capillas (cuatro a cada lado) se abren al centro de la iglesia, de las que sólo cuatro (dos a cada lado) son de interés para el visitante.
A mano derecha, según se mira de frente, se encuentra la capilla de San Ildefonso, a la que corresponde un lienzo del siglo XVIII sobre el santo toledano, catalogado como trabajo de Ricci. Hoy también llamada "capilla de San Francisco", por contener una talla de dicho santo, fundador de la Orden.
Más abajo se ubica la capilla de la Inmaculada, con bella talla de la Concepción, siglo XVII, de la escuela castellana, proveniente del franciscano convento de Arévalo (Ávila) y donada al monasterio por la comunidad franciscana de Pastrana (Guadalajara) en 1968. Los cuadros representan a Juan Duns Escoto, que ora delante de una imagen mariana, y a Alejandro de Hales, profesor de la Sorbona de París, maestros de la escuela franciscana, defensores del dogma inmaculista. Sus autores son desconocidos, y provienen también de Pastrana, si bien pertenecían a Santa María de Jesœs, de Alcalá de Henares.
A la izquierda, junto al Coro, la llamada capilla del Cristo de la Buena Muerte, con una talla en color natural de la madera, del artista toledano Guerrero Corrales. El cuadro del Descendimiento es de Morales. Esta capilla está destinada también a la celebración del Sacramento de la Reconciliación (en ella se encuentran dos confesonarios), y junto a ella, a su derecha, se halla la capilla del Santísimo, donde se guarda habitualmente la Reserva del Santísimo y en donde se celebra la Eucaristía con bastante frecuencia.
Finalmente, junto al crucero, la capilla de Don Pedro de Ayala, que como quiere la inscripción latina, fue obispo de Canarias, decano y consejero real de la iglesia toledana. El sarcófago, deteriorado, se encuentra hoy en el museo toledano de Santa Cruz. Encontramos también en esta capilla la imagen de San Antonio de Padua, santo de gran tradición franciscana y conocida devoción popular.
CORO Y SACRISTÍA
El coro se alza sobre un soberbio arco rebajado, con bóveda de crucería y apliques originales, embellecida la balaustrada con crescería calada, rematada en los ángulos por pequeñas tribunas corales. "A lo largo del arco estaba escrito, con letras doradas en campo azul, el texto siguiente:
"MARÍA SANTÍSIMA CONCEBIDA SIN PECADO ORIGINAL EN EL PRIMER INSTANTE DE SU SER"
desaparecido en la restauración del siglo pasado" (Ramón Parro) y que da testimonio de la defensa del dogma de la Inmaculada Concepción en 1616 por los moradores del monasterio.
En el centro del arco, entre signos isabelinos, un heraldo real, arrodillado sobre ambón, presenta armas, que la tradición quiere que sea autorretrato de Juan Guas, como se sabe, autor del monumento.
La sacristía, una espaciosa y elevada nave blanqueada, impresiona al visitante por sus tres bóvedas de crucería, de gusto germánico, con claves en forma de florones en la intersección de sus arcos. Hoy no tiene más función que servir de tránsito para la visita del interior.
Reliquia del siglo XVIII ha quedado la hornacina arqueada en que un difunto yaciente, en actitud de erguirse sobre sí mismo, parece poner en sus labios la frase latina que figura en el testero y que traducida al castellano, dice así: "Espero, en tanto me llega la resurrección" (Job 14, 14). Parece insinuar que dicha sala fue algún tiempo dedicada a servir de enterramiento a los religiosos de la Comunidad.
PATIO
Los veinte ventanales que abren luces (cinco por cada lienzo) son de arco conopial y las columnas de la balaustrada le dan clara nota renacentista. De cada al patio, los ventanales centrales llevan águilas (sin halos de santidad) que sostienen escudos reales entre yugos y haces de flechas. Una crestería corrida bordea todo el tejado, ocultándolo, y está tejida con arcos minuciosos de medio punto entramados con los de estilo mudéjar, coronados por decoración vegetal en forma de trifolios. Los pináculos o agujas le dan mayor altura, salvando así la simetría con el claustro bajo.
Motivo inquietante para el que lo advierte es el sistema de gárgolas que sirven de aliviadero a las aguas recogidas del tejado y que son extrañas al estilo gótico. Según el profesor Azcárate, sus formas inverosímiles y estrambóticas pertenecen al gusto romántico de la restauración del siglo pasado, cuya presencia se presta a confusión con el estilo hispano-flamenco, con el que no tienen ninguna relación.
CLAUSTRO
Para visitar los claustros, partiendo del Crucero, se atraviesa una bellísima portada, típica del arte flamenco, observándose un bajo-relieve a la altura del arco, donde ángeles arrodillados, con túnicas de abundantes pliegues, presentan el emblema de las Cinco Llagas, patrimonio de la Orden de San Francisco, al que rodean con el cordón franciscano. En la parte correspondiente al Claustro, la misma portada, más embellecida si cabe, ostenta otro bajo-relieve, con la Verónica, que, tocada a la usanza del tiempo, muestra un lienzo con la Santa Faz, entre dos ángeles, también arrodillados, policromadas las formas.
El Claustro bajo está pensado como continuación del templo, por lo que no es de extrañar que coincidan bóvedas, ventanales y profusión de esculturas con los conocidos ambones y guardapolvos afiligranados, tan característicos del arte ojival. La composición rítmica y repetitiva de los motivos compite con una desconcertante riqueza decorativa de la naturaleza, a la que evoca con gran sentido realista. Tiene 30 metros de largo por lienzo, 4,20 de ancho y 8 de altura. La bella disposición de sus veinte ventanales (cinco por lienzo), con arquería arborescente y calada que imita celosías (Gaya Nuóo), más la ornamentación no repetida de sus archivoltas, consigue un efecto tal de luces y sombras, propio del gótico, que impresiona al visitante.
La escalera que conduce al Claustro alto es típicamente española, de cuatro tramos en caja cuadrada. Fernando Marías la adjudica a Egas, dada la semejanza que tiene con la escalera del Hospital del Cardenal Mendoza en Toledo y otras en la geografía española. En cuanto a la ornamentación, todos los autores la atribuyen a Alonso de Covarrubias, a quien estaban encomendadas entonces las obras del Alcázar. Su estilo es plateresco, con una cúpula rebajada, dividida en fajas y casetones que ostentan florones tallados en piedra, cuyos recuadros van disminuyendo conforme se acercan en la perspectiva al rosetón que sirve de clave. Sin duda que los escalones actuales son reconstrucción de Cecilio Béjar, ignorándose su elegancia original.
Se conservan las águilas bicéfalas que datan el tiempo de la construcción, a saber: el del emperador Carlos V, nieto de los Reyes Católicos. El plateresco introduce cariátides en lugar de figuras angélicas y gusta de las pechinas en forma de conchas.
El Claustro alto mide 4,60 metros de altura, siendo más bajo que el claustro inferior; asimismo, muestra mayor austeridad por sus muros lisos y blanqueados y, como decimos, es de factura posterior a todo el resto de la obra del monasterio. No obstante, muestra la distinción por el soberbio artesonado mudéjar, en pintada madera de alerce, con los signos repetitivos de los Reyes Católicos. Gruesas arcadas rebajadas flanquean sus lienzos, con leones rugientes que muestran escudos de los reinos de España, incluidos el de Granada y el de Navarra, más los motes reales del "tanto monta, monta tanto".
Entrada al Claustro e Iglesia:
C/ Reyes Católicos, 17 - 45002 - TOLEDO
Teléfono: 925 22 38 02
Correo electrónico:
monumento@sanjuandelosreyes.org
HORARIOS DE VISITAS
10:00 a 18:30 (1 de abril - 30 de septiembre)
10:00 a 17:30 (1 de octubre-30 de marzo)
Tarifa general (desde el 1-03-2008): 2.30 €
Tarifa reducida: estudiantes con carnet y mayores de 65 - 2.00 €
Menores de 12 años: gratis
Gratis: Miércoles, a partir de las 15:30
(ciudadanos de la Unión Europea, presentando DNI o pasaporte)