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Oxford University Drama Society. Outdoor production.
Mamiya RB67
140mm macro lens
Fuji FP100-C
Diptych sliding Polaroid back
Job's Daughters - Bethel No. 8
SWEETHEART'S BALL
Theme:
"Twelfth of Never"
Teen Terrace - Caldwell, Idaho
Saturday, February 22, 1964
9:00 to 12:00
Music by "The Monarchs"
Dances
1. Honored Queen Diane
2. Princess Jeanne
3. Princess Chon
4. Guide and Marshal
EXTRA
5. Bethel Officers
6. Bethel Choir
7. Mrs. Tabor-Mr. Horton
EXTRA - Queen Kandy
8. Guardian Council
9. Committees
10. Masons
EXTRA (Warner)
11. Eastern Star
12. Goodnight
Memories:
Went with Doug Batt. Afterwards we went to Paul's Pizza with Andy Mc and Tyra. Had a real nice time. Doug's really sharp!
Memories:
It would be hard to say there were none because there were many.
Love, Doug
we are sane!
not insane!
and the chorus says
"it's all quite normal... la-la-la"
and the chorus says
"it's all quite normal... la-la-la"
the choruses...
are happy as they know no different way
except what they've been told today
("left! right! left! right!")
accepting their limited 'truth' and blankly humming
we are sane!
III) Dictator's Excuse Me
and we are not to blame
we must protect the claim
praise those who hold power
they shall save the last hour
using sacred science
they can stamp out defiance
wheee...!
File #2
"Technician, we want you to build a component
for each of our workers, to be with them always,
at all time watch closely, so we can keep track of
their actions, their interests, their morals, their time out.
Some musak to maim them, some fear to contain them.
Policy will judge, them brute forces degrade them.
Practical behaviour, the cleanser, the saviour.
A private vocation has no sense of nation.
The maintenance of power can be so fulfilling,
just as long as all the slaves are willing.
So this is an order:
we must curb thought disorder.
With a miniature transmitter
we can pavlov the litter
and train it to do as we tell it,
state surgeon, the seed plant
thought soon get a new slant.
So tiny a dogma idea turn to quagmire,
thrum-humming transistor a brain wave insistor,
closed circuit hypnosis an inbuilt psychosis,
not one self expression deliberate supression.
A cycle to squeeze out anyone who we doubt
will must be pliable to be reliable."
tuned into the media system
picture getting hard to see
how did you end up as a prisoner
when you were supposed to be free?
oh, wouldn't you like to know?
lebensraum for megalomania
endless song with one refrain
all eyes fixed upon the conductor
baton taps inside the brain...
The Lion's Part come to meet Holly Man when he arrives at the Globe Theatre from The River Thames. Holly Man is an incarnation of the Green Man; Green Man has many different faces & is deeply rooted in English customs & traditions.
ABCs & 123s: 12 ('twelfth' night)
FE
Antes: cables
sig: oso
Monumental complex of the churches of San Pedro de Tarrasa
The monumental complex of the churches of San Pedro de Tarrasa is formed by the Romanesque churches of San Pedro, San Miguel and Santa María, located at the confluence of the old torrents of Vallparadís and Monner (today Vallparadís park), in the old Visigothic nucleus Of Egara, origin of the town of San Pedro, today a district of Tarrasa (Barcelona, Spain). It is the most important artistic complex of the city and one of the jewels of Catalan Romanesque art. They were the seat of the old bishopric of Égara in the centuries V-VIII.
History
The three churches were built close to the ancient Roman Egara (of which remains are still preserved) as the seat of the bishopric of Égara built around 450 and lasted until the Saracen invasion in the eighth century. The names of some of its bishops (such as the first, Irenaeus) are known, and a provincial council of Tarracon was celebrated in 614. The episcopal ensemble conforms to ancient Byzantine models: three churches (San Pedro, Santa María And San Miguel). After a long process of construction, the churches were finished (according to the present form) towards the 11th and 12th centuries: they are of Romanesque style built on the old pre-Romanesque buildings of the Visigothic period.
In the twelfth century, an Augustinian canon was installed in Santa María, which remained until the end of 1392. On the other hand, the church of San Pedro de Égara, the seat of the parish, lost its parochial condition in 1601 and became part of the new Basilica of the Holy Spirit, in the core of Tarrasa, now cathedral of the new bishopric of Tarrasa. In the nineteenth century St. Peter regained his status as a parish.
In the first third of the twentieth century the three churches were the object of a thorough study and restoration that was carried out by Josep Puig i Cadafalch, who also excavated in Santa María and San Miguel. The whole was declared a National Monument in 1931, and well of historical and artistic interest in 1985. They are now part of one of the six sections of the Museum of Tarrasa.
St. Peter's Church
To the north of the compound (or to the left of the entrance), there is the church of San Pedro, the largest of the three churches which also gives name to the episcopal group and the old village of San Pedro Was formed around it. It has a single nave with a trilobed apse and a transept; The roof is of barrel vault. The head (apse and transept) is of pre-Roman times (centuries IX and X) and the ship is of Century XII. The access door, very simple, opens on the south wall and is framed by four smooth archivolts. The light enters, inside, through two large windows located on each side of the door and through the three windows of the apse. The facade is crowned by a cornice with a sculptural frieze supported by brackets in the form of human heads. It has two bell towers, one of belfry, of Romanesque origin and another more modern near the transept.
Inside, the apse has a mosaic floor from the 10th century with geometric motifs, according to the Roman tradition. The central apse is enclosed by a stone altarpiece in three lines, the first with 11th-century mural paintings, still pre-Romanesque, and the two upper ones, inside blind arches, with the representation of St. Peter, Jesus, the Evangelists and Other biblical figures. In the north wall of the ship are fragments of Gothic mural paintings of the XIV century, of primitive style. To the left of the nave are two chapels added later: the Saint Valentine's, with a 17th century altarpiece, and the Santísimo, with mural paintings by Ricard Marlet (1948).
Church of San Miguel
Located in the center of the room, in the middle of the two churches, it was probably a funerary temple, although Puig i Cadafalch interpreted it as a baptistery, and so it was believed for some time. It is the only one of the three churches that preserves the entire primitive plant, which is square and has a Greek cross with niches at the angles in the east wall, on the apse, of horseshoe plant inside and hexagonal on the outside. In the interior, in the center of the square plant, is the dome covered by a dome supported by eight columns made with visigothic fragments used, and four late Romanesque capitals. Below the dome is the pool of the baptistery, octagonal base.
Beneath the apse is the crypt of Sant Celoni, with a three-lobed apse chapel. The access door is on the south wall and dates from the ninth and tenth centuries. It seems that the mural paintings of the apse are from the sixth century, with a scene of Christ surrounded by angels and, below, the twelve apostles. Like those of Santa Maria, they are among the oldest pictorial representations of Europe. '
Church of Santa Maria
This Romanesque building from the beginning of the 10th century
Conjunto monumental de las iglesias de San Pedro de Tarrasa
El conjunto monumental de las iglesias de San Pedro de Tarrasa lo forman las iglesias románicas de San Pedro, San Miguel y Santa María, situadas en la confluencia de los antiguos torrentes de Vallparadís y Monner (hoy parque de Vallparadís), en el antiguo núcleo visigótico de Egara, origen del pueblo de San Pedro, hoy un barrio de Tarrasa (Barcelona, España). Es el conjunto artístico más importante de la ciudad y una de las joyas del arte románico catalán. Fueron la sede del antiguo obispado de Égara en los siglos V-VIII.
Historia
Las tres iglesias se edificaron cerca de la antigua Égara romana (de la cual todavía se conservan restos) como sede del obispado de Égara constituido hacia el año 450 y que perduró hasta la invasión sarracena en el siglo VIII. Se conocen los nombres de algunos de sus obispos (como el primero, Irineo) y que se celebró un concilio provincial de la Tarraconense en el año 614. El conjunto episcopal se atiene a los modelos bizantinos antiguos: tres iglesias (San Pedro, Santa María y San Miguel). Tras un largo proceso de construcción, las iglesias, quedaron terminadas (según la forma actual) hacia los siglos XI y XII: son de factura románica edificadas sobre los antiguos edificios prerrománicos de la época visigótica.
En el siglo XII, en Santa María se instaló una canonjía agustiniana que permaneció hasta finales de 1392. Por otro lado, la iglesia de San Pedro de Égara, sede de la parroquia, perdió su condición parroquial en 1601 pasando a formar parte de la nueva basílica del Espíritu Santo, en el núcleo de Tarrasa, actualmente catedral del nuevo obispado de Tarrasa. En el siglo XIX San Pedro recuperó su condición de parroquia.
En el primer tercio del siglo XX las tres iglesias fueron objeto de un profundo estudio y de una restauración que corrió a cargo de Josep Puig i Cadafalch, que también realizó excavaciones en Santa María y San Miguel. El conjunto fue declarado Monumento Nacional en 1931, y bien de interés histórico-artístico en 1985. Actualmente forman parte de una de las seis secciones del Museo de Tarrasa.
Iglesia de San Pedro
Al norte del recinto ( o a la izquierda de la entrada), se encuentra la iglesia de San Pedro, la más grande de las tres iglesias que da nombre, asimismo, al conjunto episcopal y al antiguo pueblo de San Pedro (hoy barrio egarense) que se formó a su alrededor. Tiene una sola nave con un ábside trilobulado y un transepto; el techo es de bóveda de cañón. La cabecera (ábside y transepto) es de la época prerrománica (siglos IX y X) y la nave es del siglo XII. La puerta de acceso, muy sencilla, se abre en el muro sur y está enmarcada por cuatro arquivoltas lisas. La luz entra, en el interior, a través de dos grandes ventanales situados a cada lado de la puerta y por las tres ventanas del ábside. La fachada está coronada por una cornisa con un friso escultural sostenido por ménsulas en forma de cabezas humanas. Tiene dos campanarios, uno de espadaña, de origen románico y otro más moderno cerca del transepto.
En el interior, el ábside tiene un suelo de mosaico del siglo X con motivos geométricos, según la tradición romana. El ábside central queda cerrado por un retablo de piedra en tres líneas, la primera con pinturas murales del siglo XI, todavía de tipo prerrománico, y los dos superiores, dentro de arcos ciegos, con la representación de San Pedro, Jesús, los Evangelistas y otras figuras bíblicas. En el muro norte de la nave quedan fragmentos de pinturas murales góticas del siglo XIV, de estilo primitivo. A la izquierda de la nave se abren dos capillas añadidas posteriormente: la de San Valentín, con un retablo del siglo XVII, y la del Santísimo, con pinturas murales de Ricard Marlet (1948).
Iglesia de San Miguel
Situada en el centro del recinto, en medio de las dos iglesias funcionaba, seguramente, como un templo funerario, aunque Puig i Cadafalch lo interpretó como un baptisterio, y así se creyó durante algún tiempo. Es la única, de las tres iglesias, que conserva la planta primitiva entera, la cual es cuadrada y tiene una cruz griega con nichos en los ángulos en la pared este, sobre el ábside, de planta de herradura por dentro y hexagonal por fuera. En el interior, en el centro de la planta cuadrada, está el cimborrio cubierto por una cúpula sostenida por ocho columnas hechas con fragmentos visigóticos aprovechados, y cuatro capiteles tardorrománicos. Debajo de la cúpula está la piscina del baptisterio, de base octogonal.
Debajo del ábside se encuentra la cripta de Sant Celoni, con una capilla absidal trilobulada. La puerta de acceso está en el muro sur y data de los siglos IX y X. Parece ser que las pinturas murales del ábside son del siglo VI, con una escena de Cristo rodeado de ángeles y, debajo, los doce apóstoles. Como las de Santa Maria, se encuentran entre las representaciones pictóricas murales más antiguas de Europa.'
Iglesia de Santa María
Este edificio románico, de principios del siglo XII, se encuentra al sur del recinto y tiene una planta de cruz latina. La cabecera, con el ábside de herradura por dentro, y cuadrado en el exterior, pertenece a un templo de construcción anterior. El techo de la nave es de bóveda apuntada y el del transepto es de bóveda semicircular. En el crucero se levanta el cimborrio octogonal coronado por un pequeño campanario de torre de dos pisos, con un tejado de cuatro vertientes. El cimborrio y la parte alta de los muros del norte y oeste tienen decoración lombarda, con fajas y arquería ciega. La puerta de entrada es sencilla, de arco de medio punto con relieves de terracota encima y una sillería aprovechada. En la fachada sur hay un pórtico de cuatro arcos de medio punto, restos del claustro de la canonjía agustiniana del siglo XII
Delante y dentro de la iglesia se pueden ver los restos de las antiguas edificaciones paleocristianas y visigóticas, con los mosaicos sobrepuestos (uno del siglo IV y otro del siglo V), el ábside rectangular visigótico y criptas sepulcrales (excavadas debajo de la iglesia románica) o el antiguo baptisterio (debajo del transepto).
La bóveda del ábside está cubierta de pinturas murales de tipo lineal, con trazos rojos y verdes, que narran la vida y la Pasión de Cristo; aunque siguen el estilo paleocristiano datan, seguramente, del siglo VI. Asimismo, en el ábside hay una mesa de altar del alto-medioevo y una talla gótica de la Madre de Dios del siglo XIV.
Los muros de Santa María guardan destacadas piezas artísticas, a manera de museo, que recoge las obras principales de todo el conjunto episcopal de San Pedro. A lo largo de la nave hay unos plafones con pinturas murales que van del estilo románico al gótico, que antaño estaban en el ábside de donde se sacaron para que pudieran contemplarse las anteriores, visibles en la actualidad. Hay, también, una piedra de altar del siglo X y lápidas sepulcrales medievales y romanas (en una de ellas se encuentra la documentación escrita del nombre del municipio romano de Égara). En el transepto se encuentran tres retablos góticos de gran valor
© Mick h 2010
The Twelfth Lock on The Royal Canal Dublin.
Snowed practically for the whole day today
a lot of snow!!
Oxford University Drama Society. Outdoor production.
Mamiya RB67
140mm macro lens
Fuji FP100-C
Diptych sliding Polaroid back
A graphic novel edition of Shakespeare's play, illustrated by John H. Howard, published by Ravette Books.
"Twelfth Night (also known as Epiphany Eve) is a festival in some branches of Christianity that takes place on the last night of the Twelve Days of Christmas, marking the coming of the Epiphany.Different traditions mark the date of Twelfth Night on either 5 January or 6 January, depending on which day one considers to be the first of the Twelve Days: 25 or 26 December.
A superstition, in some English-speaking countries, is that it is unlucky to leave Christmas decorations hanging after Twelfth Night.* Other popular Twelfth Night customs include singing Christmas carols, chalking the door, having one's house blessed, merrymaking, as well as attending church services.
The main event for this holiday was to have a cake in the center of a table. Everyone would take a piece of this cake and two pieces had a dried pea and bean. Whoever had this in their slice would be royalty for one day no matter their position."
*Here in the Compound decorations put up by the decorating committee were whisked away befor New Years. Most home owners who decorated likewise had all decorations down by Jan 1. I find it amusing that so many people here have their trees up by Thanksgiving but can't seem to keep then up until Epiphany.
Some of the cast from the Oxford University Dramatic Society and their production of Twelfth Night - five minutes before the audience were let in.
Bronica ETRSi
75/2.8
Fuji Pro 400H [expired]
Dev and scanned by Ag Photo lab
Was told of the restoration of the east window at Borden, has been in storage in Canterbury since 1939, apparently.
It wasn't there when I visited a year or so back, so a return visit this morning.
Two wardens were in, redoing the flowers, though just the foliage is fresh, in summer they use plastic flowers as the heat makes them wilt. Which seems fine.
THey were very proud of the window, and showed me one of the two brasses in the southern chapel, the other was under a flower arrangement.
And I got to admire and record the wall painting of St Christopher.
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A 150-year-old stained-glass window removed from a church for its own safety during the Second World War is now back home.
The spectacular window showing the crucifixion of Christ has been reinstalled at the church of St Peter and St Paul in the village of Borden near Sittingbourne.
The delicate operation masterminded by Susan McCarthy and her team of glass specialists at AuraVisions from Essex began last Wednesday after scaffolding had been erected in and outside the church's east window.
Although all nine carefully restored panels were in place by Friday additional work continued on Monday to seal it.
Priest in charge Father Robert Lane said: "The church will remain closed until all the scaffolding has been removed. I will let parishioners know when they can return for private prayer and viewings."
He added: "We are all so very excited the window is back where it belongs."
The window, which was removed in 1944 for safe-keeping has become quite a star with photos of the work appearing in national newspapers like The Times and The Telegraph and on television.
www.kentonline.co.uk/sittingbourne/news/churchs-lost-stai...
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A wonderful Norman tower shows the typical think-set proportions of the period. It is set off well by a good rood loft staircase at the south junction of nave and chancel. Good twelfth-century west door and Norman arch from tower to nave. The chancel was later extended north and south by the addition of the chapels, with the original quoins being clearly visible on the outside of the east wall. The church was heavily restored in the nineteenth century - but its two outstanding features survive. One, a fifteenth-century wall painting of St Christopher opposite the south door, is typically found in churches on main routes of travel. The other feature, a monument to Robert Plot (d. 1671), father of the well-known seventeenth-century historian, is the finest memorial of its date in Kent and shows St Michael slaying the Devil.
www.kentchurches.info/church.asp?p=Borden
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BORDEN
IS the next parish eastward from Newington. The name of which seems to be derived from the Saxon words Burg and dena, signifying a mansion or town among the woods.
THIS PARISH lies nearly midway between Newington and Sittingborne, and contains about 1550 acres of land, of which two hundred are wood. The high London road runs along the north side of it, whence the ground rises southward for about a mile, (leaving the house of Cryals at about half that distance) to the village of Borden, through which there is but little thoroughfare. It is plainly seen from the high road, encircled by orchards of fruit trees, with the church and Borden-hall standing within it, a little to the eastward is the vicarage, a neat pretty dwelling. The land about the village, and northward of it is very fertile, being mostly a hazely mould, the plantations of fruit here, though many are not so numerous as formerly, for being worn out, no new ones have been planted in their room, and several of them have been converted into hop-grounds. This part of the parish, though it may certainly be deemed pleasant, yet from the water from the wells not being good, is not accounted healthy; southward of the village the ground still rising, it grows very hilly, and the land poor and much covered with flint stones, and the soil chalky, which renders the water wholesome, and this part much more healthy; about half a mile southward from the village is the house of Sutton Barne, and a small distance eastward Wrens, now called Rains farm, and a small hamlet called Heart's Delight. On the opposite side from Sutton Barne is the hamlet of Wood, formerly, called Hode-street, situated on high ground; at a small distance eastward from which is a long tract of woodland, in which there is a great plenty of chesnut stubs, whence they are usually known by the name of chesnut woods. These woods reach down the side of the hill to the Detling road, and the western boundary of this parish.
In 1695, in the sinking of a cellar by Dr. Plot, at Sutton Barne, several Roman bricks were found, with their edges upward, much like those, he says, which had been turned up at the antient Roman Sullonicæ, near Ellestre, in Middlesex; (fn. 1) and near Hoadstreet was, about the same time, found an antient British coin.
In the fields southward of the village, the stones affect a globular form, where there are numbers of them, of different magnitudes; but the biggest of them was ploughed up at Sutton Barne, by Dr. Plot's tenant, exactly globular, and as big as the largest cannon ball.
In 1676, Dr. Thomas Taylor found in Fridwood, in this parish, belonging to his uncle Dr. Plot, an oak, which bore leaves speckled with white; such a one, Mr. Evelyn informs us, in his Discourse on Forest Trees, from Dr. Childrey, was found in Lanhadronpark, in Cornwall.
THE JURISDICTION of the paramount manor of Milton claims over this parish, subordinate to which is
THE MANOR OF SUTTON, alias SUTTON BARNE, as it is corruptly now called, its antient name being Sutton Baron, which addition it took, undoubtedly, from the court baron of the manor held for it. It is situated about a mile southward of the church and village of Borden, and in the reign of Richard II. was in the possession of Angelus Christopher, who with Margaret his wife, passed it away, in the 17th year of that reign, by fine then levied, to Henry Vanner, ci tizen of London, who paid them one hundred marcs of silver for the purchase of it. He sold it that year to John Wotton, clerk, master of the college of All Saints, in Maidstone, who reserving an annual rent of ten pounds from it, for the term of his life, conveyed it, in the 10th year of king Henry IV. to William Bereford, by whom it was alienated in the 19th year of king Henry VI. to Mr. John Grangeman, of this parish, whose son Nicholas Grangeman, in the 29th year of that reign, passed it away to Stephen and John Norton, one of whose descendants, Alexander Norton, esq. by his will, in the 4th and 5th year of king Philip and queen Mary, devised his estates here, among which this manor was included, to John Coty and Alice his wife, Thomas Plot and Elizabeth his wife, Thomas and Alexander Pettenden, Norton Greene, Thomas and Edward Norton, and their heirs, who being afterwards much at variance concerning their respective portions in them, they were divided, according to the judgment of Ambrose Gilberd, and Roger Manwood, as appears by their award.
But the manor of Sutton Barne, not being so conveniently to be divided among so many, they finally agreed that year, to pass it away to William Cromer, esq. and John Dryland; the former of whom, in the 2d year of queen Elizabeth, sold it, together with a wood, called Fridd-wood, in this parish, to Mr. Robert Plot, of Borden, one of the sons of Mr. Alexander Plot, of Stockbury, in which parish his ancestors had been settled in the reign of Edward IV. and bore for their arms, Vert, three quaterfoils, argent, each charged with a lion's head, erased, sable. His great grandson, of the same name, resided here, and made great additions to this seat. (fn. 2)
He was born here in 1641, and became a most learned antiquarian, and excellent natural historian, of which his histories of Oxfordshire and Staffordshire are sufficient proofs. Being educated at Oxford, he commenced LL. D. and became fellow, and afterwards secretary of the Royal Society, historiographer to king James II. Mowbray herald extraordinary, and lastly, register of the court of honor. He died in 1696, at Sutton Barne, and was buried in the church of Borden, where there is a handsome monument erected to his memory.
Dr.Plot left two sons, Robert and Ralph Sherwood, of Newington, the eldest of whom inherited this manor, and at his death gave it by his will to Mr. John Palmer, who had married his only daughter Rebecca. He survived her, and at his death devised it to his second wife, and Mr. John Lucas, of Milton, whose respective heirs, about the year 1767, joined in the sale of it to Abraham Chambers, esq. of London, who for some time resided at Sutton Barne, till he removed to Tonstall. He died in 1782, leaving by his wife, daughter of Mr.James, of London, four sons, and one daughter Maria Emely, who afterwards became jointly entitled to this manor, among his other estates in this county, and they, after some years possession of them, made a division of them, when this manor became the property of the eldest son, Samuel Chambers, esq. of Tonstall, who married one of the daughters of the hon. Philip Roper, and he is the present owner of this manor. A court baron is held for it.
CRIOLS, alias KYRIELLS, with an appendage to it, called Poyles, the very name of which has been long since forgotten, is a manor here, which in early times was in the possession of the eminent family of Criol, who fixed their name on it, as they did on other estates belonging to them in different parts of this county.
Bertram de Criol died possessed of it in the 23d year of king Edward I. anno 1294, whose son John de Criol dying in the 34th year of that reign, s. p. Joane his sister, married to Sir Richard de Rokesle, became his heir, and entitled her husband to this manor.
He left by her two daughters his coheirs, of whom Agnes, the eldest, married Thomas de Poynings, who in her right became possessed of it, and in his name and descendants it continued down to Sir Edward Poynings, governor of Dover-castle, and lord warden, and he died possessed of it in the 14th year of king Henry VIII. anno 1522, not only without legitimate issue, though he had several natural children, but without any collateral kindred, who could lay claim to his estates, so that this manor, among others, escheated to the crown. (fn. 3)
After which, king Henry VIII. granted this manor to Sir Thomas Wyatt, who in pursuance of an act passed for the purpose, in the 32d year of that reign, conveyed it back among other premises in the year following, in exchange to the king. After which it seems to have remained in the hands of the crown, till the year after the attainder and execution of his son Sir Thomas Wyatt, when queen Mary, in her second year, out of her royal bounty, granted it to his widow, the lady Jane Wyatt, to hold of her, as of her manor of Est Grenewich, by knight's service, and not in capite. This grant seems to have been only for the term of her life, and of her son George Wyatt, who was restored in blood in the 13th year of queen Elizabeth, during which time the reversion of it was granted by king James, in his 16th year, to Thomas Hooker and John Spencer, gent. who joining in a fine levied for that purpose, settled it on the heirs of Geo. Wyatt, esq. above-mentioned. He died in the possession of it in 1624, when Francis Wyatt, esq. of Boxley-abbey, was found to be his eldest son and heir, and accordingly succeeded to it. (fn. 4) He was afterwards knighted, and some years afterwards joining with lady Margaret his wife, conveyed it by sale to Mr. Isaac Seward, gent. from which name it afterwards passed into that of Baker, in which it remained till it was carried in marriage by Jane Baker to James Brewer, of West Farleigh, esq. who died in 1724, leaving an only daughter and heir Jane, who joined with her second husband, John Shrimpton, esq. in the conveyance of it, about the year 1750, to Mr. Robert Wollet, of Sheerness, who died in 1760, and his infant daughter, Sarah, afterwards marrying with Mr. Tho. March, entitled him to it. He rebuilt this seat, and afterwards resided in it. He died in 1797, leaving one son, Mr. Thomas Marsh, who is the present owner of it.
POSIERS is a small manor in this parish, which was antiently the inheritance of a family of that surname, who continued owners of it till the reign of king Henry VIII. about which time they became extinct here. After which it became the property of the family of Wolgate, whose seat was at Wolgate, now called Wilgate-green, in Throwley, where they resided for several generations. At length it became the property of Mr. Ralph Wolgate, who died possessed of it in 1642, leaving an only daughter and heir, who marrying with Mr. William Gennery, entitled him to the fee of this manor, with other estates in this parish. After which it was sold to Grove, of Tunstall, one of whom, John Grove, esq. of Tunstall, died possessed of it in 1755, leaving by Catherine his wife, daughter of Mr. Pearce, of Charing, two sons, Pearce and Richard, and a daughter Anne. He devised this manor to his second son Richard Grove, esq. of the Temple, London, and of St.John's college, Cambridge, who dying unmarried in 1792, devised it among the rest of his estates to W. Jemmet, gent. of Ashford, and W. Marshall, of London, and they joined in the sale of it to W. Wife, gent. of this parish, who is the present possessor of this manor, with that of Vigo, alias Gorts adjoining to it.
THERE was antiently a family which took its name from their possessions in this parish. Philip de Borden is mentioned in the chartulary of the abbey of St. Radigund, as having given half a seam of peas yearly from his manor in Borden to that abbey, and Osbert de Borden is recorded in a charter of king Henry III. and another of Henry IV. as having given pasture for sixty sheep to the monastery of St. Sexburg, in the Isle of Shepey.
There is A HAMLET in this parish, called Woodstreet, but formerly HOADE STREET, corruptly for Oade-street, the yoke of which in 1653, was held by William Genery, already mentioned before.
The family of Allen was formerly of good account in Borden, and resided at Hoad, or Oade street. John Allen resided here in the very beginning of queen Elizabeth's reign, and then held among other premises in this parish, the yoke of Boxfield. His descendant John Allen, gent. Of Oade street, died in 1679, and was buried in this church, they bore for their arms, Or, a chevron, between three blood-bounds, passant, sable, collared of the first; which coat was granted to Christopher Allen, by Sir William Segar, bart. (fn. 5) The Allens of Rochester, descended of the same stock, bore Parted per fess, a pale ingrailed, and three blood-bounds, passant, collared and counter changed.
A younger branch of the family of Forster, of Eve leigh, in Shropshire, was settled in Borden in the reign of king James I. Thomas Forster then residing here; but this family have been long ago extinct here. They bore for their arms, Per fess, indented and pale, argent and sable, two bugle borns strung in the first and fourth quarters, counterchanged.
Thomas Seager held in this parish in 1653, the yoke of Corbett, containing a house, called Banfies, and other lands in this parish, lately belonging to Thomas Reader; which name of Seager remained here till of late years, one of them having but lately owned a house here, called Borden-hall, alias Borden-court belonging to the rectory, of which a further account will be given hereafter.
The family of Napleton, which was possessed of good estates in many parishes of this county, resided here for some generations; but they have been for some time extinct. Several of them lie buried in this church. They bore for their arms, Or, a squirrel sejant, gules.
There is an estate in this parish, formerly called WRENS, but now usually Rains farm, which in 1664 was held of Tunstall manor, by Richard, son of Christopher Allen, esq. from which name it was passed away to Mr. Butler Lacy, and his daughters now possess it.
Charities.
THOMAS EVERARD, formerly vicar of this parish, gave by will in 1619, two pieces of land, containing about six acres, in Borden and Stockbury, for the use of the poor, of the annual value of 1l. 10s. and a silver cup for the use of the communion service.
MICHEAL GOODLARD, of Borden, gave a house, with an orchard and garden, to the use of the poor, of the annual produce of 4l.
A PERSON UNKNOWN, gave five seams of barley, to be paid yearly on a Good Friday out of the parsonage; and two bushels of wheat yearly on Easter-day, for the use of the poor farmers of this parish.
Mr. JOHN KENWARD gave one seam of malt, to be paid yearly on Ascension Thursday, out of some tithe-free land belonging to a farm at Oade-street, late Mrs. Hendresse's.
A PERSON UNKNOWN, gave five groats-worth of bread, to be paid yearly on Easter day, out of a house and orchard called Iron-latche, late belonging to Mr. Stephen Chapman, of Sittingborne.
MR. RALPH SHERWOOD, citizen of London, in 1700 gave a cushion and pulpit-cloth, and a cloth for the reading-desk.
MR. JOHN NAPLETON, and Elizabeth his wife, of this parish, gave a very handsome silver slaggon for the use of the communion.
MR. JOHN BROMFIELD, of Borden, in 1776, gave to the value of 10l. towards erecting the altar-piece.
MR. WILLIAM BARROW, of Borden, who died in 1707, devised the greatest part of his estates in this and many other parishes in this county, to four trustees, to the use of the poor widows and poor men of this parish, not entitled to receive alms, directing the rents of them to be distributed half yearly, the annual amount of them now being 609l. 17s. 6d.
The distribution of this charity was settled and established by a decree of the court of chancery, in the 8th year of queen Anne; by which it was ordered, that the income of this estate should be distributed half yearly to the poor men and poor widows of this parish, the poorest of it next above those who ought to be entitled to relief by the poor's rate; that the proportion of the distribution ought to be equal to all, and not less than 5l. in one year to each; that the trustees should account annually to a vestry of this parish, who should pass and allow the same, and should be allowed their costs and expences in the managing of it. According to which decree this charity is now managed.
Two of the trustees act yearly, one of whom makes the Ladyday distribution, and the other that at Michaelmas. The total annual rents now amount to the sum of 584l. 16s. besides forty acres of woodland, and the clear sum distributed, after all payments and deductions, amounts to about 200l. per annum.
The poor relieved annually, (exclusive of those by Mr. Barrow's charity) are about 28, casually 30.
BORDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of three isles and three chancels, with a square tower at the west end of it, in which there is a clock, and six bells. It is built mostly of flint, but as a mark of its antiquity, it has a Roman brick or two interspersed among them, and the mortar is composed of cockle-shells. What is very remarkable, in the steeple there are the remains of a chimney, which seems coeval with it. The door-case on the western side of the steeple is of Saxon architecture, with zigzag ornaments, as is that on the opposite or inner side, but of a much larger size. It is kept exceedingly clean and neat, and the greatest part of it has been lately ceiled, that part of it over the high chancel, at the expence of the lay impropriator. In the high chancel is a brass plate and essigies for William Fordinall, vicar, obt. anno 1490. Several of the family of Plot lie buried in the south chancel, and there are monuments for Robert Plot, anno 1669, and his son Dr. Robert Plot, anno 1696; and there are among others in this church memorials for the Seagars, Barrows, Napletons, and Allens, all of whom have been mentioned before.
The church of Borden was part of the possessions of the priory of Leeds, to which it was appropriated before the 8th of king Richard II. (fn. 6) In which situation it continued at the dissolution of it in the 31st year of Henry VIII. when it was, together with the other possessions of the priory, surrendered up into the king's hands.
It appears by the bailiff's accounts in the Augmentation-office, of the revenues of the late priory of Leeds, that this rectory with the lands in this parish belonging to it, was then of the annual value of 41l. 14s. 5d. Soon after which it was granted by the king to Greene, but it seems to have been only for a term, for king Edward VI. in his 6th year, granted it, with all messuages and woods belonging to it, to Sir John Norton, of Northwood, to hold in capite by knight's service. He alienated it to Margaret Roch, who died in the 1st year of queen Elizabeth, and was succeeded in it by Elizabeth her daughter and heir, whose husband, Robert Colt, possessed it in her right. She survived him and died possessed of it, in the 13th year of that reign, at which time it appears to have been accounted a manor, and to have consisted of a house called Borden-hall, with its appurtenances, and three acres of land, with the rectory, tithes, and glebe belonging to it, in Borden. Her son Roger Colt died three years afterwards, leaving his widow Mary surviving, who afterwards married John Norris, esq. His grandson, Sir John Colt, bart. left three sons, John, Rowland, and Henry, who became entitled to this rectory and advowson, with the manor and lands appertaining to it, as coheirs to their father, in gavelkind; the eldest son, John Colte, esq. was of Rickmansworth, in Hertsordshire, and left an only daughter and heir, Gentilles, who entitled her husband, Sir Benjamin Titchborne, (a younger son of Sir Benjamin Tichborne, bart. of Hampshire) to his undivided third part of them, and his son Colte Tichborne, esq. of Woodoaks, in Hertfordshire, (which had been the antient seat of the Coltes) conveyed it jointly with his sister Frances in 1743, to Joseph Musgrave, esq. Rowland and Henry, the two younger sons of Sir John Colte above-mentioned, in 1676 conveyed their respective thirds to Mr. Charles Seager, gent. of Tunstall, whose son and heir of the same name was of Borden-hall, gent. and dying in 1758, was buried, with others of his family in this church. They bore for their arms, Or, a chevron between three mullets, azure. He devised them by will to his sister Mrs. Mary Seager, who in 1765 conveyed her two undivided thirds to Joseph Musgrave, esq. son of Joseph Musgrave, esq. above-mentioned, who having inherited the other third part from his father, became possessed of the entire see of this rectory and advowson, with the manor of Borden-hall, and the lands and appurtenances belonging to it, of which he is the present owner. Joseph Musgrave, is of Kypier, in the bishopric of Durham, and is descended from Joseph Musgrave, esq. of that place, the eldest son of George, the youngest son of Sir Christopher Musgrave, by his second wife Elizabeth, daughter of Sir John Frank lyn, which Sir Christopher, by his first wife, was ancestor of the present Sir Philip Musgrave, of Edenhall, in Cumberland, and of Kempton park, in Middlesex, bart. and was younger brother of Sir Richard Musgrave, bart. grandson of Sir Richard, who was created a baronet anno 9 James I. He bears for his arms, Azure, six annulets, three, two, and one, or.
The vicarage of Borden is valued in the king's books at 8l. 10s. and the yearly tenths at seventeen shillings. It is now of the yearly certified value of 67l. 14s. Sir John Norton, and Alice his wife, gave an annuity of forty shillings, to be paid yearly out of the parsonage, to the vicar of Borden and his successors. In 1578 there were fifty-three dwelling-houses in this parish. Communicants one hundred and sixty. In 1640 it was valued at eighty pounds. Communicants two hundred and seven.
A part of the portion of tithes, already mentioned in the description of the parish of Stockbury, called Ambry Tanton, extends into this parish.
¶There seems to have been continual disputes between the abbot and convent of St. Augustine's, and the prior and convent of Leeds, relative to the church of Borden, which at last was finally settled between them, about the year 1204; the prior agreeing to pay one marc of silver to the church of St. Augustine.
Decorations
Twelfth Night celebrations, organised by Lion's Part.
Held 4 January, 2015
To herald the celebration, the extraordinary Holly Man (the Winter guise of the Green Man from pagan myths and folklore) decked in fantastic green garb and evergreen foliage, appears from the River Thames brought by the Thames Cutter, Trinity Tide (boat subject to weather!) rowed by hardy volunteers.
With the crowd, led by the Bankside Mummers, the Holly Man 'brings in the green' and 'wassails' or toasts the people, the River Thames and the Globe - an old tradition encouraging good growth.
The Mummers then process to the Bankside Jetty, and perform the traditional 'freestyle' Folk Combat Play of St. George, featuring the St George, Beelzebub, the Turkey Sniper, the Doctor, Clever Legs, the Old 'Oss and many others, dressed in their spectacularand colourful 'guizes'. The play is full of wild verse and boisterous action, a time-honoured part of the season recorded from the Crusades.
At the end of the play, cakes are distributed - a bean and a pea hidden in two of them. Those who find them are hailed King and Queen for the day and crowned with ceremony.
They then lead the people in procession through the streets to the historic George Inn in Borough High Street for a fine warming up with Storytelling, the Kissing Wishing Tree and more Dancing.
[The Lions Part website]
Seeing the light at Rosemoor. So many people out enjoying the last of the Rosemoor Glow. What a beautiful display illuminating the lake, trees and sculptures. "According to tradition, Christmas trees and decorations should be taken down on either Twelfth Night or Epiphany to avoid bad luck after the season of merriment." Photo copyright Pat Adams.
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William Shakespear's Twelfth Night is a tale of unrequited love – hilarious and heartbreaking. Twins are separated in a shipwreck, and forced to fend for themselves in a strange land. The first twin, Viola, falls in love with Orsino, who dotes on OIivia, who falls for Viola but is idolised by Malvolio. Enter Sebastian, who is the spitting image of his twin sister...(rsc.org.uk)
Oxford University Drama Society. Outdoor production.
Mamiya RB67
140mm macro lens
Fuji FP100-C
Diptych sliding Polaroid back
..... Is not my favourite time of the year. I hate taking the Christmas decorations down as the house always looks so bare when they've gone !
This is one of the last to go .... my wreath of gold and silver bells on the front door. I love the way it jingles every time the door is opened or closed ..... makes me think Santa's on his way ! ;o))