St Andrew, Great Saxham, Suffolk

 

This is a church I seem to revisit every five years or so, and I'm always left wondering why I don't come back more often. After the longest winter I can remember, and a good five months since my previous church exploring bike ride, I set off from Bury St Edmunds on a bright, cold Saturday morning, and Great Saxham was my first port of call.

 

Nothing much had changed. A large oak tree had fallen near to the fence of the park in a recent storm, but otherwise it was exactly as I remembered. It is always reassuring to cycle off into rural Suffolk to find that England has not entirely succumbed to the 21st Century.

 

But Suffolk has changed in the thirty-odd years I've been living here. There is hardly a dairy farm left, and not a single cattle market survives in the county. Ipswich, Lowestoft, Bury, and even the smaller places, are ringed by out-of-town shopping experiences, and the drifts of jerry-built houses wash against the edges of nearly every village. But the countryside has always been in a state of perpetually change, a constant metamorphosis, and often a painful one. I had been struck by this before while cycling across this parish, and the memory added a frisson to the experience of coming back.

 

For many modern historians, the 19th Century finished on August 4th 1914, and you can see their point. That was the day that the First World War began, and the England that would emerge from the mud, blood and chaos would be quite different. A new spirit was abroad, and rural areas left behind their previous patterns of ownership and employment that were little more than feudalism. Suffolk would never be the same again.

 

No more the Big House, no more the farm worker going cap in hand to the hiring fair, or the terrible grind to keep at bay the horrors of the workhouse. I think of Leonard, remembering the pre-war days in Ronald Blythe’s Akenfield, that passionate account of a 20th century Suffolk village, Charsfield: I want to say this simply as a fact, that Suffolk people in my day were worked to death. It literally happened. It is not a figure of speech. I was worked mercilessly. I am not complaining about it. It is what happened to me. But the men coming home from Flanders would demand a living wage. The new world would not bring comfort and democracy overnight, of course, and there are many parts of Suffolk where poverty and patronage survive even today, to a greater or lesser extent, but the old world order had come to an end. The Age of Empires was over, and the Age of Anxiety was beginning.

 

The English have a love-hate relationship with the countryside. As Carol Twinch argues in Tithe Wars, it is only actually possible for British agriculture to be fully profitable in war time. In time of peace, only government intervention can sustain it in its familiar forms. Here, at the beginning of the 21st century, British farmers are still demanding levels of subsidy similar to that asked for by the mining industry in the 1980s. With the UK's exit from the European Union looming, the answer from the state is ultimately likely to be the same. British and European agriculture are still supported by policies and subsidies that were designed to prevent the widespread shortages that followed the Second World War. They are half a century out of date, and are unsustainable, and must eventually come to an end.

 

But still sometimes in Suffolk, you find yourself among surroundings that still speak of that pre-WWI feudal time. Indeed, there are places where it doesn’t take much of a leap of the imagination to believe that the 20th century hasn’t happened. Great Saxham is one such place.

 

You travel out of Bury westwards, past wealthy Westley and fat, comfortable Little Saxham with its gorgeous round-towered church. The roads narrow, and after another mile or so you turn up through a straight lane of rural council houses and bungalows. At the top of the lane, there is a gateway. It is probably late 19th century, but seems as archaic as if it was a survival of the Roman occupation. The gate has gone, but the solid stone posts that tower over the road narrow it, so that only one car can pass in each direction. It is the former main entrance to Saxham Hall, and beyond the gate you enter the park, cap in hand perhaps.

 

Looking back, you can see now that the lane behind you is the former private drive to the Big House, obviously bought and built on by the local authority in the 1960s. It is easy to imagine it as it had once been.

 

Beyond the gate is another world. The narrowed road skirts the park in a wide arc, with woods off to the right. Sheep turn to look once, then resumed their grazing. About a mile beyond the gate, there is a cluster of 19th century estate buildings, and among them, slightly set back from the road beyond an unusually high wall, was St Andrew.

 

There was a lot of money here in the late 18th and early 19th centuries, so that you might even think it a Victorian building in local materials. But there is rather more to it than that. Farm buildings sit immediately against the graveyard, only yards from the church. When Mortlock came this way, he found chickens pottering about among the graves, and like me you may experience the unnervingly close neighing of a horse in the stables across from the porch.

 

The great restoration of this church was at a most unusual date, 1798, fully fifty years before the great wave of sacramentalism rolled out of Oxford and swept across the Church of England. Because of this, it appears rather plain, although quite in keeping with its Perpendicular origins - no attempt was made to introduce the popular mock-classical features of the day. The patron of the parish at the time was Thomas Mills, more familiar from his ancestors at Framlingham than here. There was another makeover in the 1820s.

 

I've always found this church open, and so it should be, for it has a great treasure which cannot be stolen, but might easily be vandalised if the church was kept locked (I wish that someone would explain this to the churchwardens at Nowton). The careful restoration preserved the Norman doorways and 15th century font, and the church would be indistinguishable from hundreds of other neat, clean 19th century refurbishments if it were not for the fact that it contains some most unusual glass. It was collected by Thomas Mills' son, William, and fills the east and west windows. It is mostly 17th century (you can see a date on one piece) and much of it is Swiss in origin. As at Nowton, it probably came from continental monasteries.

 

The best is probably the small scale collection in the west window. This includes figures of St Mary Magdalene, St John the Baptist and the Blessed Virgin, as well as scenes of the Annunciation, the Coronation of the Queen of Heaven, the Vision of St John, and much more. The work in the east window is on a larger scale, some of it Flemish in origin.

 

There are several simple and tasteful Mills memorials - but the Mills family was not the first famous dynasty to hold the Hall here. Back in the 16th and 17th centuries, it was the home of the Eldred family, famous explorers and circumnavigators of the globe. John Eldred died in 1632, and has one wall-mounted bust memorial on the south sanctuary wall, as well as a figure brass reset in the chancel floor from a lost table tomb. Both are gloriously flamboyant, and might seem quite out of kilter with that time, on the eve of the long Puritan night. Compare them, for instance, with the Boggas memorial at Flowton, barely ten years later. But, although the bust is of an elderly Elizabethan, I think that there is a 17th Century knowingness about them. The inscription beneath the bust reads in part The Holy Land so called I have seene and in the land of Babilone have bene, but in thy land where glorious saints doe live my soule doth crave of Christ a room to give - curiously, the carver missed out the S in Christ, and had to add it in above. It might have been done in a hurry, but perhaps it is rather a Puritan sentiment after all, don't you think?

 

The brass has little shields with merchant ships on, one scurrying between cliffs and featuring a sea monster. The inscription here is more reflective, asking for our tolerance: Might all my travells mee excuse for being deade, and lying here, for, as it concludes, but riches can noe ransome buy nor travells passe the destiny.

 

The First World War memorial remembers names of men who were estate workers here. And, after all, here is the English Church as it was on the eve of the First World War, triumphant, apparently eternal, at the very heart of the Age of Empires. Now, it is only to be found in backwaters like this, and the very fact that they are backwaters tells us that, really, it has not survived at all.

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

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All Saints, Gazeley, Suffolk.

 

There was never any doubt I would go to Rob's funeral. Rob was born just two weeks before me, and in our many meetings, we found we had so much in common.

 

A drive to Ipswich should be something like only two and a half hours, but with the Dartford Crossing that could balloon to four or more.

 

My choice was to leave early, soon after Jools left for work, or wait to near nine once rush hour was over. If I was up early, I'd leave early, I said.

 

Which is what happened.

 

So, after coffee and Jools leaving, I loaded my camera stuff in the car, not bothering to program in a destination, as I knew the route to Suffolk so well.

 

Checking the internet I found the M2 was closed, so that meant taking the M20, which I like as it runs beside HS2, although over the years, vegetation growth now hides most of it, and with Eurostar cutting services due to Brexit, you're lucky to see a train on the line now.

 

I had a phone loaded with podcasts, so time flew by, even if travelling through the endless roadworks at 50mph seemed to take forever.

 

Dartford was jammed. But we inched forward, until as the bridge came in sight, traffic moved smoothly, and I followed the traffic down into the east bore of the tunnel.

 

Another glorious morning for travel, the sun shone from a clear blue sky, even if traffic was heavy, but I had time, so not pressing on like I usually do, making the drive a pleasant one.

 

Up through Essex, where most other traffic turned off at Stanstead, then up to the A11 junction, with it being not yet nine, I had several hours to fill before the ceremony.

 

I stopped at Cambridge services for breakfast, then programmed the first church in: Gazeley, which is just in Suffolk on the border with Cambridgeshire.

 

I took the next junction off, took two further turnings brought be to the village, which is divided by one of the widest village streets I have ever seen.

 

It was five past nine: would the church be open?

 

I parked on the opposite side of the road, grabbed my bag and camera, limped over, passing a warden putting new notices in the parish notice board. We exchange good mornings, and I walk to the porch.

 

The inner door was unlocked, and the heavy door swung after turning the metal ring handle.

 

I had made a list of four churches from Simon's list of the top 60 Suffolk churches, picking those on or near my route to Ipswich and which piqued my interest.

 

Here, it was the reset mediaeval glass.

 

Needless to say, I had the church to myself, the centuries hanging heavy inside as sunlight flooded in filling the Chancel with warm golden light.

 

Windows had several devotional dials carved in the surrounding stone, and a huge and "stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast" which caught my eye.

 

A display in the Chancel was of the decoration of the wooden roof above where panels contained carved beasts, some actual and some mythical.

 

I photographed them all.

 

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

 

All Saints is a large, remarkably good church in one of the sleepy, fat villages along the Cambridgeshire border, the sort of place you cycle through and imagine wistfully that you've won the lottery and could move there. The wide churchyard on both sides is a perfect setting for the church, which rises to heaven out of a perpendicular splendour of aisles, clerestories and battlements. The tower was complete by the 1470s when money was being left for a bell. The earlier chancel steadies the ship, anchoring it to earth quietly, although the tall east window has its spectacular moment too. And you step into a deliciously well-kept interior, full of interest.

One of the most significant medieval survivals here is not easily noticed. This is the range of 15th Century glass, which was reset by the Victorians high in the clerestory. This seems a curious thing to have done, since it defeats the purpose of a clerestory, but if they had not done so then we might have lost it. The glass matches the tracery in the north aisle windows, so that is probably where they came from. There are angels, three Saints and some shields, most of which are heraldic but two show the instruments of the passion and the Holy Trinity. I would not be surprised to learn that some of the shields are 19th century, but the figures are all original late 15th or early 16th century. The Saints are an unidentified Bishop, the hacksaw-wielding St Faith and one of my favourites, St Apollonia. She it was who was invoked by medieval people against toothache.

 

Waling from the nave up into the chancel, the space created by the clearing of clutter makes it at once mysterious and beautiful. Above, the early 16th century waggon roof is Suffolk's best of its kind. Mortlock points out the little angels bearing scrolls, the wheat ears and the vine sprays, and the surviving traces of colour. The low side window on the south side still has its hinges, for here it was that updraught to the rood would have sent the candles flickering in the mystical church of the 14th century. On the south side of the sanctuary is an exquisitely carved arched recess, that doesn't appear to have ever had a door, and may have been a very rare purpose-built Easter sepulchre at the time of the 1330s rebuilding. Opposite is a huge and stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast. It is one of the most significant Decorated moments in Suffolk.

 

On the floor of the chancel there is a tiny, perfect chalice brass, one of only two surviving in Suffolk. The other is at Rendham. Not far away is the indent of another chalice brass - or perhaps it was for the same one, and the brass has been moved for some reason. There are two chalice indents at Westhall, but nowhere else in Suffolk. Chalice brasses were popular memorials for Priests in the 15th and early 16th centuries, and thus were fair game for reformers. Heigham memorials of the late 16th century are on the walls. Back in the south aisle there is a splendid tombchest in Purbeck marble. It has lost its brasses, but the indents show us where they were, as do other indents in the aisle floors. Some heraldic brass shields survive, and show that Heighams were buried here. Brass inscriptions survive in the nave and the chancel, dating from the late 16th and early 17th centuries.

 

The 14th century font is a good example of the tracery pattern series that appeared in the decades before the Black Death. They may have been intended to spread ideas at that time of great artistic and intellectual flowering before it was so cruelly snatched away. The cover is 17th Century. At this end of the nave are two good ranges of medieval benches, one, rare in East Anglia, is a group of 14th Century benches with pierced tracery backs. Some of them appear to spell out words, and Mortlock thought one might say Salaman Sayet. The block of benches to the north appears to be 15th Century or possibly early 16th Century. Further north, the early 17th Century benches are simpler, even cruder, and were likely the work of the village carpenter.

 

All rather lovely then. And yet, it hasn't always been that way. All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist began the first page for this church that I wrote in 2003, in a satirical mood after finding the church locked and at a very low ebb. At a time when congregations were generally falling, I'd been thinking about the future of medieval churches beyond a time when they would have people to use them in the traditional way. I wondered if the buildings might find new uses, or could adapt themselves to changing patterns and emphases in Christianity, or even changing spiritual needs of their parishes. Even if science could somehow prove that God did not exist, I suggested, there were parishes which would rise to the challenge and reinvent themselves, as churches have always done over the two millennia of Christianity. Coming to Gazeley I felt that here was a church which felt as if it had been abandoned. And yet, it seemed to me a church of such significance, such historical and spiritual importance, that its loss would be a disaster. If it had been clean, tidy and open at the time he was visiting, Simon Jenkins England's Thousand Best Churches would not have been able to resist it. Should the survival of such a treasure store depend upon the existence of God or the continued practice of the Christian faith? Or might there be other reasons to keep this extraordinary building in something like its present integrity?

 

In the first decade of the 21st Century, Gazeley church went on a tremendous journey, from being moribund to being the wonderful church you can visit today. If you want to read the slightly adapted 2006 entry for Gazeley, recounting this journey, you can do so here. Coming back here today always fills me with optimism for what can be achieved. On one occasion I mentioned my experiences of Gazeley church to a Catholic Priest friend of mine, and he said he hoped I knew I'd seen the power of the Holy Spirit at work. And perhaps that is so. Certainly, the energy and imagination of the people here have been fired by something. On that occasion I had wanted to find someone to ask about it, to find out how things stood now. But there was no one, and so the building spoke for them.

 

Back outside in the graveyard, the dog daisies clustered and waved their sun-kissed faces in the light breeze. The ancient building must have known many late-May days like this over the centuries, but think of all the changes that it has known inside! The general buffeting of the winds of history still leaves room for local squalls and lightning strikes. All Saints has known these, but for now a blessed calm reigns here. Long may it remain so.

 

Simon Knott, June 2019

 

www.suffolkchurches.co.uk/gazeley.htm

Before this day, I had not heard of Hemblington. But I saw a sign pointing to the church, away over the fields, and I had time, so I turned to see where it went.

 

The road went for ages until I saw the church, tucked in the countryside, round tower looking so typically Norfolk.

 

Inside I was dazzled by the painted font, the wall paintings on the north wall and the various nooks and crannies of this ancient church, but not really knowing what each was for.

 

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

 

You don't have to go far off of the hellish A47 between Norwich and Yarmouth to come out into an utterly rural and remote corner of Norfolk. This is partly sleight of hand, because the narrow lanes which leave the busy road are so winding that they make you think you've come further than you have. Also, you might expect this area between the marshes and the broads to be flat and open; but here the landscape rolls, a patchwork of hedged fields and copses. In the late summer, there was a balmy restlessness, the soothing warmth of the sun competing with the wind from the North Sea ruffling and rustling the long grass.

All Saints is set in a secretive graveyard on a rise above a lattice of country lanes. From a distance it appears a sentinel; but, closer to, the aspect softens, and the church reveals itself as a humble little round-towered building, with much that is old about it, but also the simple mendings and making dos of later generations. I was particularly struck by the use of red brick, both in the elegant window in the western side of the Norman tower (is it 17th century?) and the moulding inside the opening of what is otherwise a humble south porch.

 

When I first came this way I bemoaned the fact that Hemblington church was kept locked, but I am happy to report that it is now open every day. Certainly, Hemblington is a remote parish, and its church a remote church, and trusting strangers is a risk - and Faith itself is a risk, of course. But the great medieval treasures of Hemblington are not the kind that can be carted away in the back of a white van.

 

The first is one of a number of very interesting, even idiosyncratic, fonts in this part of Norfolk. These do not appear to be part of a series, although this one does bear a strong resemblance to that nearby at Buckenham. They do suggest, however, that there was an abundance of stonecarvers working in this area in the 15th century, and that parishes were able to express their independence and individuality in their choice of subject. The Reformation would put a stop to that.

 

The Hemblington font was recoloured lightly in the 1930s under the eye of Professor Tristram. It is a great celebration of Saints; there are seven seated on the panels of the bowl, and eight more standing around the shaft. The eighth panel subject is a beautiful Holy Trinity, with God the Father seated holding his crucified Son between his knees, while the dove of the Spirit descends. It is a charming image; there is another on the font at Acle a few miles off. Among the Saints on the panel are St Augustine, St Edward the Confessor, St Barbara, and a striking St Agatha - she sits with her breasts bared, a sword descending. Among those around the shaft are St Lawrence with a finely carved grid iron, St Leonard with his manacles, St Margaret dispatching a dragon with her cross, St Catherine with her wheel and sword, St Stephen and St Mary Magdalene.

 

If there was only the font, Hemblington would be a must-see for anyone interested in the late medieval period. But just as the font demonstrates the enthusiasms of the cool, rational 15th century, so there is evidence of the shadowier devotions of a century earlier. This is the best single surviving wall painting of the narrative of St Christopher in England. The giant figure bestrides the river opposite the south doorway, just as he does in about twenty churches in this part of Norfolk, but here his staff has become a club, and on either bank there are smaller scenes depicting events in the Saint's story. those on the west side, recalling his life as a pagan before conversion, are all but obliterated. Those on the east side, however, are marvellously well-preserved, vivid and immediate in their clarity. They show the trials and tribulations he underwent in his life as a Christian, including the occasion on which two women were sent to tempt him in prison, and another where he is led to the executioner's sword. Another shows him tied to a tree being flogged, an echo of the scourging of Christ; another shows him being shot through with arrows, which would have immediately brought to mind the martyrdom of their own dear St Edmund to the medieval East Anglians.

 

The donors who paid for the font, in that great, late medieval attempt to reinforce Catholic orthodoxy in the face of local abuses and superstitions, are probably among those remembered by brass inscriptions in the nave.

 

And this must have been a busy parish in those days, for will evidence reveals that there were three guild altars where lights burned for the dead. We can even trace where these guild altars may have been, for on the north side of the nave there is a piscina, and connected to it is a pedestal, where a statue of a Saint would have stood. Such things were probably destroyed in the 1530s by orders of the increasingly paranoid King Henry VIII; those that survived would have fallen to the orders of the enthusiastically puritan advisors of his son, the boy King Edward VI a decade later. It is appalling to think of the richness that once was, not just here, but in thousands of village churches all over England. So much lost, so much wilfully destroyed.

Hemblington has retained more than most, and the church is a fascinating testimony to the mindset of late medieval East Anglia. But even without these great treasures, All Saints is a charming, rural building that speaks as loudly of the Victorian villagers who paid for, and probably worked on, its restoration as it does of their mysterious Catholic forebears. I stood for a moment imagining the blacksmith and the plowboy, the wheelwright and the carpenter, sitting in the pews for Divine Service. And then, after a chat with the modern custodians, we headed on for North Burlingham.

 

Simon Knott, November 2007

 

www.norfolkchurches.co.uk/hemblington/hemblington.htm

 

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Six socmen of Gert were at the Conquest deprived of 30 acres of land, 2 acres of meadow, with 2 carucates, in this town, there were also 2 socmen, one of them belonged to the soc of the hundred, who held half a carucate of land, and a borderer with 6 acres of meadow, who had under them 7 socmen, with 20 acres of land, and one of meadow, and there was one carucate and an half among them all; it was one leuca long, and half a leuca broad, and paid 16d. gelt. (fn. 1)

 

This lordship was in the Crown at the survey, and Godric took care of it; and was granted to the family of Le Botiler, and from them came to the Botetourts, as in South Walsham, and Upton.

 

William de Rothing and Joan his wife claimed view of frankpledge, &c. in the 15th of Edward I.

 

Henry de Cat and Margery his wife had an interest herein, in the 35th of the said King, and Henry Cat, and Jeffrey Atte Fenne were returned to be lords in the 9th of Edward II. after this John Fastolf and Margery his wife.

 

The principal manor belonged to the see of Norwich; at the survey William Beaufoe Bishop of Thetford held it in his own right, as a lay fee, 60 acres of land; of which 2 freemen (of Ralph Stalre were deprived) with the soc and sac; of one of these Almar Bishop of Elmham had the commendation, or protection only, of this Beaufoe had the soc, &c. and Ralph, the Earl had the other, valued at 2s.

 

Bishop Beaufoe in right of his see had also 21 socmen, with 140 acres of land, 8 acres of meadow, and 3 carucates and a half, &c. this was valued in his principal lordship of Blowfield: in this town, there were also 60 acres of demean land. (fn. 2)

 

Bishop Beaufoe gave this to his see at his death, and Bishop Herbert settled it on the priory, with the advowson of the church.

 

The ancient family of the Castons held a considerable part of these fees. of the see of Norwich, of whom see in Blofield, Bradeston, &c. and after came to the Berneys of Reedham; the Lords Bardolf had also an interest herein, in the 15th of Edward I. William Bardolf, claimed the assise, frank pledge, &c.

 

Sir Thomas Berney died lord in 1389, and his descendant, Henry Berney, Esq. in 1584.

 

The tenths were 2l. The temporalities of St. Faith's priory 18d. Of Weybridge 5s.

 

The Church was a rectory dedicated to All-Saints, and formerly in the patronage of the Bishops of Norwich, but was appropriated to the prior and convent of Norwich, for the prior's table, by Walter Suffield Bishop in 1248, and was valued together with the vicarage at 5l.—Peter-pence 12d.—Carvage 2d. ob.

 

Vicars.

 

In 1304, Thomas de Langele, instituted vicar, presented by the prior &c. of Norwich.

 

1307, Richard de Boton. Ditto.

 

1324, And. de Bedingham. Ditto.

 

1349, Edmund Barker. Ditto.

 

1367, Thomas Gilbert. Ditto.

 

1395, John Malpas. Ditto.

 

1395, Edmund Heryng. Ditto.

 

1397, Robert Gernon. Ditto.

 

1401, Sim. Annable. Ditto.

 

1402, Robert Body. Ditto.

 

It has for many years been served with a stipendiary curate, nominated by the dean and chapter, who have the appropriated rectory.

 

¶In the church were the lights of All-Saints, St. Mary, Holy Cross, St. Catherine, and St. Margaret.

 

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

Dedicatory Prayer

 

Mount Timpanogos Utah Temple, October 13, 1996

 

O God our Eternal Father, thanks be to Thee, Thou great Elohim, in whose service we are honored to labor.

 

In these sacred precincts we bow before Thee in humble prayer to present unto Thee the gift of Thy people whose consecrated tithes and offerings have made possible the erection of this beautiful house.

 

Thou hast conferred upon us Thy Holy Priesthood. In that authority, and in the name of Thy Beloved Son, our Redeemer, even the Lord Jesus Christ, we dedicate this, the Mount Timpanogos Utah Temple, and consecrate it unto Thee and unto Thy Son as Thy holy house, praying that Thou wilt accept it and honor it with Thy presence.

 

We dedicate the ground on which it stands with its trees, lawns, shrubbery, and flowers. We dedicate the structure from the footings to the figure of Moroni. We dedicate all of the rooms and facilities found herein, and in a particular way those rooms which will be used for the administration of sacred ordinances which Thou hast revealed unto Thy people.Here, in the beautiful font, baptisms will be performed by living proxies in behalf of the dead. Here with repentant hearts we will be made clean before Thee and stand clothed in robes of spotless white.

 

Here we will be instructed in the things of eternity and enter into solemn covenants with Thee. Here at sacred altars we will be joined as husband and wife, as parents and children under the authority of the eternal Priesthood, in bonds and covenants that will endure forever.

 

We acknowledge with thanksgiving the marvelous blessings here to be gained and pray that all who enter the portals of this Thy house may do so with clean hands and pure hearts, with love for Thee and Thy Son, and with faith in Thine everlasting promises made unto us.

 

May this in very deed be "a house of prayer, a house of fasting, a house of faith, a house of learning, a house of glory, a house of order, a house of God" (D&C 88:119).

 

May its beauty never be marred by evil hands. May it stand strong against the winds and storms that will beat upon it. May it be a beacon of peace and a refuge to the troubled. May it be an holy sanctuary to those whose burdens are heavy and who seek Thy consoling comfort.We thank Thee for the restored gospel of Jesus Christ, that in this the dispensation of the fulness of times Thou didst appear with Thy Beloved Son to the boy Joseph Smith. We thank Thee that following that glorious manifestation Thou didst send Moroni with the Book of Mormon as another testament of the Lord Jesus Christ; that Thou didst send John the Baptist, and Peter, James, and John to restore the authority of Thy Holy Priesthood; that Thou didst send Moses, Elias, and Elijah to bring again to earth those grand keys which unlock the door of eternal life to all who shall become partakers of Thy promised blessings.

 

Dear Father, please forgive our sins and remember them no more against us. Give us strength and discipline to walk above our weaknesses. Grant us the companionship of Thy Holy Spirit and the directing power of the Holy Ghost in our lives at all times and under all circumstances, that we may serve Thee faithfully and well in Thy great work of bringing to pass the immortality and eternal life of Thy sons and daughters.

 

We thank Thee for this favored season in the history of Thy work. Renew our appreciation for our faithful forebears, who were driven from their homes and came with trust in Thee to these mountain valleys. These desert lands have become fruitful and have blossomed as the rose, in fulfillment of prophecy.

 

Thy people have been gathered from over the earth, and they and their posterity continue to walk in faith before Thee. Please accept of their consecrations, and open the windows of heaven and shower down blessings upon the faithful as Thou hast promised.

 

Touch the hearts of Thy Saints that they may work with outreaching love in this holy edifice in behalf of their forebears.

 

May they seek after their kindred dead, and do for them what must be done if they are to be released from the bondage in which they have been kept for so long. Touch the hearts of Thy people with the spirit of the Prophet Elijah, that the hearts of the fathers may be turned to the children and the hearts of the children may be turned to the fathers, that the purposes of the earth may not be frustrated, but may all be fulfilled.

 

Father, we plead with Thee that Thou wilt overrule among the nations that doors may be opened for the preaching of Thine eternal word. Wilt Thou touch the hearts of rulers, and men and women of government, that they may unlock the gates of those lands which have been previously closed to Thy faithful servants. Bless in a special way Thy messengers who go forth as missionaries to the people of the earth that they may do so with power "to reprove the world of all their unrighteous deeds and...teach them of a judgment which is to come" (D&C 84:87). Let Thy Spirit go before them. May Thy watch care be over them. May they be magnified and led to those who will hear the glad tidings of salvation as they have been restored in this dispensation.

 

Bless Thy Church and kingdom, even The Church of Jesus Christ of Latter-day Saints, that it shall "come forth out of the wilderness of darkness, and shine forth fair as the moon, clear as the sun, and terrible as an army with banners" (D&C 109:73).

 

Bless Thy servants whom Thou hast called and ordained to stand as leaders in Thy Church in these days of great opportunity. Sustain them, give them strength, speak through them according to Thy divine will, and uphold them before the people. Bless all who serve in this temple and throughout Thy Church, that each may be faithful and that each may be possessed of a great desire to strengthen Thy work and build testimony in the hearts of others.

 

Father, we invoke Thy blessings upon this nation, the United States of America, where Thy work was restored in this dispensation. May those who stand in places of leadership look to Thee and be guided by Thee that liberty and freedom may be preserved and enhanced, and that because of the strength and goodness of the people of this nation, Thy work may be assisted as it moves across the earth.

 

Now, our Beloved Father and our God, we bow in reverence before Thee. We worship Thee in spirit and in truth. We love Thee. We love Thy gracious Son, the Lord Jesus Christ. We love Thy work. Help us to live with respect and kindness one toward another as should all of those who are partakers of Thy bounteous goodness.

 

May we on this day of dedication, rededicate ourselves and reconsecrate our talents and our means to Thy service and to the blessing of Thy sons and daughters everywhere and through all generations, we humbly pray in the name of our great Redeemer, the Lord Omnipotent, even Jesus Christ, amen.

2 Timothy 4:1-5 (ANIV)

1 In the presence of God and of Christ Jesus, who will judge the living and the dead, and in view of his appearing and his kingdom, I give you this charge: 2 Preach the Word; be prepared in season and out of season; correct, rebuke and encourage—with great patience and careful instruction. 3 For the time will come when men will not put up with sound doctrine. Instead, to suit their own desires, they will gather around them a great number of teachers to say what their itching ears want to hear. 4 They will turn their ears away from the truth and turn aside to myths. 5 But you, keep your head in all situations, endure hardship, do the work of an evangelist, discharge all the duties of your ministry.

  

DRAWING NOTES:

 

TIME OF DAY:

Not specified in Bible text.

 

LIGHTING NOTES:

The figures on the left are lit from above by a heavenly glow.

The figures on the right are in increasing darkness. There is a black candle on the table that is providing a little yellow/orange light reflecting of people, clothing & objects on the table.

 

CHARACTERS PRESENT:

Un-named people. On the left there is a Christian man (with Bible in hand) & woman talking to a man on the extreme left of the scene. There is a man turning away (figuratively representing someone turning away from Christianity) the remaining people around the table represent people who are intrigued & absorbed in all kinds of myths, magic & distractions.

 

RESEARCH/ADDITIONAL NOTES:

There are two versions of this scene: the light version (see previous page) & the dark version (see above.)

The light version has full colours in the figures around the table, whereas the dark version has a dark blue overlay across them, which represents the “darkening of their minds” to God’s truth (The Holy Bible.)

 

This is a visual representation of verses 3 & 4. The scene should be “read” from left to right. On the left there is a Christian man (with Bible in hand) & woman talking to a man who stands on the extreme left of the scene. He represents someone who is interested in hearing the Gospel of Jesus the Christ, but who is not yet a believer.

 

Next to these three people you can see a man who’s head is turned towards the figures by the table. He represents someone turning away from Christianity towards myths (verse 4). The remaining people around the table represent those who are intrigued & absorbed in all kinds of myths, magic & distractions from Christianity. Some are onlookers, & some are the “great number of teachers” mentioned in verse 3, “saying what their itching ears want to hear.”

 

I have tried to represent the “myths” in verse 4 in a number of different ways, listed below:

 

01) Under the table there is a statuette of Prometheus, who is a character from Greek mythology. He stole fire from the gods & gave it to mankind. For his trouble he was chained to a rock by the chief god Zeus, where an eagle ate his eternally replenished liver every day.

 

02) Also under the table is a statuette of the snake haired Medusa. In Greek mythology Medusa was a Gorgon (a type of monster) described as having the face of a human woman, but with living venomous snakes in place of her hair. Gazing into her eyes would petrify onlookers (turn them to stone.)

 

03) There are 3 crystals in the scene, one on the ground, one on the table & held by a blonde woman. Crystals have been attributed with all sorts of powers, through history.

 

04) On the ground are a variety of scrolls, maps & books. Only the green book, in the foreground has a title that can be seen: “Microbes to men”. The book represents all the ideas about evolution from simple life (single celled) to complex life; from one form developing into another, leading to mankind.

 

05) The man in green & holding a magnifying glass is studying various maps. He is looking for Atlantis, a fabled island in the Atlantic that according to legend sank beneath the sea.

 

06) On the table is a black candle & a skull, which represents the dark arts of magic, the occult, Satanism, etc.

 

07) There are two other statues (on the table) one of a unicorn & one of a mermaid. The unicorn is a mythical animal generally depicted with the body and head of a horse, the hind legs of a stag, the tail of a lion, and a single horn in the middle of the forehead. A mermaid is a fabled marine creature with the head and upper body of a woman and the tail of a fish.

 

08) Behind the mermaid statue is a man wearing a pointed red hat & looking like he is lecturing anyone who will listen! He represents people interested in magic (witches, wizards, warlocks, etc) & who practice these dark arts.

 

09) To the left of the “wizard” is a flat earth proponent: even today there are people who don’t believe the Earth is a sphere in shape, but that it is flat. The man is holding up a string, which suspends a flat map of the earth. He is holding his right hand up (flat, of course!) & is trying to convince anyone who will listen about his idea.

 

10) Behind everybody else there are two men looking intently at each other, both with there hands on their heads. They are trying to read each other’s minds using telepathy (communication from one mind to another by extrasensory means.)

 

I’m sure I could have represented many more myths, legends, philosophies & ideas than these. There are plenty about, & always have been. Ultimately all these things have one thing in common: they are deliberately postulated & made popular with the express (satanic) purpose of drawing people away from “sound doctrine” (verse 3.) For a definition of doctrine, read my note below [1].

 

There appears to be a process of falling away from sound doctrine, represented by the progression of verses 3-4 above:

3 For the time will come when men will not put up with sound doctrine. Instead, to suit their own desires, they will gather around them a great number of teachers to say what their itching ears want to hear. 4 They will turn their ears away from the truth and turn aside to myths.

 

The process appears to start with dis-satisfaction with the sound doctrine found in the Holy Bible. People who are in danger of abandoning their Christian faith become discontent; already “their own desires” are at work within them, & the saving power & life-giving Word of God (the Holy Bible) is “not enough” for such people. Instead of reading the Bible & putting it’s truth to work in their lives, such people become enamoured with some other “truth”, be that crystal healing, magic, occult practices, New Age philosophy, or any number of other ideas. Then “they gather around them a great number of teachers to say what their itching ears want to hear.” If someone rejects the message of Jesus, they will always want to replace the real Truth, with a lot of other “truth” to drown out the Holy Spirit’s insistent voice, calling them to repentance.

 

The fact is that there is no other way to heaven/God the Father than through Jesus the Christ. That’s what the sound doctrine of the Bible points out. There is no other “truth” than the revealed Truth of the Holy Bible.

 

[1]

What is doctrine?

“Doctrine is indispensable to Christianity. Christianity does not exist without it. The New Testament repeatedly emphasizes the value and importance of sound doctrine, sound instruction ( 1 Tim 6:3 ), and a pattern of sound teaching ( 2 Tim 1:13-14 ). The apostles defended the faithful proclamation of the gospel ( Gal 1:8 ). They formulated Christian faith in doctrinal terms, then called for its preservation. They were adamant about the protection, appropriation, and propagation of doctrine because it contained the truth about Jesus Christ. Knowing the truth was and is the only way that a person can come to faith. So the apostles delivered a body of theological truth to the church ( 1 Cor 15:3 ). They encouraged believers to be faithful to that body of information they had heard and received in the beginning ( 1 John 2:7 1 John 2:24 1 John 2:26 ; 3:11 ), that "faith that was once for all entrusted to the saints'' (Jude 3). Believers, in general, were instructed to guard the faith, that is, to stand firm in sound doctrine ( 2 Tim 1:13-14 ). Pastors in particular were admonished to cleave to sound doctrine so that they could be good ministers of the gospel ( 1 Tim 4:6 ).”

 

This is part of a definition of doctrine that I found online.

[Source: www.biblestudytools.com/dictionary/doctrine/]

 

Why not visit my website & see all the cartoons there? www.biblecartoons.co.uk

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

OUR scared and Oprah says FLYS the GREAT asutrlian salute I getting confused again BUT that's the native

 

what cap says is BASICALLY coming ture protypes contraps GHETTOINg and then that father...when we were here BEFORE YOU reall aboriginals what's a lease..and at first national DON"T put it all in one man AKIRA it's called akira six stagies in sun TZU spying allegeration GINA rhineheart $10 billion dollar vale. OUR SACRED not balck enough BABE Money in BUNGI a cash business most people walk up but you can get QUEENSTOWN shotover river NOT Possible vantu a place where there's a gun behinmd every bush REBEL..OMG I"M han they won't let me outta the allies even though YOU owe i'm just trying to get to JABBA to pay back for the lost shipment and older brother steven was born at the mater just like little packer THTANS captain kremein THAT"S where i first heard that NAME mentioned and at amp who has acess to the safe AUSDIT to cash book I used to work there at a mining protest AMP FIRE AND GENERAl; allergation

 

It began on Pentecost Island in Vanuatu (New Hebrides) many centuries, perhaps millennia ago, when a beaten woman ran away from her husband, Tamale. He found her hiding in a tall tree and called to her that if she came down he might beat her - but only a little. However if he had to get her she would be sorry. She refused. He climbed the tree and as he made his final grab, she leaped. In anguish at her death (or anger that he had missed her) Tamale jumped after her, not realising his wife had tied liana vines around her ankles and survived the fall.

  

how did the HOLY spirit fall on YOU great interest and in africa BABE"S money in BUNGIE...don't put it all in ONE MAN AKIRA and the six strgies I can't control myself KENADA help...and then THE GIRL standover yaks THEY"LL kill her a suck OVER...and then scaper after three monthes and severnce pay IN Liue of your trust fund BUT at carlos we need this check signed over for OUR wedding at curzon hall and that sort of negress just wants a wimm

  

The Monastery of the Holy Spirit, officially called "Our Lady of the Holy Spirit Monastery" is a Roman Catholic monastery near Conyers, Georgia belonging to the world-wide Order of Cistercians of the Strict Observance (O.C.S.O.) – more commonly known as Trappists.

 

As described in the Order's constitution, this Order is a monastic institute wholly ordered to contemplation. The monks dedicate themselves to the worship of God in a hidden life within the monastery under the Rule of Saint Benedict. They follow in the spirit of the founders of Citeaux, as handed on in the tradition of the Order, within a community wholly oriented to a contemplative life of prayer. They lead a monastic way of life in solitude, silence, work and prayer.

 

Currently the Monastery of the Holy Spirit is a community of forty-eight monks spanning several generations, who live, work and pray at the Abbey. They were founded from the Abbey of Gethsemani, Trappist, Kentucky in the spring of 1944. The Monastery is sustained through The Abbey Store, a bonsai garden plant and supply business, a stained glass manufacturing business, donations, a green cemetery, and onsite retreats - among other endeavors.

 

Monastery of the Holy Spirit was founded on March 21, 1944 by twenty monks from the Abbey of Gethsemani. On 1400 acres of land donated by the Archdiocese of Atlanta and media mogul Henry Luce, these first monks lived in a barn while they built (by themselves) what would become known as the "pine board" monastery. They then lived in this monastery from December 1944 -1959 while they built (by themselves) the present Monastery, a beautiful concrete structure complete with a retreat house and cloister. In 2005, the pine board monastery which housed their carpentry and stained glass businesses was destroyed in a fire. Some previous abbots have been Dom Augustine Moore, Dom Armand Veilleux, Dom Bernard Johnson, and Dom Basil Pennington. The present abbot is Dom Francis Michael Stiteler, who was elected in 2004.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

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Picks and Shovels is a new, standalone technothriller starring Marty Hench, my two-fisted, hard-fighting, tech-scam-busting forensic accountant. You can pre-order it on my latest Kickstarter, which features a brilliant audiobook read by Wil Wheaton:

 

martinhench.com

 

This is the third Hench novel, following on from the nationally bestselling The Bezzle (2024) and Red Team Blues (2023). I wrote Red Team Blues with a funny conceit: what if I wrote the final volume of a beloved, long-running series, without writing the rest of the series? Turns out, the answer is: "Your editor will buy a whole bunch more books in the series!"

 

My solution to this happy conundrum? Write the Hench books out of chronological order. After all, Marty Hench is a financial hacker who's been in Silicon Valley since the days of the first PCs, so he's been there for all the weird scams tech bros have dreamed up since Jobs and Woz were laboring in their garage over the Apple I. He's the Zelig of high-tech fraud! Look hard at any computing-related scandal and you'll find Marty Hench in the picture, quietly and competently unraveling the scheme, dodging lawsuits and bullets with equal aplomb.

 

Which brings me to Picks and Shovels. In this volume, we travel back to Marty's first job, in the 1980s – the weird and heroic era of the PC. Marty ended up in the Bay Area after he flunked out of an MIT computer science degree (he was too busy programming computers to do his classwork), and earning his CPA at a community college.

 

Silicon Valley in the early eighties was wild: Reaganomics stalked the land, the AIDS crisis was in full swing, the Dead Kennedys played every weekend, and man were the PCs ever weird. This was before the industry crystalized into Mac vs PC, back when no one knew what they were supposed to look like, who was supposed to use them, and what they were for.

 

Marty's first job is working for one of the weirder companies: Fidelity Computing. They sound like a joke: a computer company run by a Mormon bishop, a Catholic priest and an orthodox rabbi. But the joke's on their customers, because Fidelity Computing is a scam: a pyramid sales cult that exploits religious affinities to sell junk PCs that are designed to lock customers in and squeeze them for every dime. A Fidelity printer only works with Fidelity printer paper (they've gimmicked the sprockets on the tractor-feed). A Fidelity floppy drive only accepts Fidelity floppies (every disk is sold with a single, scratched-out sector and the drives check for an error on that sector every time they run).

 

Marty figures out he's working for the bad guys when they ask him to destroy Computing Freedom, a scrappy rival startup founded by three women who've escaped from Fidelity Computing's cult: a queer orthodox woman who's been kicked out of her family; a radical nun who's thrown in with the Liberation Theology movement in opposing America's Dirty Wars; and a Mormon woman who's quit the church in disgust at its opposition to the Equal Rights Amendment. The women of Computing Freedom have a (ahem) holy mission: to free every Fidelity customer from the prison they were lured into.

 

Marty may be young and inexperienced, but he can spot a rebel alliance from a light year away and he knows what side he wants to be on. He joins the women in their mission, and we're deep into a computing war that quickly turns into a shooting war. Turns out the Reverend Sirs of Fidelity Computer aren't just scammers – they're mobbed up, and willing to turn to lethal violence to defend their racket.

 

This is a rollicking crime thriller, a science fiction novel about the dawn of the computing revolution. It's an archaeological expedition to uncover the fossil record of the first emergence of enshittification, a phenomenon that was born with the PC and its evil twin, the Reagan Revolution.

 

The book comes out on Feb 15 in hardcover and ebook from Macmillan (US/Canada) and Bloomsbury (UK), but neither publisher is doing the audiobook. That's my department.

 

Why? Well, I love audiobooks, and I especially love the audiobooks for this series, because they're read by the incredible Wil Wheaton, hands down my favorite audiobook narrator. But that's not why I retain my audiobook rights and produce my own audiobooks. I do that because Amazon's Audible service refuses to carry any of my audiobooks.

 

Here's how that works: Audible is a division of Amazon, and they've illegally obtained a monopoly over the audiobook market, controlling more than 90% of audiobook sales in many genres. That means that if your book isn't for sale on Audible, it might as well not exist.

 

But Amazon won't let you sell your books on Audible unless you let them wrap those books in "digital rights management," a kind of encryption that locks them to Audible's authorized players. Under Section 1201 of the Digital Millennium Copyright Act, it's a felony punishable with a 5-year sentence and a $500k fine to supply you with a tool to remove an audiobook from Audible and play it on a rival app. That applies even if the person who gives you the tool is the creator of the book!

 

You read that right: if I make an audiobook and then give you the tools to move it out of Amazon's walled garden, I could go to prison for five years! That's a stiffer sentence than you'd face if you were to just pirate the audiobook. It's a harsher penalty than you'd get for shoplifting the book on CD from a truck-stop. It's more draconian than the penalty for hijacking the truck that delivers the CDs!

 

Amazon knows that every time you buy an audiobook from Audible, you increase the cost you'll have to pay if you switch to a competitor. They use that fact to give readers a worse deal (last year they tried out ads in audiobooks!). But the people who really suffer under this arrangement are the writers, whom Amazon abuses with abandon, knowing they can't afford to leave the service because their readers are locked into it. That's why Amazon felt they could get away with stealing $100 million from indie audiobook creators (and yup, they got away with it):

 

www.audiblegate.com/about

 

Which is why none of my books can be sold with DRM. And that means that Audible won't carry any of them.

 

For more than a decade, I've been making my own audiobooks, in partnership with the wonderful studio Skyboat Media and their brilliant director, Gabrielle de Cuir:

 

skyboatmedia.com/

 

I pay fantastic narrators a fair wage for their work, then I pay John Taylor Williams, the engineer who masters my podcasts, to edit the books and compose bed music for the intro and outro. Then I sell the books at every store in the world – except Audible and Apple, who both have mandatory DRM. Because fuck DRM.

 

Paying everyone a fair wage is expensive. It's worth it: the books are great. But even though my books are sold at many stores online, being frozen out of Audible means that the sales barely register.

 

That's why I do these Kickstarter campaigns, to pre-sell thousands of audiobooks in advance of the release. I've done six of these now, and each one was a huge success, inspiring others to strike out on their own, sometimes with spectacular results:

 

www.usatoday.com/story/entertainment/books/2022/04/01/bra...

 

Today, I've launched the Kickstarter for Picks and Shovels. I'm selling the audiobook and ebook in DRM-free form, without any "terms of service" or "license agreement." That means they're just like a print book: you buy them, you own them. You can read them on any equipment you choose to. You can sell them, give them away, or lend them to friends. Rather than making you submit to 20,000 words of insulting legalese, all I ask of you is that you don't violate copyright law. I trust you!

 

Speaking of print books: I'm also pre-selling the hardcover of Picks and Shovels and the paperbacks of The Bezzle and Red Team Blues, the other two Marty Hench books. I'll even sign and personalize them for you!

 

martinhench.com

 

I'm also offering five chances to commission your own Marty Hench story – pick your favorite high-tech finance scam from the past 40 years of tech history, and I'll have Marty bust it in a custom short story. Once the story is published, I'll make sure you get credit. Check out these two cool Little Brother stories my previous Kickstarter backers commissioned:

 

Spill

 

reactormag.com/spill-cory-doctorow/

 

Vigilant

 

reactormag.com/vigilant-cory-doctorow/

 

I'm heading out on tour this winter and spring with the book. I'll be in LA, San Francisco, San Diego, Burbank, Bloomington, Chicago, Richmond VA, Toronto, NYC, Boston, Austin, DC, Baltimore, Seattle, and other dates still added. I've got an incredible roster of conversation partners lined up, too: John Hodgman, Charlie Jane Anders, Dan Savage, Ken Liu, Peter Sagal, Wil Wheaton, and others.

 

I hope you'll check out this book, and come out to see me on tour and say hi. Before I go, I want to leave you with some words of advance praise for Picks and Shovels:

 

I hugely enjoyed Picks and Shovels. Cory Doctorow’s reconstruction of the age is note perfect: the detail, the atmosphere, ethos, flavour and smell of the age is perfectly conveyed. I love Marty and Art and all the main characters. The hope and the thrill that marks the opening section. The superb way he tells the story of the rise of Silicon Valley (to use the lazy metonym), inserting the stories of Shockley, IBM vs US Government, the rise of MS – all without turning journalistic or preachy.

 

The seeds of enshittification are all there… even in the sunlight of that time the shadows are lengthening. AIDS of course, and the coming scum tide of VCs. In Orwellian terms, the pigs are already rising up on two feet and starting to wear trousers. All that hope, all those ideals…

 

I love too the thesis that San Francisco always has failed and always will fail her suitors.

 

Despite cultural entropy, enshittification, corruption, greed and all the betrayals there’s a core of hope and honour in the story too.

 

-Stephen Fry

 

Cory Doctorow writes as few authors do, with tech world savvy and real world moral clarity. A true storyteller for our times.

 

-John Scalzi

 

A crackling, page-turning tumble into an unexpected underworld of queer coders, Mission burritos, and hacker nuns. You will fall in love with the righteous underdogs of Computing Freedom—and feel right at home in the holy place Doctorow has built for them far from Silicon Valley’s grabby, greedy hands."

 

-Claire Evans, editor of Motherboard Future, author of Broad Band: The Untold Story of the Women Who Made the Internet.

 

"Wonderful…evokes the hacker spirit of the early personal computer era—and shows how the battle for software freedom is eternal."

 

-Steven Levy, author of Hackers: Heroes of the Computer Revolution and Facebook: The Inside Story.

 

What could be better than a Martin Hench thriller set in 1980s San Francisco that mixes punk rock romance with Lotus spreadsheets, dot matrix printers and religious orders? You'll eat this up – I sure did.

 

-Tim Wu, Special Assistant to the President for Technology and Competition Policy, author of The Master Switch: The Rise and Fall of Information Empires

 

Captures the look and feel of the PC era. Cory Doctorow draws a portrait of a Silicon Valley and San Francisco before the tech bros showed up — a startup world driven as much by open source ideals as venture capital gold.

 

-John Markoff, Pulitzer-winning tech columnist for the New York Times and author of What the Doormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry

 

You won't put this book down – it's too much fun. I was there when it all began. Doctorow's characters and their story are real.

 

-Dan'l Lewin, CEO and President of the Computer History Museum

PRAISE GOD!! ANOTHER SWEET MIRACLE! Statue Marie Rose Ferron (St. Gabriel) Bows & Prays to her Sacred Heart of Jesus PROFOUNDLY- Bowing at her neck, back, knees & ankles this time! God, surely taught me a great valuable lesson- NEVER to put limitations on him this year, as I have only seen this statue bow to her Jesus at most from 8 inches away from fence to at most 24 inches, so I had in my head, she can't possibly bow any more than that! Well, this year, I found Marie Rose Ferron bowing 26 plus inches, and she was found changing her body position one day as I found her leaning on Mamma Mary litterally & she was bowing so much she couldn't stand by herself! Well, again, foolish me, said that is her limit, she can't possibly bow any more, and what did God do?- He had me find her bowing even more at 27 1/2 plus inches, and leaning on Mamma as she twists her body to Lean on her whiile still praying to her beloved Sacred Heart of Jesus! Well, I took Pictures & measurements, and said to eveyone, well, she can't stand anymore so basically she is now considered "UNMEASURABLE" as the only measurement I can get now is before her base lifts off ground so she can't possibly bow to her Jesus anymore or she'll break! Well, again, God, would teach me- Don't put limitations on him as we find Marie Rose Ferron Bowing even more & More & More! 28 plus inches, then 29 plus, then 30 plus, 31 plus til she was bowing almost as much as she was tall! She is normally like St. Francis (right next to her) and would stand straight at about 39 1/2 inches but Rose bowed up to 36 inches! She was bowing so much that you couldn't even see her face & I had to crawl down into my water pond laying down to get even a shot of her face somewhat! Wait til you see all the beautiful pictures! I was floored to witness such beauty & did apologize to God, for putting Limitations on him! What a lesson well- learned! After I got out of the waterfall hole, and was done measuring, & taking pictures, I went, as sick as I was over to St. Francis Parish, to prostrate myself before God & Give great thanks & praise, and did my prayers & talk to him, then decided to take a picture of Jesus's precious Tabernacle as I miss him as I can't get to Church very much so I thought having a picture would bring me atleast in spirit feeling closer etc.. I did take the picture & even of his cross behind the alter, and was going to leave when I felt a strong compelling to go out of my way to the other side of the Church where Mamma Mary was holding Child Jesus. I looked up at her & him and said, Thank You and started talking to them too, telling them Thank you for everything they've done and asking them, that I hope they like all the changes I did in the "Holy Family" Garden for them, and saying I hope you like what I did for your honor & the Holy Family. Well I had been repainting my statues for first time and had been a high critic of my Sacred Heart of Jesus and another statue of Mamma Mary as Jesus had one huge eye & one small one which made him look kind of scary to me, and Mamma's face detail was horrible. I had wondered all this time, why someone wouldn't take better care of painting Gods family in better respect to show his Glory. Well, now, finally I was correcting the problem that had driven me crazy all these years but I learned it is not as easy as one would think & learned the hard way a whole new appreciation to anyone who has to do this work. I had to recorrect many of my own mistakes, taking the whole summer even til now to do. Well to get back to St. Francis Parish, while standing before Mamma & Child Jesus, I asked them, I hope you like the Ferron Family Rosary that you told Rose about, that I made for you. While speaking in prayer, my eyes & criticizing got the best of me, as I wondered why the artist of this statue had made Mamma Mary look so very serious looking and yet Child Jesus is smiling ear to ear with so much Joy! Why did the artist do this & what are they trying to protray? I kept criticizing in my head thinking it just didn't look right to me, but I am in our Father's house, so I should not judge, so I struggled my thoughts. When I was done, I took a picture or two & then went to leave stopping & saying a short prayer to St. Francis & St. Anthony too then leaving. I got home & showed my husband the pictures & when we got to Mamma & Child Jesus, I began telling him my struggle with criticizm of Mamma being so serious & Child Jesus smiling ear to ear with joy, when my husband looking at it, said, "Um, Laurie, Jesus is not smiling, he looks just as serious as Mamma!". I took the camera from his hands swearing he was smiling, and was absolutely stunned to see in the picture, that Child Jesus was not smiling even remotely! Now, I am baffled, as I was not expecting anything to happen, here while I was simply giving thanks & hoping they liked the work done for them in the Holy Family Garden, but, I couldnt go back to confirm either way as the Church was now closed. I couldn't go back later as I got ill, but did ask my friend to go check for me, and she said that to her, Jesus doesn't look like he's smiling either at the Church. So, now, I think sweet Child Jesus, was confirming to me, that he and they did like what was done in the Holy Family Garden, as I have no explanation to what has happened there & what I thought I saw. I Thank You sweet Child Jesus & Mamma, what a sweet way to let me know you approve, you really took me back with surprise this time but I trully am grateful to you! With love always, Thank You Father, I praise your Holy Name & Will, May it be done on earth as it IS in Heaven!. Laurie

  

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Not so long ago, the main road from Dover to Sandwich passed right through the centre of Easty. Its narrow roads lined with parked cars must have been quite a bottle neck. But now the main road goes round and the cars can park was their owners want.

 

I visited Eastry many years ago, early in the Kent church project. So I am revisiting those first churches to see what I missed now I have a little knowledge of church architecture.

 

We park in the centre on the main road and walk down the dead end street to the church. It looks fine in the spring sunshine, flints glistening. It sits surrounded by gfand houses, most of which are listed.

 

Entrance is via a unique porch in the west end of the church, under the tower, where a porch has been fashioned from carved wood and leaded lights.

 

Upon entering you are greeted by the glory of the church, the chancel arch festooned with panels showing four different designs, but my eye is taken by the two quatrefoil cut outs either side.

 

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

 

Set away from the main street but on one of the earliest sites in the village, flint-built Eastry church has an over restored appearance externally but this gives way to a noteworthy interior. Built in the early thirteenth century by its patrons, Christ Church Canterbury, it was always designed to be a statement of both faith and power. The nave has a clerestory above round piers whilst the east nave wall has a pair of quatrefoils pierced through into the chancel. However this feature pales into insignificance when one sees what stands between them - a square panel containing 35 round paintings in medallions. There are four deigns including the Lily for Our Lady; a dove; Lion; Griffin. They would have formed a backdrop to the Rood which would have been supported on a beam the corbels of which survive below the paintings. On the centre pier of the south aisle is a very rare feature - a beautifully inscribed perpetual calendar or `Dominical Circle` to help find the Dominical letter of the year. Dating from the fourteenth century it divides the calendar into a sequence of 28 years. The reredos is an alabaster structure dating from the Edwardian period - a rather out of place object in a church of this form, but a good piece of work in its own right. On the west wall is a good early 19th century Royal Arms with hatchments on either side and there are many good monuments both ledger slabs and hanging tablets. Of the latter the finest commemorates John Harvey who died in 1794. It shows his ship the Brunswick fighting with all guns blazing with the French ship the Vengeur. John Bacon carved the Elder this detailed piece of work.

 

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

 

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

 

Above the Chancel Arch, enclosed within a rectangular frame, are rows of seven "medallion" wall paintings; the lower group was discovered in 1857 and the rest in 1903. They remained in a rather dilapidated state until the Canterbury Cathedral Wall Paintings Department brought them back to life.

 

The medallions are evidently of the 13th Century, having been painted while the mortar was still wet. Each medallion contains one of four motifs:

 

The trefoil flower, pictured left, is perhaps a symbol of the Blessed Virgin Mary to whom the church is dedicated; or symbolic of Christ.

 

The lion; symbolic of the Resurrection

  

Doves, either singly, or in pairs, represent the Holy Spirit

  

The Griffin represents evil, over which victory is won by the power of the Resurrection and the courage of the Christian.

 

www.ewbchurches.org.uk/eastrychurchhistory.htm

 

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Deva is the Hindu term for deity; devatas (Devanagari: देवता, Khmer: tevoda (ទេវតា), Javanese, Balinese, Sundanese, Malay and Indonesian: dewata; Philippine languages: diwata), are a kind of smaller more focused devas. The term "devata" also means devas (deva in plural form or the gods). They are male and female devata. There are many kinds of devatas: vanadevatas (forest spirits, perhaps descendants of early nature-spirit cults), gramadevata (village gods), devata of river crossings, caves, mountains, and so on. In Hinduism, the devatas that guard the nine cardinal points are called Devata Lokapala (Guardians of the Directions) or in ancient Java called Dewata Nawa Sanga (Nine guardian gods). Every human activity has its devata, its spiritual counterpart or aspect.

 

Hindu devatas in the Konkan region are often divided into five categories: 1. Grama devatas - or village deities, for example, Hanuman, Kalika, Amba, Bhairava. 2. Sthana devatas - or local deities, for example, those in certain places of pilgrimage like Rama in Nasik, Vithoba in Pandharpur or Krishna at Dwarka. 3. Kula devatas - or family deities, like Khanderai. 4. Ishta devatas - or Chosen deities, 5. Wastu devatas or Gruha devatas - or a class of deities that preside over the house.

 

Some of well-known Hindu-Buddhist heavenly beings belong to the group of devatas, such as apsara or vidhyadari; heavenly maiden that sent by Indra from svarga to seduces the meditating ascetics, and her male counterparts; gandharvas; the heavenly musicians. Devatas often occurred in Hindu epics such as Ramayana and Mahabharata, and also some Buddhist holy scriptures. The island of Bali is nicknamed as Pulau Dewata (Indonesian: "islands of devata or island of gods"), because of its vivid Hindu culture and traditions. In Bali, there are many offerings dedicated to hyang, the guardian spirits associated with devata.

_____________________________________________

 

Ta Prohm (Khmer: ប្រាសាទតាព្រហ្ម, pronunciation: brasaeattaproh) is the modern name of the temple at Angkor, Siem Reap Province, Cambodia, built in the Bayon style largely in the late 12th and early 13th centuries and originally called Rajavihara (in Khmer: រាជវិហារ). Located approximately one kilometre east of Angkor Thom and on the southern edge of the East Baray, it was founded by the Khmer King Jayavarman VII as a Mahayana Buddhist monastery and university. Unlike most Angkorian temples, Ta Prohm has been left in much the same condition in which it was found: the photogenic and atmospheric combination of trees growing out of the ruins and the jungle surroundings have made it one of Angkor's most popular temples with visitors. UNESCO inscribed Ta Prohm on the World Heritage List in 1992. Today, it is one of the most visited complexes in Cambodia’s Angkor region. The conservation and restoration of Ta Prohm is a partnership project of the Archaeological Survey of India and the APSARA (Authority for the Protection and Management of Angkor and the Region of Siem Reap).

 

HISTORY

FOUNDATION & EXPANSION

In 1186 A.D., Jayavarman VII embarked on a massive program of construction and public works. Rajavihara ("monastery of the king"), today known as Ta Prohm ("ancestor Brahma"), was one of the first temples founded pursuant to that program. The stele commemorating the foundation gives a date of 1186 A.D.

 

Jayavarman VII constructed Rajavihara in honor of his family. The temple's main image, representing Prajnaparamita, the personification of wisdom, was modelled on the king's mother. The northern and southern satellite temples in the third enclosure were dedicated to the king's guru and his elder brother respectively. As such, Ta Prohm formed a complementary pair with the temple monastery of Preah Khan, dedicated in 1191 A.D., the main image of which represented the Bodhisattva of compassion Lokesvara and was modelled on the king's father.

 

The temple's stele records that the site was home to more than 12,500 people (including 18 high priests and 615 dancers), with an additional 800,000 souls in the surrounding villages working to provide services and supplies. The stele also notes that the temple amassed considerable riches, including gold, pearls and silks. Expansions and additions to Ta Prohm continued as late as the rule of Srindravarman at the end of the 15th century.

 

ABANDONMENT & RESTAURATION

After the fall of the Khmer Empire in the 17th century, the temple of Ta Prohm was abandoned and neglected for centuries. When the effort to conserve and restore the temples of Angkor began in the early 21st century, the École française d'Extrême-Orient decided that Ta Prohm would be left largely as it had been found, as a "concession to the general taste for the picturesque." According to pioneering Angkor scholar Maurice Glaize, Ta Prohm was singled out because it was "one of the most imposing [temples] and the one which had best merged with the jungle, but not yet to the point of becoming a part of it". Nevertheless, much work has been done to stabilize the ruins, to permit access, and to maintain "this condition of apparent neglect."

 

As of 2013, Archaeological Survey of India has restored most parts of the temple complex some of which have been constructed from scratch. Wooden walkways, platforms and roped railings have been put in place around the site to protect the monument from further damages due to the large tourist inflow.

 

THE SITE

LAYOUT

The design of Ta Prohm is that of a typical "flat" Khmer temple (as opposed to a temple-pyramid or temple-mountain, the inner levels of which are higher than the outer). Five rectangular enclosing walls surround a central sanctuary. Like most Khmer temples, Ta Prohm is oriented to the east, so the temple proper is set back to the west along an elongated east-west axis. The outer wall of 1000 by 650 metres encloses an area of 650,000 square metres that at one time would have been the site of a substantial town, but that is now largely forested. There are entrance gopuras at each of the cardinal points, although access today is now only possible from the east and west. In the 13th century, face towers similar to those found at the Bayon were added to the gopuras. Some of the face towers have collapsed. At one time, moats could be found inside and outside the fourth enclosure.

 

The three inner enclosures of the temple proper are galleried, while the corner towers of the first enclosure form a quincunx with the tower of the central sanctuary. This basic plan is complicated for the visitor by the circuitous access necessitated by the temple's partially collapsed state, as well as by the large number of other buildings dotting the site, some of which represent later additions. The most substantial of these other buildings are the libraries in the southeast corners of the first and third enclosures; the satellite temples on the north and south sides of the third enclosure; the Hall of Dancers between the third and fourth eastern gopuras; and a House of Fire east of the fourth eastern gopura.

 

REPRESENTATIONAL ART

Ta Prohm has not many narrative bas-reliefs(compared to Angkor Wat or Angkor Thom). One explanation that has been proffered for this dearth is that much of the temple's original Buddhist narrative artwork must have been destroyed by Hindu iconoclasts following the death of Jayavarman VII. At any rate, some depictions of scenes from Buddhist mythology do remain. One badly eroded bas-relief illustrates the "Great Departure" of Siddhartha, the future Buddha, from his father's palace. The temple also features stone reliefs of devatas (minor female deities), meditating monks or ascetics, and dvarapalas or temple guardians.

 

TREES

The trees growing out of the ruins are perhaps the most distinctive feature of Ta Prohm, and "have prompted more writers to descriptive excess than any other feature of Angkor." Two species predominate, but sources disagree on their identification: the larger is either the silk-cotton tree (Ceiba pentandra) or thitpok Tetrameles nudiflora, and the smaller is either the strangler fig (Ficus gibbosa). or Gold Apple (Diospyros decandra). Indulging in what might be regarded as "descriptive excess," Angkor scholar Maurice Glaize observed, "On every side, in fantastic over-scale, the trunks of the silk-cotton trees soar skywards under a shadowy green canopy, their long spreading skirts trailing the ground and their endless roots coiling more like reptiles than plants."

 

IN POPULAR MEDIA

The temple of Ta Prohm was used as a location in the film Tomb Raider. Although the film took visual liberties with other Angkorian temples, its scenes of Ta Prohm were quite faithful to the temple's actual appearance, and made use of its eerie qualities.

 

Some believe that one of the carvings resembles a stegosaurus.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

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Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.

 

In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.

 

Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.

 

Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.

 

ETYMOLOGY

Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".

 

ORIGNS

According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.

 

As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.

 

SIGNIFICANCE OF PUJA

In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:

 

Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;

O Indra, bring treaures with your right hand;

O Agni grant the enjoyments of a good household;

Give (us) vigor, wealth in cattle, and possession of good horses.

- ÄsvSü

 

In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.

 

Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.

 

Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.

 

TEMPLE PUJA

Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.

 

ELABORATE PUJA

A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:

 

1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.

2. Asana. The deity is offered a seat.

3. Padya. The deity’s feet are symbolically washed.

4. Water is offered for washing the head and body

5. Arghya. Water is offered so the deity may wash its mouth.

6. Snana or abhisekha. Water is offered for symbolic bathing.

7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.

8. Upaveeda or Mangalsutra. Putting on the sacred thread.

9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.

10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.

11. Dhupa. Incense is burned before the image.

12. Dipa or Aarti. A burning lamp is waved in front of the image.

13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.

14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.

15. Parikrama or Pradakshina. Circumambulation around the deity.

16. Taking leave.

 

Sometimes additional steps are included:

1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.

2. Acamanıya. Water is offered for sipping.

3. Aabaran. The deity is decorated with ornaments.

4. Chatram. Offering of umbrella.

5. Chamaram Offering of fan or fly-whisk (Chamara).

6. Visarjana or Udvasana. The deity is moved from the place.

 

There are variations in this puja method such as:

1. Pancha upachara pooja (puja with 5 steps).

2. Chatushasti upachara puja (puja with 64 steps).

 

The structure of elaborate puja also varies significantly between temples, regions and occasions.

 

QUICK PUJA

A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.

 

PUJA IN BALINESE HINDUISM

In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.

 

Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.

 

GURU PUJA

In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.

 

PUJA AS A SOCIAL, HUMAN RIGHTS EVENT

As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.

 

CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL

Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.

 

REGIONAL NAMES

Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.

 

WIKIPEDIA

St Andrew, Great Saxham, Suffolk

 

This is a church I seem to revisit every five years or so, and I'm always left wondering why I don't come back more often. After the longest winter I can remember, and a good five months since my previous church exploring bike ride, I set off from Bury St Edmunds on a bright, cold Saturday morning, and Great Saxham was my first port of call.

 

Nothing much had changed. A large oak tree had fallen near to the fence of the park in a recent storm, but otherwise it was exactly as I remembered. It is always reassuring to cycle off into rural Suffolk to find that England has not entirely succumbed to the 21st Century.

 

But Suffolk has changed in the thirty-odd years I've been living here. There is hardly a dairy farm left, and not a single cattle market survives in the county. Ipswich, Lowestoft, Bury, and even the smaller places, are ringed by out-of-town shopping experiences, and the drifts of jerry-built houses wash against the edges of nearly every village. But the countryside has always been in a state of perpetually change, a constant metamorphosis, and often a painful one. I had been struck by this before while cycling across this parish, and the memory added a frisson to the experience of coming back.

 

For many modern historians, the 19th Century finished on August 4th 1914, and you can see their point. That was the day that the First World War began, and the England that would emerge from the mud, blood and chaos would be quite different. A new spirit was abroad, and rural areas left behind their previous patterns of ownership and employment that were little more than feudalism. Suffolk would never be the same again.

 

No more the Big House, no more the farm worker going cap in hand to the hiring fair, or the terrible grind to keep at bay the horrors of the workhouse. I think of Leonard, remembering the pre-war days in Ronald Blythe’s Akenfield, that passionate account of a 20th century Suffolk village, Charsfield: I want to say this simply as a fact, that Suffolk people in my day were worked to death. It literally happened. It is not a figure of speech. I was worked mercilessly. I am not complaining about it. It is what happened to me. But the men coming home from Flanders would demand a living wage. The new world would not bring comfort and democracy overnight, of course, and there are many parts of Suffolk where poverty and patronage survive even today, to a greater or lesser extent, but the old world order had come to an end. The Age of Empires was over, and the Age of Anxiety was beginning.

 

The English have a love-hate relationship with the countryside. As Carol Twinch argues in Tithe Wars, it is only actually possible for British agriculture to be fully profitable in war time. In time of peace, only government intervention can sustain it in its familiar forms. Here, at the beginning of the 21st century, British farmers are still demanding levels of subsidy similar to that asked for by the mining industry in the 1980s. With the UK's exit from the European Union looming, the answer from the state is ultimately likely to be the same. British and European agriculture are still supported by policies and subsidies that were designed to prevent the widespread shortages that followed the Second World War. They are half a century out of date, and are unsustainable, and must eventually come to an end.

 

But still sometimes in Suffolk, you find yourself among surroundings that still speak of that pre-WWI feudal time. Indeed, there are places where it doesn’t take much of a leap of the imagination to believe that the 20th century hasn’t happened. Great Saxham is one such place.

 

You travel out of Bury westwards, past wealthy Westley and fat, comfortable Little Saxham with its gorgeous round-towered church. The roads narrow, and after another mile or so you turn up through a straight lane of rural council houses and bungalows. At the top of the lane, there is a gateway. It is probably late 19th century, but seems as archaic as if it was a survival of the Roman occupation. The gate has gone, but the solid stone posts that tower over the road narrow it, so that only one car can pass in each direction. It is the former main entrance to Saxham Hall, and beyond the gate you enter the park, cap in hand perhaps.

 

Looking back, you can see now that the lane behind you is the former private drive to the Big House, obviously bought and built on by the local authority in the 1960s. It is easy to imagine it as it had once been.

 

Beyond the gate is another world. The narrowed road skirts the park in a wide arc, with woods off to the right. Sheep turn to look once, then resumed their grazing. About a mile beyond the gate, there is a cluster of 19th century estate buildings, and among them, slightly set back from the road beyond an unusually high wall, was St Andrew.

 

There was a lot of money here in the late 18th and early 19th centuries, so that you might even think it a Victorian building in local materials. But there is rather more to it than that. Farm buildings sit immediately against the graveyard, only yards from the church. When Mortlock came this way, he found chickens pottering about among the graves, and like me you may experience the unnervingly close neighing of a horse in the stables across from the porch.

 

The great restoration of this church was at a most unusual date, 1798, fully fifty years before the great wave of sacramentalism rolled out of Oxford and swept across the Church of England. Because of this, it appears rather plain, although quite in keeping with its Perpendicular origins - no attempt was made to introduce the popular mock-classical features of the day. The patron of the parish at the time was Thomas Mills, more familiar from his ancestors at Framlingham than here. There was another makeover in the 1820s.

 

I've always found this church open, and so it should be, for it has a great treasure which cannot be stolen, but might easily be vandalised if the church was kept locked (I wish that someone would explain this to the churchwardens at Nowton). The careful restoration preserved the Norman doorways and 15th century font, and the church would be indistinguishable from hundreds of other neat, clean 19th century refurbishments if it were not for the fact that it contains some most unusual glass. It was collected by Thomas Mills' son, William, and fills the east and west windows. It is mostly 17th century (you can see a date on one piece) and much of it is Swiss in origin. As at Nowton, it probably came from continental monasteries.

 

The best is probably the small scale collection in the west window. This includes figures of St Mary Magdalene, St John the Baptist and the Blessed Virgin, as well as scenes of the Annunciation, the Coronation of the Queen of Heaven, the Vision of St John, and much more. The work in the east window is on a larger scale, some of it Flemish in origin.

 

There are several simple and tasteful Mills memorials - but the Mills family was not the first famous dynasty to hold the Hall here. Back in the 16th and 17th centuries, it was the home of the Eldred family, famous explorers and circumnavigators of the globe. John Eldred died in 1632, and has one wall-mounted bust memorial on the south sanctuary wall, as well as a figure brass reset in the chancel floor from a lost table tomb. Both are gloriously flamboyant, and might seem quite out of kilter with that time, on the eve of the long Puritan night. Compare them, for instance, with the Boggas memorial at Flowton, barely ten years later. But, although the bust is of an elderly Elizabethan, I think that there is a 17th Century knowingness about them. The inscription beneath the bust reads in part The Holy Land so called I have seene and in the land of Babilone have bene, but in thy land where glorious saints doe live my soule doth crave of Christ a room to give - curiously, the carver missed out the S in Christ, and had to add it in above. It might have been done in a hurry, but perhaps it is rather a Puritan sentiment after all, don't you think?

 

The brass has little shields with merchant ships on, one scurrying between cliffs and featuring a sea monster. The inscription here is more reflective, asking for our tolerance: Might all my travells mee excuse for being deade, and lying here, for, as it concludes, but riches can noe ransome buy nor travells passe the destiny.

 

The First World War memorial remembers names of men who were estate workers here. And, after all, here is the English Church as it was on the eve of the First World War, triumphant, apparently eternal, at the very heart of the Age of Empires. Now, it is only to be found in backwaters like this, and the very fact that they are backwaters tells us that, really, it has not survived at all.

St Matthew, Portman Road, Ipswich

 

The crowned figures of God the Father and God the Son place a crown on the Blessed Virgin's head, and the Dove of the Holy Spirit races down directly above her.

 

In the 1960s, Ipswich went mad. Town planners devised a scheme whereby the population would rise towards half a million, and the existing town centre would be encircled and crossed by urban motorways. They didn't get very far before the men in white coats came and took them away, releasing them into the wild somewhere like Croydon or Wolverhampton; but the towering Civic Centre, the brutalist police station and courts buildings were evidence of their ambitions (the Civic Centre has since been demolished), and the four lane Civic Drive cuts across what was the Mount residential area, the little terraces all demolished to make way for the 20th century.

 

Now, the new Ipswich plan designates this whole area for residential use, and the civil servants have all moved down to the river. This new plan, if it emerges, can only serve St Matthew well, sitting beside Civic Drive as it does, and cut off from the town centre by it.

 

St Matthew is, perhaps, less well-known than the other working town centre churches. Partly, this is because it is the only one of them which is kept locked, but also because it is such an effort to get to if you are a visitor. Because of this, many people don't realise that it contains a treasure of national importance. It is the early 16th Century font, which is quite unlike any other in Suffolk, and perhaps is unique in England.

 

Before we come to it, the church building itself is worth examining. This must once have been quite a small church, but is now a big one. Its core is 15th century, including the lower part of the tower. Nothing else is. Its 19th century expansion can be explained by the proximity of the Ipswich Barracks, for this became the Garrison church. This resulted in the huge aisles, as wide as the nave. The chancel was also rebuilt, but retaining its medieval roof.

 

Until 1970, the church was hemmed in to the east, but the construction of Civic Drive opened up this view, which isn't a particularly good one, particularly from the north east. It comes as a surprise to find the west end on Portman Road quite so pastoral, but the hidden graveyard surrounding the tower is quite beautiful, and would once have been the familiar view. Ancestor hunters will be horrified to learn that the greater part of the graveyard was built over in the 1960s, with the construction of a church school to the south. All those graves are under the playground now. The part of the graveyard to the east fell foul of the road, and those immediately beyond the chancel were turned into a garden, now the preserve of homeless drinkers. A footpath runs along the north side, which will take you through to the main entrance, the west door, under the tower. You step into a broadly Victorian interior, and find the font in the north aisle.

 

East Anglia is famous for its Seven Sacrament fonts, 13 of which are in Suffolk. These show the seven sacraments of the Catholic Church, and are rare survivals; so much Catholic iconography was destroyed by the Protestant reformers of the 16th century, and the Puritans of the 17th century.

 

Here at St Matthew, we find an even rarer survival of England's Catholic past; a series of images of events associated with the Blessed Virgin Mary.

 

Before describing it, I have to make the point that this really is one of the dozen most important and significant medieval art survivals in Suffolk, and one of the finest late medieval fonts in England. There is nothing as good as this in the Victorian and Albert Museum, or in the British Museum. I make this point simply because on every occasion that I have visited, the person accompanying me (they don't let you vist the church on your own) did not seem to realise quite how important the font was, and gave the impression that the parish, though they care for it lovingly, also did not realise what a treasure, what a jewel, they had on the premises. "It's quite pretty," said the lady when I visited in September 2016.

 

Of the eight panels, two bear Tudor roses, but five of them depict events in the story of Mary, mother of Jesus. These five reliefs, and a sixth of the Baptism of Christ, are amazing art objects. They show the Annunciation to the Blessed Virgin, The Adoration of the Magi, the Assumption of the Blessed Virgin, the Coronation of the Queen of Heaven, and the Mother of God Enthroned. The guide books all describe these as the five Joyful Mysteries of the Rosary. In fact, this is technically not the case, although certainly the font was intended for use in rosary meditations. After extensive research, the late John Blatchly showed convincingly that this font was paid for by the Rector John Bailey to celebrate the Miracle of the Maid of Ipswich, which occured in the parish in 1516 and was held in renown all over England in the few short years left before the Reformation intervened.

 

We know that the rosary was a hugely popular devotion in medieval England, and that a persons 'bedes' were their most valued possession. They played a major part in personal devotion, but were also important as a way of participating in the liturgy, and an expression of communal piety. Most pre-Reformation memorials show people holding their rosary beads. However, what we now think of as the Rosary sequence only dates from the 14th century or so, and was only one among many - the so-called Dominican Rosary, which is now the predominant meditation. The rosary was greatly popularised in England by St Thomas of Canterbury in the 12th century, who devised a series of seven joyful mysteries, including the Adoration of the Magi and the Assumption. Most sequences were of five meditations, and we must presume that this is what we find here. In time, the Joyful Mysteries would come to be Mary's earthly experiences, and the Glorious Mysteries her heavenly ones.

 

Because personal devotion was considered a diversion from congregational worship, and Marian devotion was thought superstitious, the rosary was completely anathematised by the 16th century Protestant reformers, and attempts were made to write it out of history, by destroying images of it. Within forty years of this font being produced, possession of rosary beads was punishable by death in England.

 

The survival of an image of the Assumption is particularly interesting. We still have much surviving evidence of religious life in England before the Church of England came along, but it does not really reveal to us the relative significance of different devotions, simply because some of the major cults and their images - St Thomas of Canterbury, for instance - were ruthlessly rooted out and destroyed. The Assumption is another case in point. 15th and early 16th century wills and bequests reveal a great devotion to the Blessed Virgin, particularly to the feast of the Assumption, which is celebrated on August 15th.

 

This is at the height of the harvest, of course, and it is not difficult to see the connection between this feast and the culmination of the farming year, or the importance to farmworkers of a festival at this time. More than 200 Suffolk parish churches were dedicated to the Assumption. When the dedications of Anglican churches were restored in the 19th century, after several centuries of disuse, these generally became 'St Mary', although some have been restored correctly since, notably Ufford. The Church of England, of course, does not recognise the doctrine of the Assumption.

 

Of equal significance are the other images, of course; extraordinary survivals. And why the Baptism of Christ? In fact, this is the most common 'odd panel out' on the Seven Sacrament fonts, and shows us the significance of 'anointing to serve' in the medieval church. The medieval church didn't see Baptism as a mere naming ceremony, or welcoming ceremony, as so many people seem to do today. It was the sacrament by which people received their commission as Christians.

 

The north aisle also retains panels from the rood screen, built into a 19th century screen.You might miss these, because chairs are stacked against them. Three of the panels show bishops, and the other two show cheering crowds of seven and nine people respectively. I do not think that these can be in their original configuration. Roy Tricker thought that the crowds were portraits of parishioners, but I have seen elsewhere a suggestion that this may have been the screen to the chantry altar of the guild of Erasmus, which was established here.

 

There is clear evidence of the location of at least one nave altar, since a squint kicks in from the north aisle. There are two good 17th century wall memorials in the chancel, the best being to Anthony Penning and his wife, depicting their children weeping, some holding skulls to show that they pre-deceased their parents.

 

Much of the 19th century woodwork is from the workshops of two major 19th century Ipswich carpenters, Henry Ringham and John Corder. Ringham's work can be found in several Suffolk churches, most notably St Mary le Tower and Great Bealings, while Corder was an architect responsible for several restorations, including Swilland. Both have Ipswich roads named after them.

 

The church has an extensive collection of late 19th and early 20th Century glass, not all of it good, but happily by a wide variety of workshops. The great curiosity is the window in the east end of the south aisle, which depicts Jane Trimmer Gaye, wife of a 19th Century Rector, flanked by female members of her husband's flock with images of birth and death. It was designed by her brother Frank Howard, and made by George Hedgeland. Another oddity is Percy Bacon's Christ flanked by St Edmund and St Felix - for the last hundred years the Saints have stood there with their names transposed.

 

There is a frankly functional modern screen, with a curious Anglo-catholic style rood, which looks most out of place, for St Matthew today is very much in the evangelical tradition. But the lady who allowed me entry thought it 'nice', so I expect nobody minds.

19.9.10: Cofton Park, Birmingham

 

The Beatification of John Henry Newman by Pope Benedict XVI

 

We were at Cofton Park for Newman as much as we were for the Pope. I'm not the biggest fan of Benedict XVI or of the cult of hero worship, but Newman is for me one of the outstanding figures of the 19th Century; along with Darwin and Marx, he is one of the three great thinkers of that century. The three of them changed the way we understand the world, how we got here and where we are going.

 

What Darwin, Marx and Newman all had in common was that they devoted their lives to arguing theories of development. All three had a profound effect on how we lived our lives in the 20th century. Newman's theory was a theory of theological development. His starting point was to say: if we are imperfect, how can we possibly claim to truly know the mind of God?

 

As a young man, Newman had been an evangelical, believing in the literal truth of the Bible. As he matured, and realised this was not a possibility, he asked himself the big question: if we are literally incapable of posessing a knowledge of the mind of God, if we cannot understand exactly what it is that God is asking us to do, but we are still called on to seek perfection, then how does the revelation of that knowledge come about?

 

Newman decided it was the duty of the Church to be open to unfolding revelation, for each generation to continue the journey towards God in its own way. Some traditionalist Catholics are uncomfortable with the uncertainty of this, and ask the question "does this mean that some things we used to think were sinful are no longer sins?" In the words of the great Cardinal Hume, the answer is yes, I am afraid it does, because understanding of how sin may be realised is ultimately in the mind of imperfect man. Rather confusingly, Newman used the word 'Tradition' to explain the way the Church develops in response to this unfolding revelation.

 

Some of Newman's well-known sayings were projected on to the big screens at Cofton Park on Sunday, and one of my favourites went up just as the Pope was getting out of his helicopter: To grow is to change, and to become perfect is to change often. A little ironic perhaps, as one of the charges often levelled against this Pope by his fellow-Catholics is that he is intransigent and dogmatic - was it the spirit of Newman sending him a message, perhaps?

 

I think English Catholics have a love-hate relationship with Benedict XVI. He is a northern European, he's one of us, he thinks like us - but on the other hand he is such a deep intellectual that he doesn't engage in ordinary people's lives in the way that John Paul II did, even though John Paul II was in many ways a much more conservative Pope. JP2 is increasingly seen by history as providing a steady hand on the tiller at a time when the ship was entering uncertain waters, and I expect history's view of Benedict to be similar, that he kept the Conservatives on board at a time when the great outcry for change might have led to fragmentation.

 

I am also glad that there is at last a wider, public debate about the role of Faith in a civilised and secular society, and the relationship between Fides et Ratio, Faith and Reason, although it needs to be conducted without hysteria. While I think the Church and the Pope are certainly patriarchal and authoritarian, I do not believe that either is homophobic. This seems to me a very serious charge, and quite inappropriate when addressing the real issues involved in the Catholic Church's understanding of homosexuality. The Church's teaching in the matter (with which I find much to disagree) is against non-creative sexual acts, and also against sexual acts outside of marriage. Thus, homosexuality is not taught to be sinful, but it is taught to be a disordered state. While I think this teaching is wrong, I also think that to describe it as 'homophobic', that is, the fear of homosexuality or the promotion of a hatred of homosexuality, is just plain wrong. I am not saying that homophobic Catholics do not exist, but I am not aware of ever having met one. Indeed, several of my openly gay friends are Mass-attending Catholics. This obviously isn't enough, but it is a better starting point.

 

Secondly, while I think that condoms have a role to play in fighting AIDS and other diseases in sub-Saharan Africa, the issue is a very complex one. Respect needs to be given to the Church's preference for other methods, and the resources it commits to employing them: education, building up respect for women, fighting to raise the social conditions in which the abuse of women thrives. To describe the Catholic Church's work in Africa as 'genocide', as one banner at the 'Protest the Pope' rally in London on Saturday did, is just plain daft.

 

The Catholic Church is crying out for change. Under John XXIII and Paul VI in the Sixties and Seventies there was a real sense of a pilgrim church on the move and open to the Holy Spirit. But I do not think this is currently the case. Perhaps Newman's beatification will open up the eyes of the Church again to the reality of its journey, who knows? Where there are difficulties with official Church teaching, most Catholics I know follow their prayerful consciences, as Newman said we must, in a spirit of loyal dissent. We think the Church's teaching on contraception and homosexuality is wrong - not because we think we are right, but because we think that ongoing revelation will lead to the teaching being developed and changed - to grow is to change, to become perfect is to change often.

 

It is good to see dissent, and it is good to see a public debate. It is right and proper that those protesting against the visit of the Pope in London on Saturday had the chance to make thier voices heard. Vatican officials are said to be amazed that 80,000 pilgrims and 10,000 protestors were able to go about their business in the same area of central London and there only be one arrest! I'd like to think it is a good example of English tolerance and fair play. But I am afraid that I do not like their leader, Professor Dawkins, at all. I think he is a fundamentalist, and I abhor fundamentalism in all its forms, whether Christian, Moslem, Socialist, Fascist or Atheist. He's an intelligent man, and really ought to know better. His spiteful and angry speech on Saturday - he was literally shaking with anger - was a world away from the spirit of peace, love and reconciliation that I felt around me at Cofton Park yesterday. Ultimately, it's all about Love.

On 15 September 1906, the Wigan Observer reported that

 

“The new mission church in connection with St Peter's, Bryn, is rapidly approaching completion, and it is expected that it will be opened for worship towards the end of October. Externally the building is complete, and the work of seating and the other interior arrangements are being pushed forward. It is intended to plant the grounds with shrubs and trees and the place, when ready for public worship, will be an ornament to the district”.

 

Comprising a nave, chancel with vestry and organ chamber and a west porch, the 1906 building was a wooden construction on a brick base with slated roofs supported on arched collar beam trusses. A single bell was housed within a felt-covered spire. Internally a timber floor was suspended on sleeper walls, and bench pews provided seating for the congregation and choir. There was also a stone font.

 

In the event, fitting out was completed by mid October and Dr Francis J Chavasse, Bishop of Liverpool, officiated at a service of dedication on 26 October. Covering the occasion in its edition of 31 October 1906, the Observer found that the new structure presented “a most picturesque appearance, … quite in keeping with a religious building”-

 

“The seating accommodation is fixed at 330, but one hundred extra chairs bring the total up to 430. On Friday evening the church was crowded when the Lord Bishop of Liverpool (Dr Chavasse) conducted the dedication service, and among those taking part were the Revs W Williams (Rector), D S Rennard (Upholland), F Sanderson (St James's, Poolstock), R Jones (St Helens), F Kennen (Stubshaw Cross), G H J Bates (Ashton), and A White (former curate of St Peter's).

 

After the usual forms of dedication the congregation joined in the singing of the hymn “Christ is made the sure foundation”, after which the Bishop delivered his sermon, taking for his text “Grieve not the Holy Spirit of God”, and in the course of his address said he thought it was about two years ago that he preached at their Rector's request in their schools and he remarked at that time that that particular schoolroom was not especially fitted for the performance of public worship. In the course of his evening sermon in the parish church he mentioned this fact to the congregation, and strongly urged them to do their very best to erect in the neighbourhood of that school some building in which divine service could be more properly performed. “Never, I think,” said the Bishop, “during the six and a half years that I worked in the Diocese of Liverpool has such a suggestion of mine been carried out so speedily and effectively”. Continuing, he said he knew that the greater part of the money for the erection had been subscribed by the people themselves with comparatively little help from the outside, and what they could do in the glory and praise of God was evidenced by this new mission church of St Peter's, Bryn. As their Bishop he thanked them for their self-denial, their liberality and their promptness. From first to last that building had been the result of love and self-denial...”.

So, today we're gonna look at another of those pieces that I never thought I'd run into in the wild, the Tamashii Nations Chogokin Fate/Zero Archer Gilgamesh figure.

 

Released in 2013 at 9,500 Yen, I didn't even know such this figure existed, but sure enough after seeing an ad on Facebook and doing some research, the $80 CAD seemed like a good buy, so 10 minutes in the car later the figure is in my possession. Apparently there is a companion Chogokin Saber, which I didn't know existed either - the only die cast I knew about was the Armoured Girl Project version.

 

Gilgamesh is, unless things have changed drastically, the biggest asshole in the entire Fate universe. He is a Heroic Spirt that hails from ancient times, and is known as "The King of Kings". He pretty much looks down on everyone and anyone, and in his Archer form (which is the case for Fate/Zero) a formidable foe especially with lance Ea and his "Gates of Babylon" Noble Phantasm.

 

I've looked at quite a few Bandai/Tamashii Nations products, mostly within the Figuarts or D-Arts lines, but it's not that often I get my hands on something from the Chogokin lineup. Much like the God Cloth Andromeda Shun I picked up back earlier, Gilgamesh features significant use of die cast metal, and whatever isn't metal is a beautiful chromed plastic. The figure is quite heavy, easily weighing triple the Figma version.

 

So other than being shiny, you'll find that the armour on the Chogokin version is bulkier and more angular than the Figma. Based on what I can tell, the Figma wins the accuracy round, not only for looks but also for featuring a dark blue rather than black for the various crevices, so for all the sticklers out there you're pretty much better off avoiding this one all together.

 

The Chogokin however appears to have far more accurate looking face plates and hair. Furthermore, the detailing on the Chogokin is sharper due to the use of harder materials. You can make it out on the body, but where it really shines is on the script that is etched on the hand guard of his Lance.

 

The contents of the set aren't as impressive as the Andromeda Shun figure, but this figure doesn't have exploding armour that reforms itself into a totem of sorts. You get the figure, three total face plates (neutral, eyes shifted right, smiling), a pair of arms dedicated to making his cross arm pose work, Ea, three gold goblets, a giant gold wine decanter, a variety of posing hands, and a literal pedestal for displaying the figure on.

 

The two dedicated cross chest arms are a very nice touch, and look so much nicer than than the faux arm pieces that come with most figures these days. As this is going to be my display option of choice, it's something I really like.

 

So while the head overall looks better than the Figma version, you'll find the faces themselves somewhat lacking in any real variety, which is something generally pointed out by the other owners. I will say, however, that the faces for Gilgamesh do seem more on point and useful than the ones that come with Saber.

 

Articulation, as you can probably guess, is a dud. You get some movement sure, but ultimately you're going to be sticking with relatively static poses, which in a way works out given the somewhat tame choices of face plate. Sure the points of articulation are there (toes, ankles, double jointed knees, thigh swivel, hips, waist, shoulders with chest compress, bicep swivel, double jointed elbows, wrists, neck, head) along with some other points for moving the armour bits around, you ill find the legs are generally constrained by the skirt, particularly the rear, and Pauldrons interfere with arm movement

 

Thus, as I mentioned before, pretty much static poses. It's a good thing he's a sharp looking figure.

 

Paint wise, there is nothing significant for me to complain about. Most of the paint apps are within the crevices of the armour and gear, and those are well done with no masking issues, and all other painted areas are equally sharp. The chroming of plastic is smooth and while doesn't have the same lustre of the metal piece, it is all smooth with no bubbles or poor finishes. Decal work on the eyes is tack sharp. The areas of greatest weakness in this section would be the hands, which due to the use of softer plastics the finish isn't as nice which in turn affects the smoothness of the paints.

 

You're not going to spending much time staring at those hands, though, and to be perfectly honest they're just rough looking by comparison to the rest of the figure.

 

Similarly, from a build quality perspective this figure is beautifully made. The metal parts are polished with no rough edges, and fit perfectly on the plastic frame that holds it all together. The plastic parts are generally hidden, with the chromed parts being pretty much flawless. As with these plastic/die cast hybrids, the joints do the job, though some can be a bit of a pain to move for fear of breakage, and the plastic on plastic joints work as well as any other Bandai figure. The plastic skirt pieces are well made.

 

Again, the roughest looking pieces, by comparison, are the hands, where there are some mould lines that weren't cleaned quite crisply enough as well as the aforementioned surface imperfections.

 

So in conclusion, a beautiful looking figure that values aesthetics (and use of die cast) over practical posing capabilities. While the bulk of Pauldrons is a necessary evil, posing options could have been vastly improved if they had simply used actual cloth for the skirt portions (which incidentally would have made the figure look even more impressive). It was already 9,500 Yen back in 2013, which puts it in the luxury figure price range, so why not go that extra step?

 

Oh well.. at least it will look damn good sitting on my desk.

St Mary has been that I have tried to get into several times. Eastry lies on my route to work, although the Sandwich road goes round the village, I can see it's tower and I often wondered what delights would lay inside.

 

So after getting into Minster, I thought, lets try Eastry, not really holding out much hope. But, after parking up and walking down a narrow path, we came to the church and entered the unusual porch. I tried the main door and it swung open.

 

Revealing a warden vacuuming. She was very kind, stopped working so i could get my shots, and filled us in with the details, and especially about the Dominical Circle, a carving used to calculate the date of easter, and very rare as well as being 13th century.

 

Most noticeable were the wall paintings over the naive, a description of which should appear below:

  

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Set away from the main street but on one of the earliest sites in the village, flint-built Eastry church has an over restored appearance externally but this gives way to a noteworthy interior. Built in the early thirteenth century by its patrons, Christ Church Canterbury, it was always designed to be a statement of both faith and power. The nave has a clerestory above round piers whilst the east nave wall has a pair of quatrefoils pierced through into the chancel. However this feature pales into insignificance when one sees what stands between them - a square panel containing 35 round paintings in medallions. There are four deigns including the Lily for Our Lady; a dove; Lion; Griffin. They would have formed a backdrop to the Rood which would have been supported on a beam the corbels of which survive below the paintings. On the centre pier of the south aisle is a very rare feature - a beautifully inscribed perpetual calendar or `Dominical Circle` to help find the Dominical letter of the year. Dating from the fourteenth century it divides the calendar into a sequence of 28 years. The reredos is an alabaster structure dating from the Edwardian period - a rather out of place object in a church of this form, but a good piece of work in its own right. On the west wall is a good early 19th century Royal Arms with hatchments on either side and there are many good monuments both ledger slabs and hanging tablets. Of the latter the finest commemorates John Harvey who died in 1794. It shows his ship the Brunswick fighting with all guns blazing with the French ship the Vengeur. John Bacon carved the Elder this detailed piece of work.

 

kentchurches.info/church.asp?p=Eastry

 

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Eastry is a large and interesting village situated just off the A256 approximately 2 miles from Sandwich, 9 miles from Dover and 12 miles from Canterbury.

 

The name, meaning Eastern district, originated in the 7th Century, when the village was the capital of the most easterly of the provinces of the Kingdom of Kent, the Lathe of Eastry.

 

Here the Saxon kings had a Royal Hall on the site north of the Church, now occupied by Eastry Court, which was reputedly the scene of the murder in 665 of the two young princes, Etheldred and Ethelbert. Two Saxon burial sites in the village date from this period.

 

On the south side of the Church lies the former Tithe Barn (rebuilt 1832), now Aumbry Cottages, and the Parsonage Farm now known as the Aumbry (rebuilt 1825) from its having belonged to the Almonry of the Prior and Convent at Canterbury from the 12th Century.

 

The village was the birthplace of Henry of Eastry, Prior of Christ Church, Canterbury 1285-1333, in whose honour the Cathedral tower bears the name Bell Harry.

 

In Lower Street on the west side is Fairfield a 15th century aisled hall house, and in Mill Lane, the former Union Workhouse (1835) which became Eastry Hospital and which is now closed.

 

Beneath the garden of Beckets on the west side of Woodnesborough Lane are the Caves (now closed), a long series of galleries excavated in the last century by the Foord family in the course of extracting chalk for lime burning.

 

The Old Vicarage in Church Street was in use as the Vicarage until 1980 and stands on a site appropriated to that purpose in 1367.

 

In the 19th century the village possessed four windmills, only one of which now remains, as a private residence.

 

The Church dates from c.1230. It was built lavishly in the early English style of architecture by the monks of Christ Church Abbey, Canterbury who owned the Eastry Manor at that time.

 

This Norman church almost certainly replaced a Saxon building, since Eastry boasted a Royal Palace for the Kings of Kent as early as 660 AD. The origins of Christian worship on this site are lost in antiquity.

 

The beautiful church of St. Mary's Eastry, a place associated with the notable Prior of Canterbury, Henry of Eastry (after whom the "Bell Harry Tower" of Canterbury Cathedral is named), contains a most unique feature, restored during 1987.

 

Above the Chancel Arch, enclosed within a rectangular frame, are rows of seven "medallion" wall paintings; the lower group was discovered in 1857 and the rest in 1903. They remained in a rather dilapidated state until the Canterbury Cathedral Wall Paintings Department brought them back to life.

 

The medallions are evidently of the 13th Century, having been painted while the mortar was still wet. Each medallion contains one of four motifs:

 

The trefoil flower, pictured left, is perhaps a symbol of the Blessed Virgin Mary to whom the church is dedicated; or symbolic of Christ.

 

The lion; symbolic of the Resurrection.

 

Doves, either singly, or in pairs, represent the Holy Spirit.

 

The Griffin represents evil, over which victory is won by the power of the Resurrection and the courage of the Christian.

 

www.ewbchurches.org.uk/eastrychurchhistory.htm

19.9.10: Cofton Park, Birmingham

 

The Beatification of John Henry Newman by Pope Benedict XVI

 

We were at Cofton Park for Newman as much as we were for the Pope. I'm not the biggest fan of Benedict XVI or of the cult of hero worship, but Newman is for me one of the outstanding figures of the 19th Century; along with Darwin and Marx, he is one of the three great thinkers of that century. The three of them changed the way we understand the world, how we got here and where we are going.

 

What Darwin, Marx and Newman all had in common was that they devoted their lives to arguing theories of development. All three had a profound effect on how we lived our lives in the 20th century. Newman's theory was a theory of theological development. His starting point was to say: if we are imperfect, how can we possibly claim to truly know the mind of God?

 

As a young man, Newman had been an evangelical, believing in the literal truth of the Bible. As he matured, and realised this was not a possibility, he asked himself the big question: if we are literally incapable of posessing a knowledge of the mind of God, if we cannot understand exactly what it is that God is asking us to do, but we are still called on to seek perfection, then how does the revelation of that knowledge come about?

 

Newman decided it was the duty of the Church to be open to unfolding revelation, for each generation to continue the journey towards God in its own way. Some traditionalist Catholics are uncomfortable with the uncertainty of this, and ask the question "does this mean that some things we used to think were sinful are no longer sins?" In the words of the great Cardinal Hume, the answer is yes, I am afraid it does, because understanding of how sin may be realised is ultimately in the mind of imperfect man. Rather confusingly, Newman used the word 'Tradition' to explain the way the Church develops in response to this unfolding revelation.

 

Some of Newman's well-known sayings were projected on to the big screens at Cofton Park on Sunday, and one of my favourites went up just as the Pope was getting out of his helicopter: To grow is to change, and to become perfect is to change often. A little ironic perhaps, as one of the charges often levelled against this Pope by his fellow-Catholics is that he is intransigent and dogmatic - was it the spirit of Newman sending him a message, perhaps?

 

I think English Catholics have a love-hate relationship with Benedict XVI. He is a northern European, he's one of us, he thinks like us - but on the other hand he is such a deep intellectual that he doesn't engage in ordinary people's lives in the way that John Paul II did, even though John Paul II was in many ways a much more conservative Pope. JP2 is increasingly seen by history as providing a steady hand on the tiller at a time when the ship was entering uncertain waters, and I expect history's view of Benedict to be similar, that he kept the Conservatives on board at a time when the great outcry for change might have led to fragmentation.

 

I am also glad that there is at last a wider, public debate about the role of Faith in a civilised and secular society, and the relationship between Fides et Ratio, Faith and Reason, although it needs to be conducted without hysteria. While I think the Church and the Pope are certainly patriarchal and authoritarian, I do not believe that either is homophobic. This seems to me a very serious charge, and quite inappropriate when addressing the real issues involved in the Catholic Church's understanding of homosexuality. The Church's teaching in the matter (with which I find much to disagree) is against non-creative sexual acts, and also against sexual acts outside of marriage. Thus, homosexuality is not taught to be sinful, but it is taught to be a disordered state. While I think this teaching is wrong, I also think that to describe it as 'homophobic', that is, the fear of homosexuality or the promotion of a hatred of homosexuality, is just plain wrong. I am not saying that homophobic Catholics do not exist, but I am not aware of ever having met one. Indeed, several of my openly gay friends are Mass-attending Catholics. This obviously isn't enough, but it is a better starting point.

 

Secondly, while I think that condoms have a role to play in fighting AIDS and other diseases in sub-Saharan Africa, the issue is a very complex one. Respect needs to be given to the Church's preference for other methods, and the resources it commits to employing them: education, building up respect for women, fighting to raise the social conditions in which the abuse of women thrives. To describe the Catholic Church's work in Africa as 'genocide', as one banner at the 'Protest the Pope' rally in London on Saturday did, is just plain daft.

 

The Catholic Church is crying out for change. Under John XXIII and Paul VI in the Sixties and Seventies there was a real sense of a pilgrim church on the move and open to the Holy Spirit. But I do not think this is currently the case. Perhaps Newman's beatification will open up the eyes of the Church again to the reality of its journey, who knows? Where there are difficulties with official Church teaching, most Catholics I know follow their prayerful consciences, as Newman said we must, in a spirit of loyal dissent. We think the Church's teaching on contraception and homosexuality is wrong - not because we think we are right, but because we think that ongoing revelation will lead to the teaching being developed and changed - to grow is to change, to become perfect is to change often.

 

It is good to see dissent, and it is good to see a public debate. It is right and proper that those protesting against the visit of the Pope in London on Saturday had the chance to make thier voices heard. Vatican officials are said to be amazed that 80,000 pilgrims and 10,000 protestors were able to go about their business in the same area of central London and there only be one arrest! I'd like to think it is a good example of English tolerance and fair play. But I am afraid that I do not like their leader, Professor Dawkins, at all. I think he is a fundamentalist, and I abhor fundamentalism in all its forms, whether Christian, Moslem, Socialist, Fascist or Atheist. He's an intelligent man, and really ought to know better. His spiteful and angry speech on Saturday - he was literally shaking with anger - was a world away from the spirit of peace, love and reconciliation that I felt around me at Cofton Park yesterday. Ultimately, it's all about Love.

St Peter and St Paul, East Harling, Norfolk

 

With its aisles, clerestory, porch and chancel, St Peter and St Paul is a textbook example of its century, although there are a number of curiosities that add even more interest. The vestry on the north side of the chancel, for example, which was once a shrine chapel, retains its image niche on its eastern face. And there are more image niches, these with elaborate foliage pedestals, in the buttresses of the tower; everything is topped off by a lead and timber fleche which was apparently the model for the one at St Peter Mancroft in Norwich, a church which has several features in common with this one.

 

The tower is a delight, the buttressing and pinnacles exactly in proportion to make it appear to rise like a fairy castle from the ground. The south porch, by contrast, is, despite its flushwork, rather austere, a result of its rebuilding early in the 19th century before the ecclesiological movement took hold. All in all, this is as good as 15th century rebuilding gets, the money coming thanks to Anne Harling having no less than three husbands who all wanted to spend as little time in purgatory as possible.

 

You step down into a wide space which, on a dull day, can be rather gloomy. Although inevitably heavily restored by the Victorians, St Peter and St Paul does not have that depressingly anonymous urban feel you so often find in churches of this size. This is partly because the beautiful parclose screen in the south aisle partitions off so much space, creating a sense of rooms within rooms, altering the way your eyes are inevitably drawn to the east. The rood screen must have been vast here; its dado survives at the west end, a deeply traceried affair with its features presented in carving rather than painting.

 

When the rood screen was in its proper place, to move from the nave into the chancel must have been like stepping from darkness into light. This is because of the feature that makes East Harling famous, the vast east window with its 15th century glass. After St Peter Mancroft it is the best collection in Norfolk. Unusually, the provenance of the glass is fairly well-documented: we can be fairly certain that it came from this church originally. Still present after the Reformation, it was removed by the Harling family to the Hall in the early 17th century. They may have been Laudians wanting to preserve it from the intentions of the puritans, or merely thought it would look nice in their dining hall; whatever, we know that shortly before Francis Blomefield visited here in the 1730s it was returned to the church and set in its present configuration.

 

In 1939, when war threatened, it was removed again, being reset just before Cautley visited in the early 1950s. There are parts of at least three sequences here, two of which were almost certainly in the east window originally, and one which almost certainly wasn't.

 

Essentially, the window contains two rosary sequences; the Joyful Mysteries of the Blessed Virgin, which include the Annunciation, the Nativity and the Assumption, and the Sorrowful Mysteries of the Blessed Virgin, which include the Crucifixion and the Deposition. However, this is open to interpretation, as we shall see. There is also the figure of St Mary Magdalene, which may once have been associated with a nave altar, and would have been located in a window there.

 

The five lights contain four rows of panels, making twenty altogether.

 

Top row:

I. Annunciation: Mary at her prayer desk. Gabriel, crowned and haloed, with a sceptre of lilies, kneels in supplication.

II. Visitation: Elizabeth, hooded to show her age, places her hand on Mary's pregnant belly.

III. Nativity: Two midwives look on. The infant in the manger is rayed; a horned cow gazes in awe.

IV. Adoration of the Shepherds: One holds a lamb, one plays pipes. A third appears to offer a fleece.

V. Adoration of the Magi: Two of the wise men gauge each others' reactions as the third offers his gift.

 

Second row:

VI: collection of fragments.

VII: Presentation in the Temple: Joseph carries the doves, Mary offers the child to Simeon. Anna is not shown.

VIII: The Finding in the Temple: Head covered, Mary bursts in among the men to find her son teaching.

IX: The Wedding at Canaa: Christ, seated at the top table, blesses a chicken and a ham. Mary directs the servant.

X: collection of fragments.

 

Third row:

XI: Mary of Magdala: Mary holds her long hair ready to anoint Christ's feet. Probably not from this window originally.

XII: The Betrayal at Gethsemane: Judas kisses Christ; Peter cuts off the ear of the high priest's servant.

XIII: Crucifixion: Mary swoons in John's arms.

XIV: Deposition from the cross: The pieta. Tears spring from Mary's eyes.

XV: Assumption of the Blessed Virgin: Mary is assumed bodily into heaven.

 

Bottom row:

XVI: Donor: Probably Robert Wingfield, second husband of Anne Harling.

XVII: Resurrection: Christ steps fully clothed from the tomb. Unusually, the soldiers are awake.

XVIII: Ascension of Christ: Mary, surrounded by disciples, watches as her son ascends to heaven.

XIX: Descent of the Holy Spirit: Mary, surrounded by disciples, receives the Holy Spirit at Pentecost.

XX: Donor: Probably William Chamberlain, first husband of Anne Harling.

 

Nowadays, we tend to think of the rosary as consisting of three sequences of five mysteries each, but in the late middle ages things were much more flexible, and rosary sequences often consisted of seven mysteries. The Glorious Mysteries sequence, of which the Assumption is now a part, is a later development, and the two adorations shown here are subsumed into a single mystery. There are a couple of images here that don't quite fit; the Wedding at Canaa is obviously a Marian text, and yet is not traditionally a rosary subject. Similarly the Betrayal, the only one of the images not to feature Mary. I wonder if what we have here are parts of two separate sequences, a Marian sequence of mysteries (I-V, VII-IX, XV), and a Passion sequence (XII-XIV, XVII-XIX). They are both clearly the work of the same workshop, and Mary is always shown with the same face and dress, but this would not preclude them from being two sequences.

 

Why were they here at all? We need to get away from thinking of such things as a 'poor man's bible', the need for which was superseded at the Reformation. These were devotional objects, designed to be used as meditations while praying and saying the rosary. They were created in the 15th century, a time when the mind of the Church was fiercely concentrated on asserting orthodox Catholic doctrine in the face of local superstitions and abuses. As such, they were anathema to the reformers, and were later elsewhere destroyed for being superstitious, not for being superfluous. An 18th century antiquarian mind, ignorant of the nature of Catholic devotion, might easily mix the two sequences into historical order, and possibly misunderstand the Assumption (obviously, as Mary reappears two images on at the Ascension, it is out of order). I wonder what they thought it was?

 

A couple of other things about the east window that you shouldn't miss. Firstly, everywhere you look there are tiny baskets - Mortlock calls them 'frails', and tells us that they were simple rush baskets used by workmen to carry tools. Also, though not in such profusion, there are bodices. These symbols are repeated elsewhere in the church in stone on tombs, and as such must be symbols of the Harling family.

 

Another symbol is high up on the north side, a red squirrel. Curiously, this also appears in the painting A Lady with a Squirrel and a Starling by Hans Holbein, now thought to be a portrait of Anne Lovell - the squirrel is a symbol of the Lovell family, who took over the local manor here from the Harlings in the 16th century, and the starling represents Ea- well, you guess.

 

In July 2006, Chris Harrison and I came across

some more glass from East Harling in the Norfolk County Archaeologist Service archive at Gressenhall. It was probably removed from the church for safety in 1939, and then not replaced, possibly ending up at the museum of church art in Norwich at St Peter Hungate, disappearing into storage when that closed in 1993. It depicts a Bishop and Christ seated in Majesty, and the lozenges in between carry the telltale frails and bodices familiar from other glass within the church.

 

Within the screen is a large chapel, containing two major tombs. One is in alabaster, an early 17th century memorial to Sir Thomas and Lady Alice Lovell (remember the squirrel?) who died in 1604. The piece is good - too good, its 1950s restoration gives it a Festival of Britain air. Their symbols lie at their feet - his a magnificent peacock, hers a gruesome Saracen scalp held aloft.

 

The other appears to be a composite. It lies to the east, and the two effigies are clearly not from this tomb; they simply don't fit. They are supposed to be Robert Harling, died Paris in 1435, and his wife Dame Joan. Neither are buried here - she is at Rushford near Thetford, he is in some corner of a foreign field that is forever French schoolchildren on picnics excitedly tugging old thighbones from the soil - but in any case it is the trimmings of the tomb rather than the effigies that are most of interest, including a pelican in her piety and one that is almost a lily crucifix.

 

On the north side of the chancel is a fine tomb with brass inlays - the brasses now gone. Not as magnificent as either of the two previously mentioned, it is actually the most significant, as this is where you'll find Anne Harling, wife of the serial rebuilders of this church. Look out for those flails again.

 

What more? 17th century Lovells (remember the squirrel) have in-yer-face memorials either side of the sanctuary - that to the north curiously with no inscription. There are hatchments, remains of a wallpainting that are too indistinct to interpret (but may be seven works of mercy), a good set of royal arms, medieval heads, curious 19th century bench ends of a lion and a wild man, heraldic misericords, a Dec font - well, come and see for yourself. You know you want to.

‘What does it mean to you to be a Christian in Ireland today?’ was the question pondered by panellists in this year’s Ecumenical Bible Week Thinking Allowed event last Thursday (June 13). Speakers raised a wide range of challenges facing society, and Christians in particular. But they also brought stories of hope and encouragement.

 

Sharing their thoughts in the Holy Cross Diocesan Centre in Dublin were Bishop Pat Storey, the Church of Ireland Bishop of Meath and Kildare; the Revd Jools Hamilton, Methodist Chaplain at Trinity College Dublin; Archbishop Diarmuid Martin, Catholic Archbishop of Dublin; and Julia McKinley, development officer for the National Bible Society of Ireland. The panel was chaired by Patricia Carroll of the Archdiocese of Dublin’s Office of Evangelisation.

 

How is this not good news anymore?

 

Bishop Pat Storey opened by suggesting that being a Christian in Ireland today meant a “whole lot of bother”. “Many of us find ourselves on the wrong side of culture and swimming against the stream of cultural norms,” she stated, adding: “It’s almost got to the stage that if the Church says ‘yes’ then society says ‘no’ and if the Church says ‘no’, society says ‘yes’.”

 

However, she said she loved the Church and wholeheartedly believed in its future. She had no doubt that God would take us through these confusing times. “The Church in Ireland is not used to being questioned, ignored and hated. And, hands up, some of it is our fault. Our place in society has almost been overturned in the last few years but this could be an opportunity. When I talk to people who don’t go to church, they still have a spiritual thirst … We still have the same product to bring to market but our marketing needs to change. How have we managed to lose the message? How is this not good news anymore?” she wondered, stating “The message is not the problem, we are.”

 

Bishop Storey suggested that there was only one response to the decline in traditional denominations – the passion of personal faith. “I can only bring my own story. I know Jesus Christ has changed my life. My one job is to tell that to others. I must communicate love – He loves you. Yes, there are challenges and we have some regrets but there is hope because He is hope. What is it like to be a Christian in Ireland today? It’s fantastic. God is love and that love is offered to whoever takes his hand,” she concluded.

 

What is God doing and how do I join in?

 

The Revd Jools Hamilton brought his perspective as chaplain to both students and staff most of whom, he said, are not interested in the Church. They do, however, have questions about God and they are searching. Drawing on Luke Chapter 4 he said the challenge is to see the activity God is engaged in outside our walls – outside our churches.

 

He told the story of a student, ‘Niamh’ (not her real name) who was baptised in the church but who did not grow up in faith. She was studying theology in TCD and flourishing in her faith. She was also gay. He said that one of the Christian student groups she attended found out and presented her with a book to guide her from the darkness and sin in her life. She came to Jools about it and he later wrote a blog about her situation. He was contacted after his blog post by a conservative Christian couple who noted that whatever their opinions, everyone should be aware of “the radical inclusivity of the Gospel”.

 

“Where is my hope?” he asked. “Where ever we look outside our walls. When we recognise where the spirit of God is active. When we change our message from ‘what I’m bringing you’ to ‘what God is doing in us’. Church historian Dermot MacCulloch said that the most miraculous thing about the Church is that it is still here. There are days that it gets me down but it’s still here and God is still active and present outside our walls. Will we have the courage to ask, to pray, ‘what are you doing and how do I join in?’”

 

Faith is Always a Risk

 

Archbishop Diarmuid Martin observed that sometimes if you profess yourself a Christian today “it’s like going to an ecological meeting wearing a fur coat – you’re not welcome”. He referred to the wretched man in Romans Chapter 7 and said the wretched man would not be found prominently in books on evangelisation or promoting youth ministry. But he said he likes the wretched man. He said it is important to avoid settling into a comfortable faith or what he termed “comfort zones of self-buttressed certainty”.

 

For many today in their search for meaning, the question of God and Jesus Christ keeps cropping up, the Archbishop said. In questioning the desire to reject God, questions of who God is are opened up. “For me, being Christian in today’s world is one who is haunted by Christ not one who is in certainty of faith. Being Christian is one who recognises the uncertainty of faith. Faith is always a risk,” he stated.

 

Archbishop Martin said that the Church is visionary and is never a closed fellowship of the like-minded. “We are encouraged to reach out to all of secularised Ireland,” he said. He said that in dealing with the issue of child abuse in the Church, many took the opportunity to reject the good will of the Church and of Christ. They were angry with the Church, he suggested. The answer to this will only come from men and women of integrity who can go out into society and who can bring the news that faith can add that extra dimension to society.

 

What is the question people are asking?

 

While browsing the self-help section in Easons, Julia McKinley said she was struck by the range of subjects covered: organisation, decluttering, hygge, mindfulness, minimalism, Marie Kondo’s multi-million selling book. “What is the question people are asking?” she wondered. “What is the yearning inside us?”

 

She suggested that one of the things we so crave is peace. “We’re looking for it in colour schemes, apps on our phones, scrolling on public transport. We feel busier and busier, yet all the time we are striving for peace,” she said. She said that increasingly there is a phenomenon of ‘stopping without stopping’. Our phones are never truly off and down time is simply ‘non-work’ rather than stopping totally.

 

“If peace is a fundamental craving, is there anything that we as Christians can offer?” Julia asked. “Is there anything from Scripture that speaks into this yearning?” She explored what peace means – defined as ‘lack of war’ or ‘tranquillity’. The Hebrew for peace is shalom meaning wholeness, safety, welfare. “One challenge with the modern world is the continual draw of social media. We are aware of the news, not only locally but globally. This can be overwhelming. The question is, who is standing in front of me and how can I see to their shalom … Being a person of faith in Ireland requires a connection of faith with shalom at our core. Perhaps seeing to the shalom of our brother is one way of moving forward,” she concluded.

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

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7/10/11 cblog JIM PENNER INTERVIEWS CELEBRITY CHEF, RICK TRAMONTO, @ CRYSTAL CATHEDRAL

[If the entire interview does not appear here, go to cblogs.posterous.com/71011-jim-penner-interviews-celebrit... ]

 

Jim penner interview: "You're in for a treat...rick tramonto..was in afghanistan cooking ..for the troops..5 star restaurants incl "true" in chicago...incl tavern on green in nyc ..top celeb chef...daf went to prison when I was 16..didn't read my 1st book until I was 28 years old..your dad embezzling from unions..I became my dad's confidant..when feds came & seized our home..became very real..I grew up in traditional cath church ..thank schuller..hour of power ..when police came.we lost our home..mom never stopped watching the show ..only light I saw in my mom's eyes was thru u ..

Rhs: "Thank u..your gifts keep us on the air.."

 

(Interview resumes, penner asking questions): "...your mom & dad fighting..drugs & alcohol...started at wendys..rochester ny...knocked on back door...asked me if I had a hs diploma ..I could b a liar or not..decided to tell truth.. told him abt my hard times ..he said "my name is dave thomas..." (the founder of wendys)..opening this franchise..he told me he had been an orphan...I understood food ..knew I had to work..could have done gas, construction..chose food.

.

...amazing the journey..even thru that journey..some co-workers..gave u acid..u saw demons chasing u ..tht felt like a change ..3-days..got to hospital..got thru it..made promises to god..at end of day..heard holy spirit..what's god promising u....tell others abt god's love ..

 

..u did radio show..at what point did u surrender..chicago..tavern nyc..back to chicago..opened up restaurants..extremely successful...was writing books..awards..but I was so depressed..was workaholic..driving to work..felt.."is this it?.." felt suicidal..negative..driving..heard pastor gregory --- on radio...story re martha...hearing abt god's love,,,,all things..I called in to work..first time ever called in..went and found life changers church"..sitting at the feet of Jesus..bought my first bible..spent 2 days pouring thru books..Sunday back to the church..been attending there ever since ..Rags to riches..yet amidst riches it wasn't enough

 

Went to afghanistan,served them.. .gumbo & bbq...comedians..afghanistan..what say to them..tat on arm "can do all things thru god.."had 5 minutes to tell them "god loves u..."...[police sirens came by , big glass door is open]

  

Before this day, I had not heard of Hemblington. But I saw a sign pointing to the church, away over the fields, and I had time, so I turned to see where it went.

 

The road went for ages until I saw the church, tucked in the countryside, round tower looking so typically Norfolk.

 

Inside I was dazzled by the painted font, the wall paintings on the north wall and the various nooks and crannies of this ancient church, but not really knowing what each was for.

 

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

 

You don't have to go far off of the hellish A47 between Norwich and Yarmouth to come out into an utterly rural and remote corner of Norfolk. This is partly sleight of hand, because the narrow lanes which leave the busy road are so winding that they make you think you've come further than you have. Also, you might expect this area between the marshes and the broads to be flat and open; but here the landscape rolls, a patchwork of hedged fields and copses. In the late summer, there was a balmy restlessness, the soothing warmth of the sun competing with the wind from the North Sea ruffling and rustling the long grass.

All Saints is set in a secretive graveyard on a rise above a lattice of country lanes. From a distance it appears a sentinel; but, closer to, the aspect softens, and the church reveals itself as a humble little round-towered building, with much that is old about it, but also the simple mendings and making dos of later generations. I was particularly struck by the use of red brick, both in the elegant window in the western side of the Norman tower (is it 17th century?) and the moulding inside the opening of what is otherwise a humble south porch.

 

When I first came this way I bemoaned the fact that Hemblington church was kept locked, but I am happy to report that it is now open every day. Certainly, Hemblington is a remote parish, and its church a remote church, and trusting strangers is a risk - and Faith itself is a risk, of course. But the great medieval treasures of Hemblington are not the kind that can be carted away in the back of a white van.

 

The first is one of a number of very interesting, even idiosyncratic, fonts in this part of Norfolk. These do not appear to be part of a series, although this one does bear a strong resemblance to that nearby at Buckenham. They do suggest, however, that there was an abundance of stonecarvers working in this area in the 15th century, and that parishes were able to express their independence and individuality in their choice of subject. The Reformation would put a stop to that.

 

The Hemblington font was recoloured lightly in the 1930s under the eye of Professor Tristram. It is a great celebration of Saints; there are seven seated on the panels of the bowl, and eight more standing around the shaft. The eighth panel subject is a beautiful Holy Trinity, with God the Father seated holding his crucified Son between his knees, while the dove of the Spirit descends. It is a charming image; there is another on the font at Acle a few miles off. Among the Saints on the panel are St Augustine, St Edward the Confessor, St Barbara, and a striking St Agatha - she sits with her breasts bared, a sword descending. Among those around the shaft are St Lawrence with a finely carved grid iron, St Leonard with his manacles, St Margaret dispatching a dragon with her cross, St Catherine with her wheel and sword, St Stephen and St Mary Magdalene.

 

If there was only the font, Hemblington would be a must-see for anyone interested in the late medieval period. But just as the font demonstrates the enthusiasms of the cool, rational 15th century, so there is evidence of the shadowier devotions of a century earlier. This is the best single surviving wall painting of the narrative of St Christopher in England. The giant figure bestrides the river opposite the south doorway, just as he does in about twenty churches in this part of Norfolk, but here his staff has become a club, and on either bank there are smaller scenes depicting events in the Saint's story. those on the west side, recalling his life as a pagan before conversion, are all but obliterated. Those on the east side, however, are marvellously well-preserved, vivid and immediate in their clarity. They show the trials and tribulations he underwent in his life as a Christian, including the occasion on which two women were sent to tempt him in prison, and another where he is led to the executioner's sword. Another shows him tied to a tree being flogged, an echo of the scourging of Christ; another shows him being shot through with arrows, which would have immediately brought to mind the martyrdom of their own dear St Edmund to the medieval East Anglians.

 

The donors who paid for the font, in that great, late medieval attempt to reinforce Catholic orthodoxy in the face of local abuses and superstitions, are probably among those remembered by brass inscriptions in the nave.

 

And this must have been a busy parish in those days, for will evidence reveals that there were three guild altars where lights burned for the dead. We can even trace where these guild altars may have been, for on the north side of the nave there is a piscina, and connected to it is a pedestal, where a statue of a Saint would have stood. Such things were probably destroyed in the 1530s by orders of the increasingly paranoid King Henry VIII; those that survived would have fallen to the orders of the enthusiastically puritan advisors of his son, the boy King Edward VI a decade later. It is appalling to think of the richness that once was, not just here, but in thousands of village churches all over England. So much lost, so much wilfully destroyed.

Hemblington has retained more than most, and the church is a fascinating testimony to the mindset of late medieval East Anglia. But even without these great treasures, All Saints is a charming, rural building that speaks as loudly of the Victorian villagers who paid for, and probably worked on, its restoration as it does of their mysterious Catholic forebears. I stood for a moment imagining the blacksmith and the plowboy, the wheelwright and the carpenter, sitting in the pews for Divine Service. And then, after a chat with the modern custodians, we headed on for North Burlingham.

 

Simon Knott, November 2007

 

www.norfolkchurches.co.uk/hemblington/hemblington.htm

 

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Six socmen of Gert were at the Conquest deprived of 30 acres of land, 2 acres of meadow, with 2 carucates, in this town, there were also 2 socmen, one of them belonged to the soc of the hundred, who held half a carucate of land, and a borderer with 6 acres of meadow, who had under them 7 socmen, with 20 acres of land, and one of meadow, and there was one carucate and an half among them all; it was one leuca long, and half a leuca broad, and paid 16d. gelt. (fn. 1)

 

This lordship was in the Crown at the survey, and Godric took care of it; and was granted to the family of Le Botiler, and from them came to the Botetourts, as in South Walsham, and Upton.

 

William de Rothing and Joan his wife claimed view of frankpledge, &c. in the 15th of Edward I.

 

Henry de Cat and Margery his wife had an interest herein, in the 35th of the said King, and Henry Cat, and Jeffrey Atte Fenne were returned to be lords in the 9th of Edward II. after this John Fastolf and Margery his wife.

 

The principal manor belonged to the see of Norwich; at the survey William Beaufoe Bishop of Thetford held it in his own right, as a lay fee, 60 acres of land; of which 2 freemen (of Ralph Stalre were deprived) with the soc and sac; of one of these Almar Bishop of Elmham had the commendation, or protection only, of this Beaufoe had the soc, &c. and Ralph, the Earl had the other, valued at 2s.

 

Bishop Beaufoe in right of his see had also 21 socmen, with 140 acres of land, 8 acres of meadow, and 3 carucates and a half, &c. this was valued in his principal lordship of Blowfield: in this town, there were also 60 acres of demean land. (fn. 2)

 

Bishop Beaufoe gave this to his see at his death, and Bishop Herbert settled it on the priory, with the advowson of the church.

 

The ancient family of the Castons held a considerable part of these fees. of the see of Norwich, of whom see in Blofield, Bradeston, &c. and after came to the Berneys of Reedham; the Lords Bardolf had also an interest herein, in the 15th of Edward I. William Bardolf, claimed the assise, frank pledge, &c.

 

Sir Thomas Berney died lord in 1389, and his descendant, Henry Berney, Esq. in 1584.

 

The tenths were 2l. The temporalities of St. Faith's priory 18d. Of Weybridge 5s.

 

The Church was a rectory dedicated to All-Saints, and formerly in the patronage of the Bishops of Norwich, but was appropriated to the prior and convent of Norwich, for the prior's table, by Walter Suffield Bishop in 1248, and was valued together with the vicarage at 5l.—Peter-pence 12d.—Carvage 2d. ob.

 

Vicars.

 

In 1304, Thomas de Langele, instituted vicar, presented by the prior &c. of Norwich.

 

1307, Richard de Boton. Ditto.

 

1324, And. de Bedingham. Ditto.

 

1349, Edmund Barker. Ditto.

 

1367, Thomas Gilbert. Ditto.

 

1395, John Malpas. Ditto.

 

1395, Edmund Heryng. Ditto.

 

1397, Robert Gernon. Ditto.

 

1401, Sim. Annable. Ditto.

 

1402, Robert Body. Ditto.

 

It has for many years been served with a stipendiary curate, nominated by the dean and chapter, who have the appropriated rectory.

 

¶In the church were the lights of All-Saints, St. Mary, Holy Cross, St. Catherine, and St. Margaret.

 

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

I could think of little else to do, so I headed towards Dover thinking that as I had finally got into Minster church, I should try Eastry as well. So, we turned off the main road and went into the village. Parked up and got the gear out again. I forgot what an unusual porch the church had, I thought it locked, but the door was just stiff. I swung the door open, and then the inner door too, and in the process disturbing another warden, this time vacuuming.

 

She was very nice, telling us the fine details of the church and filling us in with the history. She did not offer to take us up the tower though! Whilst she chatted to Will, I went round to get my shots, which I hope come out well. And before she could take up more of our a time, a quick glance at the clock revealed it to be nearly one and Will had to be heading home by three.

 

jelltex.blogspot.co.uk/2014/03/sunday-16th-march-2014.html

 

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Set away from the main street but on one of the earliest sites in the village, flint-built Eastry church has an over restored appearance externally but this gives way to a noteworthy interior. Built in the early thirteenth century by its patrons, Christ Church Canterbury, it was always designed to be a statement of both faith and power. The nave has a clerestory above round piers whilst the east nave wall has a pair of quatrefoils pierced through into the chancel. However this feature pales into insignificance when one sees what stands between them - a square panel containing 35 round paintings in medallions. There are four deigns including the Lily for Our Lady; a dove; Lion; Griffin. They would have formed a backdrop to the Rood which would have been supported on a beam the corbels of which survive below the paintings. On the centre pier of the south aisle is a very rare feature - a beautifully inscribed perpetual calendar or `Dominical Circle` to help find the Dominical letter of the year. Dating from the fourteenth century it divides the calendar into a sequence of 28 years. The reredos is an alabaster structure dating from the Edwardian period - a rather out of place object in a church of this form, but a good piece of work in its own right. On the west wall is a good early 19th century Royal Arms with hatchments on either side and there are many good monuments both ledger slabs and hanging tablets. Of the latter the finest commemorates John Harvey who died in 1794. It shows his ship the Brunswick fighting with all guns blazing with the French ship the Vengeur. John Bacon carved the Elder this detailed piece of work.

 

kentchurches.info/church.asp?p=Eastry

 

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Eastry is a large and interesting village situated just off the A256 approximately 2 miles from Sandwich, 9 miles from Dover and 12 miles from Canterbury.

 

The name, meaning Eastern district, originated in the 7th Century, when the village was the capital of the most easterly of the provinces of the Kingdom of Kent, the Lathe of Eastry.

 

Here the Saxon kings had a Royal Hall on the site north of the Church, now occupied by Eastry Court, which was reputedly the scene of the murder in 665 of the two young princes, Etheldred and Ethelbert. Two Saxon burial sites in the village date from this period.

 

On the south side of the Church lies the former Tithe Barn (rebuilt 1832), now Aumbry Cottages, and the Parsonage Farm now known as the Aumbry (rebuilt 1825) from its having belonged to the Almonry of the Prior and Convent at Canterbury from the 12th Century.

 

The village was the birthplace of Henry of Eastry, Prior of Christ Church, Canterbury 1285-1333, in whose honour the Cathedral tower bears the name Bell Harry.

 

In Lower Street on the west side is Fairfield a 15th century aisled hall house, and in Mill Lane, the former Union Workhouse (1835) which became Eastry Hospital and which is now closed.

 

Beneath the garden of Beckets on the west side of Woodnesborough Lane are the Caves (now closed), a long series of galleries excavated in the last century by the Foord family in the course of extracting chalk for lime burning.

 

The Old Vicarage in Church Street was in use as the Vicarage until 1980 and stands on a site appropriated to that purpose in 1367.

 

In the 19th century the village possessed four windmills, only one of which now remains, as a private residence.

 

The Church dates from c.1230. It was built lavishly in the early English style of architecture by the monks of Christ Church Abbey, Canterbury who owned the Eastry Manor at that time.

 

This Norman church almost certainly replaced a Saxon building, since Eastry boasted a Royal Palace for the Kings of Kent as early as 660 AD. The origins of Christian worship on this site are lost in antiquity.

 

The beautiful church of St. Mary's Eastry, a place associated with the notable Prior of Canterbury, Henry of Eastry (after whom the "Bell Harry Tower" of Canterbury Cathedral is named), contains a most unique feature, restored during 1987.

 

Above the Chancel Arch, enclosed within a rectangular frame, are rows of seven "medallion" wall paintings; the lower group was discovered in 1857 and the rest in 1903. They remained in a rather dilapidated state until the Canterbury Cathedral Wall Paintings Department brought them back to life.

 

The medallions are evidently of the 13th Century, having been painted while the mortar was still wet. Each medallion contains one of four motifs:

 

The trefoil flower, pictured left, is perhaps a symbol of the Blessed Virgin Mary to whom the church is dedicated; or symbolic of Christ.

 

The lion; symbolic of the Resurrection.

 

Doves, either singly, or in pairs, represent the Holy Spirit.

 

The Griffin represents evil, over which victory is won by the power of the Resurrection and the courage of the Christian.

 

www.ewbchurches.org.uk/eastrychurchhistory.htm

The Annual Joint Meeting of the Diocesan Synods of Kilmore, Elphin and Ardagh took place on Saturday 14th October in Carrick–on–Shannon, Co. Leitrim. The Synod was preceded by a celebration of Holy Communion in St George’s Church. Preaching from Romans chapter one focusing on verses 16 and 17, Bishop Ferran Glenfield urged the congregation to stand firm in the Gospel. He reminded the congregation that the Gospel message is for everybody and we have a mandate to share it. We cannot keep it for ourselves. In the Gospel we see God’s power of salvation – His power to liberate humanity and His incredible, astonishing power to turn around lives and churches and transform communities. The business of the Synod followed in the nearby Bush Hotel.

 

A growing Church

 

In his President’s Address to the Synod, Bishop Ferran noted that there was some statistical evidence of numerical growth in Sunday attendance in the Diocese as measured by the Average Sunday Attendance survey. He noted that some of our churches are bucking a national trend of numerical decline and most are holding their own. However, he noted that the church growth to which we aspire is not limited to numbers. There is also a great deal of evidence across the Diocese of growth of depth in the following areas:

 

•Activity: Many parishes have been energised and are more than just open for Sunday worship.

•Discovery: Alpha Courses, Christianity Explored and Bible Study groups have become features of parish life.

•Prayer: Prayer groups and initiatives such as prayer rooms and prayer walks have sprung up across the Diocese.

•Children’s ministry: Sunday schools have reopened, tots groups have been formed, people have been trained, play areas for children have set aside in church buildings, holiday Bible clubs linking parish and school have been forged. Most recently two diocesan national school services were attended by over 700 children.

•Fellowship: After–church refreshments are becoming more common and many new church groups are being formed and are flourishing.

•Generous giving: Money and materials have been made available for parish ministry and good causes, locally, nationally and globally.

•Ministry: We have been able to recruit quality clerical ministers from a variety of sources and have raised exceptional lay pastors from within our own ranks.

•Mission: New initiatives such as Messy Church and the Drumcliffe Centre of Mission have emerged to reach people locally. Globally, there have been links forged with the church in Paraguay, the Democratic Republic of Congo, Zambia and the Diocese of South Carolina in the United States. The coming year will see us partner with groups such as CMS Ireland, CMS Australia and Through Faith Missions to share the Good News of Jesus in our area and beyond.

 

Relevant, representative and accountable administration

 

Bishop Ferran noted that our aspiration to make the administrative structures of the Diocese relevant, representative and accountable were being fleshed out – most obviously in bringing Kilmore, Elphin and Ardagh together administratively as a single united Diocese. He thanked all those involved for the huge amount of work done to achieve this – particularly Trudi Shiels who helped transition the Elphin and Ardagh finances, Archdeacons Isaac Hanna and Craig McCauley and Honorary Treasurers Des Lowry, William Foster, and Cannon Billy Stafford. Bishop Ferran also introduced Sarah Taylor, our new Diocesan Treasurer and Administrator.

 

Since last Synod two parish groups become four; Boyle, Riverstown, Swanlinbar and Kildallon will each have their own resident minister. The Boyle group encompasses Methodists and Presbyterians who worship and are involved in congregational life in the town of Boyle. Similarly, we have entered into a Covenant relationship with the Methodist Church in Ireland and Revd. Christiaan Snell, a whole–time Church of Ireland clergyman pastors the Longford Methodist Church and the Edgesworthtown group of parishes. At this year’s Synod a motion was passed allowing for the formation of a Union, known as the Ardagh Union comprising of Ardagh, Tashinny, Ballymahon (Shrule) and Kenagh (Kilcommick).

 

In relation to youth and children’s ministry, Bishop Ferran remarked on the wonderful progress being made by Marian Edwards and Hannah O’Neill, our Diocesan youth and children’s workers, and thanked them for their tireless and selfless efforts. He also announced that they will be joined by Erin Moorecroft, a mission partner with CMS Australia, in the coming year and that funding has also been made available from the Priorities Fund for youth internships across the Diocese.

 

New and continuing ministry initiatives

 

Bishop Ferran informed the Synod of two new forms of ministry being developed by the Church of Ireland to meet pastoral and ministerial need. Firstly, Ordained Local Ministry – an unpaid ministry which will be based in a local parish or groups of parishes alongside stipendary and lay ministries. Selection for this ministry will being in 2018 and those selected will begin training in the autumn of next year. The second new ministry initiative relates to Pioneer Ministry which seeks to identify, train and mentor those who have the desire and drive to start fresh expressions of church.

 

Bishop Ferran thanked the ministry team in KEA for their selfless service for the Lord and appealed to everyone to support and encourage them in their work. He noted the considerable number of vacancies in the Diocese over the last year and thanked those clergy and lay ministers who provided pastoral oversight and conducted Sunday worship. This year we said farewell to some of our clergy – Canon Bertie Kingston, Canon Ronnie Bourke and the Revd. Brendan McCarthy – and we will shortly say farewell to Canon Sandra Lindsay who will retire after many years of faithful service across the Diocese. It is wonderful to welcome the Revd. Ruth West to the Killesher group, the Revd. Simon Scott to the Kildrumerton group and the Revd. Edward Yendall to the Boyle group. We congratulate the Revd. Sean Hanily from Roscommon who was ordained recently to serve in Dublin Diocese.

 

Bishop Ferran also paid tribute to our lay ministers, both Diocesan and Parish readers. This year Steve Frost was licensed to serve as Diocesan Reader and Damian Shorten, Ruth Galbraith and Ed Smyth were licensed to serve as lay pastors. Frances Good retired from active service and there was a special event in Arva to mark this occasion.

 

Bishop Ferran noted that much had been achieved as we journey together towards realising our Diocesan Vision of what we aim to be like in 2020. In this triennial Synod he acknowledged all those who have served their parishes and Diocese in various capacities over the past three years. He also wished those who will serve for the next three years the guidance and power of the Holy Spirit. He informed the Synod that in the next few years he wished to focus on pastoral and missional work and said that he intended to visit every Parish Group in the next year to see what God is doing and to get a sense of how they are realising the 20/20 Vision.

 

Following the Presidential address, the Synod heard greetings from Father Gerard Comiskey and Bishop Kevin Doran from the Roman Catholic Church. Mr David Ritchie, the Chief Officer of the RCB, shared a very useful overview of the work of the RCB and the resources they have made available online to parishes. The Synod also heard a wonderful report on the work of yKea from the Diocesan Youth Council which encouraged partnership between families, homes, churches and schools as we seek to share our faith with younger generations in our local parishes. Rita Day from the Bishops’ Appeal shared a presentation on how funds from our local churches have made a difference to places in need around the world. Mary Geelan also gave a report on the work of the Mothers’ Union and played a video, produced by MU Ireland, giving a snapshot of some of the work that they are doing in their communities.

 

The Diocesan Synod noted the absence of George Argue, a long–time member of Synod who passed away earlier in the year. We were also deeply saddened by the death of Canon Liz McElhinney and we send our sympathies to both their families. Maud Cunningham was also absent from this year’s Synod as she was still recovering from a recent operation. We wish her a speedy return to full health!

 

Before this day, I had not heard of Hemblington. But I saw a sign pointing to the church, away over the fields, and I had time, so I turned to see where it went.

 

The road went for ages until I saw the church, tucked in the countryside, round tower looking so typically Norfolk.

 

Inside I was dazzled by the painted font, the wall paintings on the north wall and the various nooks and crannies of this ancient church, but not really knowing what each was for.

 

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

 

You don't have to go far off of the hellish A47 between Norwich and Yarmouth to come out into an utterly rural and remote corner of Norfolk. This is partly sleight of hand, because the narrow lanes which leave the busy road are so winding that they make you think you've come further than you have. Also, you might expect this area between the marshes and the broads to be flat and open; but here the landscape rolls, a patchwork of hedged fields and copses. In the late summer, there was a balmy restlessness, the soothing warmth of the sun competing with the wind from the North Sea ruffling and rustling the long grass.

All Saints is set in a secretive graveyard on a rise above a lattice of country lanes. From a distance it appears a sentinel; but, closer to, the aspect softens, and the church reveals itself as a humble little round-towered building, with much that is old about it, but also the simple mendings and making dos of later generations. I was particularly struck by the use of red brick, both in the elegant window in the western side of the Norman tower (is it 17th century?) and the moulding inside the opening of what is otherwise a humble south porch.

 

When I first came this way I bemoaned the fact that Hemblington church was kept locked, but I am happy to report that it is now open every day. Certainly, Hemblington is a remote parish, and its church a remote church, and trusting strangers is a risk - and Faith itself is a risk, of course. But the great medieval treasures of Hemblington are not the kind that can be carted away in the back of a white van.

 

The first is one of a number of very interesting, even idiosyncratic, fonts in this part of Norfolk. These do not appear to be part of a series, although this one does bear a strong resemblance to that nearby at Buckenham. They do suggest, however, that there was an abundance of stonecarvers working in this area in the 15th century, and that parishes were able to express their independence and individuality in their choice of subject. The Reformation would put a stop to that.

 

The Hemblington font was recoloured lightly in the 1930s under the eye of Professor Tristram. It is a great celebration of Saints; there are seven seated on the panels of the bowl, and eight more standing around the shaft. The eighth panel subject is a beautiful Holy Trinity, with God the Father seated holding his crucified Son between his knees, while the dove of the Spirit descends. It is a charming image; there is another on the font at Acle a few miles off. Among the Saints on the panel are St Augustine, St Edward the Confessor, St Barbara, and a striking St Agatha - she sits with her breasts bared, a sword descending. Among those around the shaft are St Lawrence with a finely carved grid iron, St Leonard with his manacles, St Margaret dispatching a dragon with her cross, St Catherine with her wheel and sword, St Stephen and St Mary Magdalene.

 

If there was only the font, Hemblington would be a must-see for anyone interested in the late medieval period. But just as the font demonstrates the enthusiasms of the cool, rational 15th century, so there is evidence of the shadowier devotions of a century earlier. This is the best single surviving wall painting of the narrative of St Christopher in England. The giant figure bestrides the river opposite the south doorway, just as he does in about twenty churches in this part of Norfolk, but here his staff has become a club, and on either bank there are smaller scenes depicting events in the Saint's story. those on the west side, recalling his life as a pagan before conversion, are all but obliterated. Those on the east side, however, are marvellously well-preserved, vivid and immediate in their clarity. They show the trials and tribulations he underwent in his life as a Christian, including the occasion on which two women were sent to tempt him in prison, and another where he is led to the executioner's sword. Another shows him tied to a tree being flogged, an echo of the scourging of Christ; another shows him being shot through with arrows, which would have immediately brought to mind the martyrdom of their own dear St Edmund to the medieval East Anglians.

 

The donors who paid for the font, in that great, late medieval attempt to reinforce Catholic orthodoxy in the face of local abuses and superstitions, are probably among those remembered by brass inscriptions in the nave.

 

And this must have been a busy parish in those days, for will evidence reveals that there were three guild altars where lights burned for the dead. We can even trace where these guild altars may have been, for on the north side of the nave there is a piscina, and connected to it is a pedestal, where a statue of a Saint would have stood. Such things were probably destroyed in the 1530s by orders of the increasingly paranoid King Henry VIII; those that survived would have fallen to the orders of the enthusiastically puritan advisors of his son, the boy King Edward VI a decade later. It is appalling to think of the richness that once was, not just here, but in thousands of village churches all over England. So much lost, so much wilfully destroyed.

Hemblington has retained more than most, and the church is a fascinating testimony to the mindset of late medieval East Anglia. But even without these great treasures, All Saints is a charming, rural building that speaks as loudly of the Victorian villagers who paid for, and probably worked on, its restoration as it does of their mysterious Catholic forebears. I stood for a moment imagining the blacksmith and the plowboy, the wheelwright and the carpenter, sitting in the pews for Divine Service. And then, after a chat with the modern custodians, we headed on for North Burlingham.

 

Simon Knott, November 2007

 

www.norfolkchurches.co.uk/hemblington/hemblington.htm

 

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Six socmen of Gert were at the Conquest deprived of 30 acres of land, 2 acres of meadow, with 2 carucates, in this town, there were also 2 socmen, one of them belonged to the soc of the hundred, who held half a carucate of land, and a borderer with 6 acres of meadow, who had under them 7 socmen, with 20 acres of land, and one of meadow, and there was one carucate and an half among them all; it was one leuca long, and half a leuca broad, and paid 16d. gelt. (fn. 1)

 

This lordship was in the Crown at the survey, and Godric took care of it; and was granted to the family of Le Botiler, and from them came to the Botetourts, as in South Walsham, and Upton.

 

William de Rothing and Joan his wife claimed view of frankpledge, &c. in the 15th of Edward I.

 

Henry de Cat and Margery his wife had an interest herein, in the 35th of the said King, and Henry Cat, and Jeffrey Atte Fenne were returned to be lords in the 9th of Edward II. after this John Fastolf and Margery his wife.

 

The principal manor belonged to the see of Norwich; at the survey William Beaufoe Bishop of Thetford held it in his own right, as a lay fee, 60 acres of land; of which 2 freemen (of Ralph Stalre were deprived) with the soc and sac; of one of these Almar Bishop of Elmham had the commendation, or protection only, of this Beaufoe had the soc, &c. and Ralph, the Earl had the other, valued at 2s.

 

Bishop Beaufoe in right of his see had also 21 socmen, with 140 acres of land, 8 acres of meadow, and 3 carucates and a half, &c. this was valued in his principal lordship of Blowfield: in this town, there were also 60 acres of demean land. (fn. 2)

 

Bishop Beaufoe gave this to his see at his death, and Bishop Herbert settled it on the priory, with the advowson of the church.

 

The ancient family of the Castons held a considerable part of these fees. of the see of Norwich, of whom see in Blofield, Bradeston, &c. and after came to the Berneys of Reedham; the Lords Bardolf had also an interest herein, in the 15th of Edward I. William Bardolf, claimed the assise, frank pledge, &c.

 

Sir Thomas Berney died lord in 1389, and his descendant, Henry Berney, Esq. in 1584.

 

The tenths were 2l. The temporalities of St. Faith's priory 18d. Of Weybridge 5s.

 

The Church was a rectory dedicated to All-Saints, and formerly in the patronage of the Bishops of Norwich, but was appropriated to the prior and convent of Norwich, for the prior's table, by Walter Suffield Bishop in 1248, and was valued together with the vicarage at 5l.—Peter-pence 12d.—Carvage 2d. ob.

 

Vicars.

 

In 1304, Thomas de Langele, instituted vicar, presented by the prior &c. of Norwich.

 

1307, Richard de Boton. Ditto.

 

1324, And. de Bedingham. Ditto.

 

1349, Edmund Barker. Ditto.

 

1367, Thomas Gilbert. Ditto.

 

1395, John Malpas. Ditto.

 

1395, Edmund Heryng. Ditto.

 

1397, Robert Gernon. Ditto.

 

1401, Sim. Annable. Ditto.

 

1402, Robert Body. Ditto.

 

It has for many years been served with a stipendiary curate, nominated by the dean and chapter, who have the appropriated rectory.

 

¶In the church were the lights of All-Saints, St. Mary, Holy Cross, St. Catherine, and St. Margaret.

 

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

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

Ganesha Mantras are known as Siddhi Mantra (the one with perfection). Each and every mantra is full of energy and power of Lord Ganesha. It is believed that mantras of Ganesha, when chanted with genuine devotion, give positive results. These mantras ward off all trials and troubles gracing the devotee with every success. All mantras are disclosed by the Almighty, through the Intelligence, Vision and Experience of the divinely illuminated and perfected sages and men of integral God-Experience.

 

Ganesha is the power of knowledge, success and fulfillment. It is believed that people get benefit out of these mantras when chanted with utmost devotion and faith. Success is not far when you have love and respect, faith and understanding, kindness and willpower in your heart and when you are in touch with that power which breaks up all restrictions, obstacles, problems ,difficulties and makes available to you the rays of success, prosperity and abundance. Some such Mantras are given below for the spiritual benefit of the readers -

* Aum Shri Ganeshaya Namah

"Praise to Lord Ganesha". This is the mantra of prayer, love and adoration. It is chanted to get Ganesha's blessings for the positive starting of a project, work or simply to offer him the praise.

* Aum Gan Ganapatye Namah

This is Lord Ganesha's mula ("root") mantra .It is also known as his ''beej'' Mantra. This mantra is used for Yoga Sadhana in which we pray to Lord Ganesha and merge ourself with the supreme knowledge and peace. This is a mantra from Ganapati Upanishad. One can always use it before starting any new venture so that success comes without any hassle.

* Aum Vakratundaya Hum

This is a powerful mantra from Ganesha Purana. When things are not in your favour, or when the minds of the people turn negative, depressed or discouraged, the attention of Ganesha may be drawn by this mantra to straighten their ways. The HUM symbolizes "Delay no more, my Lord, in straightening the paths of the crooked-minded ones." This mantra is used many a times in the Ganesha Purana to reduce the violence of cruel demons. In addition, this mantra could also be used for healing any spinal problem, such as curvature of the spine or curved limbs. Dedicate 1,008 repetitions of this holy word to straighten and heal such deficiencies.

* Aum Kshipra Prasadaya Namah

Kshipra means immediate. If some danger or negative energy is coming your way and you don't know how to get rid of that danger, with true devotion, practice this mantra for quick blessing and purification of one's aura.

* Aum Shrim Hrim Klim Glaum Gam Ganapataye vara varada sarva janamme vashamanaya svaha

There are several beej (seed) mantras in this mantra. Among other things, it says, "Shower Your blessings, O Lord. I offer my ego as an oblation."

* Aum Sumukhaya Namah

This mantra has a lot of meaning, in simple terms, it means you will be always very beautiful in soul, in spirit, in face, everything. By meditating on this mantra, very pleasing manners and a beauty comes on you. Along with that comes peace, which constantly works in your eyes; and the words you speak are all filled with that power of love.

* Aum Ekadantaya Namah

Ekadanta refers to one tusk in the elephant face, which means God broke the duality and made you to have a complete one-pointed mind. Whoever has that oneness of mind and single-minded devotion will achieve everything.

* Aum Kapilaya Namah

Kapila (red) means that you are able to give colour therapy. You are able to create colours around yourself and around others, soak them in that colour and heal them. As per the mantra you create, so will you create the colors. Another meaning is "wish cow," the "cow of plenty." It means that whatever you wish, that comes true. There is a wish-cow inside you. Whatever you wish, especially for curing others, comes true instantly.

* Aum Gajakarnikaya Namah

The ears of Ganesha, the elephant - god, are constant fanning, which means people can talk a lot, but you are not receiving inside anything other than what is important. It also means that you can sit anywhere and tune this celestial tube (the body) with seven channels (chakras) and all 72,000 nadis, to any loka and be able to hear ancestors, angels, the voice of God or the voice of prophets. That kind of inner ear you will develop through this mantra.

* Aum Lambodaraya Namah

This means you feel that you are this universe. It means that all the celestial bodies are within you. Like an entire tree is in the seed, the whole universe is in the sound of creation, which is Aum, and that Aum consciousness in you makes you feel that you are the universe. Therefore, if you say, realizing the oneness with the universe, "shanti to the world" every day, then the grace of God will come and there will be world peace, universal peace. It is the universe within Aum and Aum within you.

* Aum Vikataya Namah

This means realizing this world as a dream or a drama. When you are in that high consciousness, this whole world looks like a dream. All of us have taken a role. We have to play our role in life as wife or husband or children or citizens, all consistent with the role we have taken. When an actor bitten by a sponge cobra that is brought on the stage falls, the entire audience cries; but that boy who has fallen knows it was not a real cobra and he is not dead. Life is a drama --definitely life in this material world, this physical world of ego, is a drama. But inside, like the boy on the stage who is quite happy knowing that he didn't die by the bite of the sponge cobra, like that, the truth never dies in us; it is immortal. So everything else you consider as drama. That consciousness comes to you by knowing this mantra.

* Aum Vighna Nashanaya Namah

This mantra invokes the Lord Ganesha to remove every hindrance in your life and in your works. By constant meditation on this mantra, all obstacles and blocked energy in your physical and cosmological bodies are released.

* Aum Vinayakaya Namah

Vinayaka is the name of Ganesha in the golden age. So by realizing this mantra, your life will have a golden age. In your office, in your work, you'll be the boss. Vinayaka means something under control. Vinayaka means the Lord of resolving problems.

* Aum Ganadhyakshaya Namah

This mantra is very important. Suppose you have a group, a country, neighbours, or any kind of group therapy, group healing or a whole country requiring healing, then you have to bring that entire group to your mind's arena and say this mantra. A group healing takes place by this mantra.

* Aum Bhalachandraya Namah

In Sanskrit, bhala means the forehead center. Chandra means the crescent moon. Bhalachandra means that chakra from where the nectar drips. That is the secret of all healing. It is to feel yourself as Shiva, identifying yourself with the Truth and feeling constantly that you are carrying the crescent moon, the symbol of growth and nectar of peace.

  

www.iloveindia.com/spirituality/gods/ganesha/special-mant...

 

Photos: J.D. Long-García/CATHOLIC SUN

 

Supporters crowd Our Lady of Mount Carmel for concert

Benefit for Hillebrand, Mills family raises over $30K

 

By Joyce Coronel | Oct. 1, 2009 | The Catholic Sun

 

TEMPE — When word spread that 11-year-old Julia Hillebrand, the daughter of local Catholic composer and recording artist Paul Hillebrand, had been diagnosed with an inoperable brain tumor, fellow musicians banded together to hold a benefit concert.

 

They hoped to attract about 1,000 people to the Sept. 29 event at Our Lady of Mount Carmel Parish. More than an hour before the concert was set to begin, however, the line to get into the church stretched well into the parking lot as friends, family and supporters waited for the doors to open.

 

With the likes of big-name Catholic music stars Matt Maher, Tom Booth, Tim and Julie Smith, Jaime and Kari Cortez, and others, the crowd swelled to nearly double what organizers had hoped.

 

So many people turned out in response to the plight of Julia Hillebrand and Ethan Mills, a teenage cancer sufferer and longtime Hillebrand family friend, the parish hall had to be opened up to accommodate the overflow crowd.

 

Inside the church, Fr. John Bonavitacola marveled at the scene he said reminded him of Easter Sunday and Christmas morning services.

 

“When God’s people pray together,” he told the crowd, “anything can happen. We pray that whatever God’s will might be, that we would be in acceptance of that. Faith can move mountains.”

 

Tim Smith had a special message for the Hillebrand and Mills families.

 

“We want you to know that you are loved and not only that, right here is our shoulder — lean on it.” And with that, the standing-room only throng swayed, clapped and sang along with the Smiths’ rendition of “Lean On Me.”

 

Bob Mulhern, who has known the Mills and Hillebrand families for 30 years and served as emcee for the event, told those gathered of 18-year-old Ethan Mills’ courage in the face of recurring cancer.

 

“Ethan calls himself ‘The Tumor-nator,’ he said. “There are 51 guys out there who have all shaved their head in support of him.”

 

Ethan’s mother, Nancy, was overwhelmed by the outpouring of support by the concert-goers. “I’ve never been so blown-away by anything,” she said. “Ethan is a real hero in our lives. When I breathe, I pray. We put our trust in Jesus no matter what.”

 

Matt Maher told the young cancer patients, “You’re not alone. If you’ve got bad news, you’ve got good news, because God holds everything together.”

 

Some in the crowd brushed away tears as Paul Hillebrand sang “We are body of Christ” and thanked them for their support.

 

“Thank you for the sacrifices you’ve made,” he said. “Come, Holy Spirit, heal us all, for we believe all shall be well.”

 

Julia and Ethan each stood briefly and the crowd responded with a standing ovation.

 

Julia, a sixth-grade student at St. Timothy Catholic School, was diagnosed with a tumor on her brain stem on Aug. 21 and is undergoing radiation.

 

Ethan, a graduate of Our Lady of Mount Carmel Catholic School, had planned to attend Arizona State University this fall until the cancer he battled 14 years ago returned.

 

Organizers said the concert and silent auction brought in more than $30,000 for the two families, who have been hit with huge medical bills as well as time away from work due to the children’s illnesses.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.

2017 has been the best year of my life (yet), because Jesus has thoroughly won over my heart. I am using the word thoroughly because in the past few years, my faith wasn't solid at all, meaning that I wasn't 100% sure if God loved me or if He even existed. I had all these doubts running through my head especially during times of hardships, disappointments, and waiting. However, now looking back, I'm so thankful for those seasons of testing, because I came across this verse in the Bible a few days ago which says, "for the LORD reproves him whom he loves, as a father the son in whom he delights." This verse is from Proverbs 3:12, and it reminds me that God was the one who specifically designed all those hardships for me because He loves me so much, and He wants me to be more like Jesus. After all, the life of a Christian is aiming to be more like Jesus every day, and though we will not attain perfection by the time of death, it is okay because of two reasons. First, God doesn't need us to be perfect-He just wants us to pursue Him and love Him. Second, there is sin dwelling in us ever since Adam and Eve got banished from the Garden of Eden because of their disobedience towards God. They believed the evil one's lie that God was withholding something good from them when He warned them not to eat the fruits from a specific tree, when in fact God was protecting them because eating the fruit would open their eyes to their own nakedness and shame. As a result, they were banished from the Garden of Eden, which was where God intended to be heaven for his children, and separated from God now that they are no longer who God originally created them to be. For future generations of God's children which include us, as there are shame and guilt in us, we have the tendency to run away from God instead of seeking Him just as Adam and Eve did when they ate the fruit, for we do not like our evil ways to be exposed to God. However, God knows each of us deeply and loves us deeply, which was why He sent His beloved son, Jesus Christ, to atone for our sins through His death on the cross so that we no longer have to bear our shame and guilt from all the bad things that we do in this life. God loves us and He doesn't want us to hide from Him all the time. He wants us to enjoy a deep and nourishing relationship with Him because that's the only way we can have true Life, true joy, and true freedom. As long as we believe in Jesus and repent of our sins, we will see Him in Heaven after this life.

 

I feel that a lot of times people are too caught up with things in this world (wealth, career, prestige, looks, sex etc.) that they forget to ask the two most important questions of who created us and why is it that everyone has to die in the end? There has to be a purpose in our existence. We all know that somewhere in our hearts because God etched the concept of eternity into our hearts when He created us. We were meant to live forever but because of Adam and Eve, subsequent generations have to face death as a punishment, but the good news is that for those who believe, death is not a punishment but rather a way we can model the death and resurrection of Jesus, where our earthly bodies will die but our soul will rise to be with God.

 

I think one of the main reasons why I have thoroughly believed in Christianity this year is because the facts surrounding Christianity and the Bible make perfect sense to me. Many scholars have compared the holy text of different religions and found that the Bible is the only one where none of the facts can be disputed. Everything that the Bible says is true, from how the glory of God's beautiful creation is evident around us to the nature of sinful man. I know some people don't like to hear this, but I am so certain the Jesus is real and that He is the only one who can bring us to Heaven.

 

Sometimes, I feel that a lot of people think that true Christians are religious and don't know how to enjoy life, but that is totally not how I feel about myself! What I'm experiencing now is true joy, freedom, and peace about my life, knowing that for all who believe, all things work together for good (Romans 8:28). Following Jesus this year has been so joyful and liberating, for I no longer have to seek the world's validation to feel worthy of myself. God has shown me that His great great love for me is enough to fill up the void in my heart, that a lot of people try to fill up with praises and likes from the world. This brings me to my next topic, which is why I stopped posting pictures on Instagram and Facebook. Over the years, it had been proven true time after time that I was lying to myself whenever I told myself that I was just posting pictures for fun and that I wouldn't care about the number of likes I got. However, disappointment and emptiness never failed to creep up within me when I didn't get as many likes as I desired. Or even when I got more likes than I had expected, the fleeting happiness that I felt only left me emptier. I didn't know why back then, but now I know it's because only the love of Jesus can fill my heart and nourish my soul, for those who come to Him will never go hungry, and those who seek Him will never be thirsty (John 6:35).

 

I used to think that by my own effort, I can help people believe in Jesus. However as I listen to sermons and study the scripture, I realized that only God can give people the eyes to see that He is real. Merely by our own effort, it's impossible. We need to pray for the people whom we desperately want to see saved by Jesus, and we can rest assured that God hears all our prayers in heaven, and He is working things out. God is sovereign and He knows exactly what He is doing. We do not need to worry or fret. He is God; we are His creation. Who are we to question his timing or actions? Before we blame Him for anything, count our blessings first. Clean water to drink, hot showers during winter, food to eat everyday-it is so easy to take all these things for granted, but we need to realize that they are from God. They are really from God. Really.

 

In 2018, my only hope is for my love for Jesus to grow even more. That's honestly the most important thing in life-to treasure Jesus over all other things because the more I love Him, the less I will worry about life, the more life will fall into place perfectly, and the more I will be able to love on the people around me. May the Holy Spirit work with great power in me in the coming year. May my parents and many more souls be saved. May lukewarm Christians grow to love Jesus more, for only those who wholeheartedly pursue Him and love Him will be with Him in heaven after this life (Revelation 3:16). May my life reflect the glory and beauty of Jesus. May I learn to live every day as if it's my last, for this life is like a vapor, and Jesus may be returning any time.

 

"yet you do not know what tomorrow will bring. What is your life? For you are a mist that appears for a little time and then vanishes." ~James 4:14

 

“But watch yourselves lest your hearts be weighed down with dissipation and drunkenness and cares of this life, and that day come upon you suddenly like a trap." ~Luke 21:34

 

Happy new year everyone! Jesus got you in this coming year, so please don't worry about anything at all!

 

p.s. so thankful to have a space where I can be completely honest about my feelings and the pictures I post! love u flickr!! I mean thank u Jesus for flickr! may I use this space to bring glory to you and you only! also, I used this picture to remind myself that having food to eat everyday is really such a blessing that I never want to take for granted ever.

Royal Arch Mason veils made by MAC and SAC ready for the candidates. No lint rollers! Only use cello tape to remove lint..

The two middle veils were soon switched.

 

www.jttgrandchapter.org/resources/Lectures/The Veils.pdf

 

Part I

Comp Michael Post

As all companions have, we have gone through a particular ceremony in which we must pass to truly become a Royal Arch Mason. That ceremony is “Passing the Veils”. Why is this ceremony important and what does it represent?

 

The ceremony of “Passing the Veils” or the use of the Veils in Royal Arch ceremonies is as old as the Degree itself although it origins seem to be lost in the oral traditions of ancient times. The Veils in early ceremonies were three in number, later a fourth was added in some countries (Most all, if not all, American Chapters today work in this “four-Veiled” ceremony). There are some scholars however believe that this elaborate ceremony did not always belong to the Royal Arch but rather it was part of, or wholly the ceremony of Excellent Master or High Excellent Master’s degree (Ireland; Scotland, and Bristol, England). This Excellent Master degree can also be seen in the Allied Masonic Degrees in America.

 

So what does this intricate ceremony signify?

It could be said that masonically, passing of the Veils signifies the enlightenment that comes with Masonic progression. While some academics say it symbolizes the problems or suffering encountered by the Jews on their returning journey from exile. Others believe that it involves the Veils of the Tabernacle of Moses and related to those of the Temple of Solomon. And still others consider it as a reference to Jesus, tying it to among other things the Veil of the last Temple upon His death.

 

What is the lesson that should ultimately be discovered in this ceremony? As said before I believe it to be lost in the oral traditions of the past. What do you believe? What do you think is the truth behind the symbolism?

 

The problem with this topic is where to start. There are many avenues in which I can take this discussion, but where to start? Should I start with the colors of the Veil? Or perhaps why our Veil system of America is different of that of Scotland or the United Kingdom? Should I talk about the Tribes of Israel and there banner colors vs. the colors that are on the High Priest Ephod? Or should I discuss the Veils or coverings of the tabernacle vs. the Veil that separates the Holy Place from the Most Holy Place or the Holy of holies. But what about the journey we have made?

So let us begin with that journey, which we all have taken.

 

After we have all braved that rough and rugged road we come unto a tabernacle and we are met with resistance to enter, the first Veil. We explain to the Grand Master of the First Veil that we have come from captivity and our intent to help rebuild the temple and that we are the true descendents of the Giblimites that built the first temple. After that we are then challenged for entry, we recollect the lesson of the burning bush from which Moses spoke with the great I AM, with that we enter. We are given a sign and password. The sign is explained by a scripture reading from the book of Exodus 7: 10–12. The password is that of the three sons of Noah.

 

“These three names can allude to Noah’s Ark or the Ark of Safety. We could say that God was the architect, Noah was the builder and his sons, Shem, Ham and Japheth they were the craftsmen.”

 

We now come to a second Veil and are met with resistance. We then give the sign and password that we were divested with from the Grand Master of the First Veil. We are allowed to enter and although we are in fact Most Excellent Masters promoting the noble and glorious work of rebuilding the temple we are told that we cannot go further without the words and signs of the Grand Master of the Second Veil. We are given a sign and password. The sign is explained by a scripture reading from the book of Exodus 4: 6–7. The password is that of three builders of the Ark of the Covenant.

 

The Ark of the Covenant, or of Moses, is also known as the Ark of the Testimony. Along with Moses, Bezaleel (tribe of Judah) and Aholiab (tribe of Dan) were filled with spirit of God, wisdom, understanding, and in knowledge, and in all manner of workmanship and thus worked diligently until the tabernacle, Ark and all things belonging to it were made exactly as God had instructed.

 

Next we come to the Third Veil and again are met with resistance. We give the sign and password that we were divested with from the Grand Master of the Second Veil. Proving once again that we must be in fact Most Excellent Masters we promoting the noble and glorious work of rebuilding the temple we are permitted to enter but we can go no further without the words, signs and signet of the Grand Master of the Third Veil. The sign is thus explained by a scripture reading from the book of Exodus 4:9. The password is that of the three principles to build the Second Temple and replace or substitute the arch of the Covenant in the Holy of Holies. We are then given the Signet of Truth.

 

Alas, we come to the Grand Master of the Fourth Veil or Royal Arch Captain. We give the sign and password that we were divested with from the Grand Master of the Third Veil, we then present the Signet of Truth. We are then told to wait until the Grand Council is informed of or request to enter. The Grand Council recognizes or request and permits us to enter.

 

This completes our initial journey through the Veils.

 

PART 2

So now that we went through the journey of “Passing the Veils” where should we go? I guess a suitable place to go is; what is the right number of veils one should go through? Previously I stated, “The Veils in early ceremonies were three in number, later a fourth was added in some countries (and most all, if not all, American ( whether they are Prince Hall or otherwise) Chapters today work in this “four-Veiled” ceremony)”.

 

Comp. F. A. M. Taylor, Assistant Librarian for the Grand Royal Arch Chapter of England; wrote in 1932, “The veils were doubtless a part of early ceremony of the Arch Degree and the working of the same discontinued, I believe, at the Union in 1817.” He goes on to state, that it appears that the, “passing of the veils” was extensively in the early part of the 19th century. No account of what the ceremony was, or any records are to be found in minutes of the early English Chapters.

 

What should the proper system of veils that one should pass? What do the veils really represent? I think this is the basis of what we should look into. Depending on what you say the Veils represent you can state your argument.

Ernest Cooke, Provincial Grand Superintendent of Bristol (England), informs us that until 1929 only three veils were used in the Chapters of that Province. In 1932 after much research and careful consideration, the use of the fourth veil (White) was authorized. He based much of his argument on the fact that one, they were in use in the early Chapters. (There is no proof of this). And two, the description of the Tabernacle in Exodus is so definite.

 

A point of interest comes from the Comp. F. A. M. Taylor, Asst. Librarian of the English Grand Chapter in 1932. He states that it was the practice to have three “Masters of the Veils”, who were officers of the Chapter (Which officers, is not stated.). Being armed with a sword and bearing a banner of appropriate colour, were stationed at the Blue, Purple and Scarlet veils (The White veil is guarded by the RA. Captain (as it is in our Ritual)).

i. I will start off with the “traditional” three- Veiled system then unto the four -Veiled system. So the basic question is “Why three veils”? Before we go any further let’s break down what a veil is. If you go to Wikipedia or other website you can find various meanings of veil, from veils for women to headgear and so on, veils have several meanings. The word "veil" in the Hebrew speaks of a screen, something that conceals and separates. With that said lets break down these systems.

 

In the book, “Secret Societies of all Ages and Countries” by C.W. Heckethorn (1897) he mentions only three veils. “The Textbook of Freemasonry” (1870) which is irregular and an unauthorized publication, supposedly giving all the ceremonies of the Craft and the Royal Arch, the author states that the ceremony is sometimes dispensed with. Here reference is made to only three veils. A quote from “The Perfect Ceremonies of the Royal Arch Degree,” Lewis (1907) states, “The ceremony is said to follow the restoration to light. The ceremony is carried out with only three veils”.

 

ii (Italicized words done by me) I believe the original intent was to imitate the tabernacle of Moses. In that Tabernacle, properly there were three veils or curtains. It is said these veils were used to hide the glory of God's face or presence from the people or to separate a sinful man from a Holy God.

 

The first veil was the eastern gate which opened into the courtyard. Those who came to present offerings to God (this is where the Brazen Alter was) could pass through this veil or gate (Ex. 40:33). This “Passover Veil” separates the courtyard of Moses' tabernacle from the world.

 

The next veil allowed only the priests to enter the Holy Place (Ex. 40:28). This was the first veil into the tabernacle. The Holy place is the place of testimony, of spiritual bread, and the offering up of the prayers and praises. This “Pentecost Veil” separates the courtyard from the Holy Place.

 

The last veil was only for the High Priest, who once a year could enter into the Holy of Holies (Ex. 40:21). This was the place that the Ark of the Covenant rested. This Holy place was where the High Priest would give up offering and provoke the ineffable name of Deity. In the Tabernacle there was a table, but no chair for Aaron or any of the priests to sit on, for their work was never finished. Although there was no chair; there was one seat, the Mercy-seat reserved for The Almighty Himself who sat there between the cherubim. The “Tabernacles Veil” separates the Holy Place from the Most Holy Place where God "sat" on the mercy seat.

 

“I will commune with thee from above the Mercy Seat, from between the two cherubim’s which are upon the ark of the testimony, of all things which I will give thee in commandment unto the children of Israel."

 

Exodus 25:17-22

Another correlation to these three veils above is the three annual feasts of Israel (which some believe, four have been achieved or celebrated).

 

“Three times in a year shall all thy males appear before the LORD thy God in the place which he shall choose; in the feast of unleavened bread, and in the feast of weeks, and in the feast of tabernacles: and they shall not appear before the LORD empty.”

 

Deuteronomy 16:16

However, I will not go into more detail about them during this paper... lol (Research is a beautiful thing. I implore you to do some more, let me know how it goes!)

So here we have several questions. If the veils were representing those of the tabernacle, Why do we have four veils? Is there or should there be a three or four Veils?

 

If you look at the veils of the tabernacle there are three. But what of the “true” veil of the Tabernacle. There are four colors to it; does this represent the meaning of the veils as we see it today? So why do we have four veils? Why are there three Masters of the Veils and not four? Why is the “fourth veil” guarded by the Royal Arch Captain and not another Master of the veil?

 

The meaning of the four horns on an altar.

hoshanarabbah.org/blog/tag/horns-of-the-altar/

 

Exodus 29:12, Horns of the altar. The four horns of the altar of sacrifice was the place where the blood of atonement was sprinkled (also Lev 4:4, 17, 18, 25, 30, 34; 8:15; 9:9; 16:18).

 

But there’s more. Horn is the Hebrew word qeren meaning “horn, hill or ray.” This word is used to describe the rays of light rays emanating from the face of Moses after his encounter with YHVH (Exod 34:29) and the horns of an animal (Ps 69:31). In ancient cultures, the horn was a metaphor for physical strength or spiritual power (Deut 33:17; 2 Sam 22:3; Ps 18:2). Elsewhere, YHVH is referred to as man’s “horn of salvation” meaning he is the strength of our salvation. The Hebrew word for salvation is yesha meaning “deliverance, rescue, safety, welfare, victory, prosperity.” The root of yesha is the verb yasha meaning “to save, to deliver, to give victory.” Not only is YHVH called our “horn of salvation” in the Tanakh, but this designation is applied to Yeshua as well in the Testimony of Yeshua (Luke 1:69). Interestingly, Yeshua is a derivative of the Hebrew name Yehoshua (or Joshua), which also derives from yasha.

 

It should be evident from this quick study that the horns of the altar are a picture of Yeshua, who is the horn or strength of our salvation and who shed his blood for our sins on the altar of the cross.

 

This being the case, why then are there four horns on the altar? This is likely symbolic of the four attributes of Yeshua, even as the four colors of cloth used throughout the tabernacle prophetically symbolize the same thing. Crimson speaks to Yeshua’s humanity, purple to his kingship, blue to his divinity, and white to his sinlessness or righteousness.

 

Additionally, the Jewish sages view the four horns as symbolizing the four corners of the earth, for, in Hebraic thought, the earth is nothing more than a large altar dedicated to Elohim. (See The ArtScroll Tehilim/Psalms commentary on this verse and notes at Ps 118:27.) The horns on the four corners of the altar could also prophetically point to the fact that Yeshua came to save all humans (who would trust in him) from the four corners of the earth.

 

Before this day, I had not heard of Hemblington. But I saw a sign pointing to the church, away over the fields, and I had time, so I turned to see where it went.

 

The road went for ages until I saw the church, tucked in the countryside, round tower looking so typically Norfolk.

 

Inside I was dazzled by the painted font, the wall paintings on the north wall and the various nooks and crannies of this ancient church, but not really knowing what each was for.

 

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You don't have to go far off of the hellish A47 between Norwich and Yarmouth to come out into an utterly rural and remote corner of Norfolk. This is partly sleight of hand, because the narrow lanes which leave the busy road are so winding that they make you think you've come further than you have. Also, you might expect this area between the marshes and the broads to be flat and open; but here the landscape rolls, a patchwork of hedged fields and copses. In the late summer, there was a balmy restlessness, the soothing warmth of the sun competing with the wind from the North Sea ruffling and rustling the long grass.

All Saints is set in a secretive graveyard on a rise above a lattice of country lanes. From a distance it appears a sentinel; but, closer to, the aspect softens, and the church reveals itself as a humble little round-towered building, with much that is old about it, but also the simple mendings and making dos of later generations. I was particularly struck by the use of red brick, both in the elegant window in the western side of the Norman tower (is it 17th century?) and the moulding inside the opening of what is otherwise a humble south porch.

 

When I first came this way I bemoaned the fact that Hemblington church was kept locked, but I am happy to report that it is now open every day. Certainly, Hemblington is a remote parish, and its church a remote church, and trusting strangers is a risk - and Faith itself is a risk, of course. But the great medieval treasures of Hemblington are not the kind that can be carted away in the back of a white van.

 

The first is one of a number of very interesting, even idiosyncratic, fonts in this part of Norfolk. These do not appear to be part of a series, although this one does bear a strong resemblance to that nearby at Buckenham. They do suggest, however, that there was an abundance of stonecarvers working in this area in the 15th century, and that parishes were able to express their independence and individuality in their choice of subject. The Reformation would put a stop to that.

 

The Hemblington font was recoloured lightly in the 1930s under the eye of Professor Tristram. It is a great celebration of Saints; there are seven seated on the panels of the bowl, and eight more standing around the shaft. The eighth panel subject is a beautiful Holy Trinity, with God the Father seated holding his crucified Son between his knees, while the dove of the Spirit descends. It is a charming image; there is another on the font at Acle a few miles off. Among the Saints on the panel are St Augustine, St Edward the Confessor, St Barbara, and a striking St Agatha - she sits with her breasts bared, a sword descending. Among those around the shaft are St Lawrence with a finely carved grid iron, St Leonard with his manacles, St Margaret dispatching a dragon with her cross, St Catherine with her wheel and sword, St Stephen and St Mary Magdalene.

 

If there was only the font, Hemblington would be a must-see for anyone interested in the late medieval period. But just as the font demonstrates the enthusiasms of the cool, rational 15th century, so there is evidence of the shadowier devotions of a century earlier. This is the best single surviving wall painting of the narrative of St Christopher in England. The giant figure bestrides the river opposite the south doorway, just as he does in about twenty churches in this part of Norfolk, but here his staff has become a club, and on either bank there are smaller scenes depicting events in the Saint's story. those on the west side, recalling his life as a pagan before conversion, are all but obliterated. Those on the east side, however, are marvellously well-preserved, vivid and immediate in their clarity. They show the trials and tribulations he underwent in his life as a Christian, including the occasion on which two women were sent to tempt him in prison, and another where he is led to the executioner's sword. Another shows him tied to a tree being flogged, an echo of the scourging of Christ; another shows him being shot through with arrows, which would have immediately brought to mind the martyrdom of their own dear St Edmund to the medieval East Anglians.

 

The donors who paid for the font, in that great, late medieval attempt to reinforce Catholic orthodoxy in the face of local abuses and superstitions, are probably among those remembered by brass inscriptions in the nave.

 

And this must have been a busy parish in those days, for will evidence reveals that there were three guild altars where lights burned for the dead. We can even trace where these guild altars may have been, for on the north side of the nave there is a piscina, and connected to it is a pedestal, where a statue of a Saint would have stood. Such things were probably destroyed in the 1530s by orders of the increasingly paranoid King Henry VIII; those that survived would have fallen to the orders of the enthusiastically puritan advisors of his son, the boy King Edward VI a decade later. It is appalling to think of the richness that once was, not just here, but in thousands of village churches all over England. So much lost, so much wilfully destroyed.

Hemblington has retained more than most, and the church is a fascinating testimony to the mindset of late medieval East Anglia. But even without these great treasures, All Saints is a charming, rural building that speaks as loudly of the Victorian villagers who paid for, and probably worked on, its restoration as it does of their mysterious Catholic forebears. I stood for a moment imagining the blacksmith and the plowboy, the wheelwright and the carpenter, sitting in the pews for Divine Service. And then, after a chat with the modern custodians, we headed on for North Burlingham.

 

Simon Knott, November 2007

 

www.norfolkchurches.co.uk/hemblington/hemblington.htm

 

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Six socmen of Gert were at the Conquest deprived of 30 acres of land, 2 acres of meadow, with 2 carucates, in this town, there were also 2 socmen, one of them belonged to the soc of the hundred, who held half a carucate of land, and a borderer with 6 acres of meadow, who had under them 7 socmen, with 20 acres of land, and one of meadow, and there was one carucate and an half among them all; it was one leuca long, and half a leuca broad, and paid 16d. gelt. (fn. 1)

 

This lordship was in the Crown at the survey, and Godric took care of it; and was granted to the family of Le Botiler, and from them came to the Botetourts, as in South Walsham, and Upton.

 

William de Rothing and Joan his wife claimed view of frankpledge, &c. in the 15th of Edward I.

 

Henry de Cat and Margery his wife had an interest herein, in the 35th of the said King, and Henry Cat, and Jeffrey Atte Fenne were returned to be lords in the 9th of Edward II. after this John Fastolf and Margery his wife.

 

The principal manor belonged to the see of Norwich; at the survey William Beaufoe Bishop of Thetford held it in his own right, as a lay fee, 60 acres of land; of which 2 freemen (of Ralph Stalre were deprived) with the soc and sac; of one of these Almar Bishop of Elmham had the commendation, or protection only, of this Beaufoe had the soc, &c. and Ralph, the Earl had the other, valued at 2s.

 

Bishop Beaufoe in right of his see had also 21 socmen, with 140 acres of land, 8 acres of meadow, and 3 carucates and a half, &c. this was valued in his principal lordship of Blowfield: in this town, there were also 60 acres of demean land. (fn. 2)

 

Bishop Beaufoe gave this to his see at his death, and Bishop Herbert settled it on the priory, with the advowson of the church.

 

The ancient family of the Castons held a considerable part of these fees. of the see of Norwich, of whom see in Blofield, Bradeston, &c. and after came to the Berneys of Reedham; the Lords Bardolf had also an interest herein, in the 15th of Edward I. William Bardolf, claimed the assise, frank pledge, &c.

 

Sir Thomas Berney died lord in 1389, and his descendant, Henry Berney, Esq. in 1584.

 

The tenths were 2l. The temporalities of St. Faith's priory 18d. Of Weybridge 5s.

 

The Church was a rectory dedicated to All-Saints, and formerly in the patronage of the Bishops of Norwich, but was appropriated to the prior and convent of Norwich, for the prior's table, by Walter Suffield Bishop in 1248, and was valued together with the vicarage at 5l.—Peter-pence 12d.—Carvage 2d. ob.

 

Vicars.

 

In 1304, Thomas de Langele, instituted vicar, presented by the prior &c. of Norwich.

 

1307, Richard de Boton. Ditto.

 

1324, And. de Bedingham. Ditto.

 

1349, Edmund Barker. Ditto.

 

1367, Thomas Gilbert. Ditto.

 

1395, John Malpas. Ditto.

 

1395, Edmund Heryng. Ditto.

 

1397, Robert Gernon. Ditto.

 

1401, Sim. Annable. Ditto.

 

1402, Robert Body. Ditto.

 

It has for many years been served with a stipendiary curate, nominated by the dean and chapter, who have the appropriated rectory.

 

¶In the church were the lights of All-Saints, St. Mary, Holy Cross, St. Catherine, and St. Margaret.

 

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

This is a book I have for sale: The book has a different picture on the cover and is Titled: A FERVENT APPEAL for the PRESENCE of GOD, TRUTH, and AGAINST ALL EVIL, by Anthony (Tony) Sheffield [[ the following table of contents is not in right order as there is an Insert; but the book is copyrighted and very helpful in these doctrines; there is not another book like it on the market and completely persuades the doctrine in absolute proof.

 

>3.1 Witnesses, Preaching, Verbal Means of Truth & Spirit, and Proof; Open to Truth, God’s Presence, and Neighbors Concerned Verification

>Chp 3 (Addition)- Special Note regarding the Law of Contradiction; More support for the Law of Contradiction/Truth: Love of; Required; Truth in our Constitution; Reasoning’s Strangely FALSE; Truth & Existence; Grammar (Word Law) Law- Statements and Words; Truth, Irrelative of; Carnality Signs; Misinterpreting God’s Word; Light; SPIRIT & TRUTH; Receive Facts; Disorder; Habits appear True

>Chp 4 (Addition) - Study and Seek in Experience by Prayer and Spiritual Senses and Inner Man, Pro3.5-6, 2Cor10.5; Proof and Carefulness/Truth and Righteousness/SERIOUSNESS minded

>5a-22a Guilt, Sin, and Death: Does God clear guilt automatically?; Conditions to clear Guilt; Sin is Guilt; Sin (Guilt) brings Spiritual Death at the Time of the Sin (Guilt); the Death Sin (Guilt) brings is Spiritual

>5a-22ab Why Sin Brings Eternal Death or It Does Bring Eternal Death or How Does It Bring Eternal Death

>Chp 5 (Addition) - Definition of Sin; Not Walking with God or Seeking God, Led by the Spirit; Not Studying God’s Word; Doubtful Things; Where There is No Law; Sin is Evil

>5a-1aEve & Adam

>5a-1z Saul’s Sinning Religion

>5a-6 (Addition) LOVE / RESPECT

>Chp 5a-5a (Addition) - Sin Crucifies Christ; Heb 6, 1Cor 11, and others

>5a-9abImpossible for Sinners to Be Saved

>5a-9a Question and Answer Format: Sinning while Saved, Having God’s Presence, with Truth

>5a-9abc Foolishness, Vanity, Folly - a Serious Matter with God

>5a-11a Too Hard to Live Victoriously

>5a-11abFeels Good to Be Right

>5a-11abc Do Iniquity or Offend, saith the Lord Jesus; A Best Statement from Jesus Earthly Lips

>5a-11d Which One of You Convinceth Me of Sin

>5a-12a (Addition) - Choice is Clear

>5a-12ab Impossible to be Right and Wrong at the Same Time

>5a-12d Cannot Believe or Have Faith with Sin

>5a-12e Willingly yield obedience

>5a-13ab What Doctrines Can We Tolerate??

>5a-8ab Will and Decisions (Choice), The Fact of

>5a-14a Sin Hurts Other Beings

>5a-14b Jehovah DOES NOT Call Good Bad NOR Bad Good

>5a-16aJames 1:15 for Clarity

>5a-18 (Add’n)- (TTT) Temptation, Troubles, Trial (TESTS)

>5a-21 (Addition) - Life

>5a-22 (Addition) - Death Defined

>5a-24aChristian Armor Shows We are to Fit It to Allow No Sin to Enter the Interior or Exterior

>5a-24ab Demonic Activity

>5a-25a Believe Every Statement of the Lord is True

>5a-26 (Addition) - Sin Causes a Separation or Leave of Absence from God’s Presence

>5a-29aCharacter of God

>5a-29abSeal of God

>5a-34 Special Texts; used to support the committing of sin while saved

>5a-34aSerious Physical, Spiritual, and Providential Consequences of Sin

>Chp 7 (Addition) - Law / Discerning good & evil

>Chp 8 (Addition) -Witness of the Spirit/God’s Presence; Laws on Heart; Come to God; no body needed for fellowship; Will; Feelings; Deception; good example vs.; Everyone is following some spirit; Thought (person); Need & Evidence

>8.1a Old Testament - facts about Spirit, Sin, Obedience, Ceremonies

>Chp 10 (Addition) - Cooperation; good basic example; Experience; Righteousness; Sanctification Commanded; >Understanding Deficiency Resolved: Trust & Obey; God’s Presence & Graces; God’s Presence & Idolatry; Repentance addition

>10.1 Desires, Affections, and Intentions

>10.1aSpirituality - Mind & Heart; Priority of; Preparation Place; Needs

>10.1b Spiritual States Of Danger: Intellectual; Intent or Motive; or Will

>10.2Probationary Period and TIME

>10.7 GIFT, Salvation, Pardon, Some Relations of

>5.1 Responsibility; What Makes us Responsible; Timing, God’s Methods & Ways; Ignorance and Young; Foundational Truth & Responsibility, Proofs in Abundance

>8.1 Forgiveness / Pardon

>8.3 Excessive Harshness or Hardness of Heart (Spirit) to Others

>8.2 God wants no one in Hell

>5b-38 Heresy, Reprobateness, and Sinner; Open to Truth, Love It

>5b-37 Encouragements on Dangers, Details, and Boundaries of Sin and the Power of Jesus Blood

>5b-39 There is no Sin that is not Forgivable Except One: Heb 6; Heb 10; Heb 12 -Hard Passages Proved absolutely; Blasphemy of the Holy Spirit; Others too

>5b-40 No Amount OR Number of Times of Sin is Unforgivable

>5b-41 God Warns Carefulness, Preparation, Alert, not Overconfident to Confront Temptation; WATCH

>5b-42 Spirit Shall Not Always Strive with You (end physical life)

>5b-43 Sin is Forgivable as While Alive Physically

>5b-44Backsliding (apostasy) Can Cause Worse To Come Upon You

>5b-45Death Can Occur At Any Time and Even Unexpected Times

>5b-46God Warns of Danger Ahead of Time and If Not He Says So

>5b-47What is the “Sin Unto Death”

>5b-47abLittle Sins (small sins)

>5b-48 Mental Capacity Can Be Damaged and to Extent of Loss of Mind

>7.1a (Addition) Law / Spirit

>8.5Gifts of the Spirit / Power with God

>8.6Spirituality, The Kingdom of God; EYE; thoughts & Feelings

>8.6a Creation, Creation Science, Spirituality, Evolution and the Likes

>8.6a1 Good & Evil

>8.6b Pain & Pleasure

>8.7 Special Commandments Avoided by “Churches & Christians”: Food and Drinking in the Church; Sabbath Day; Love God; Vain Foolish Things; Tattoos; Alcohol; Hair; Jewelry; Make-up; Cloths; Radio babbling and riches; TV; Sports; Dancing & the like; Drama, Acting, Fiction

>8.4 Claiming Promises: Special notes; Types of Promises; Truth Standing

>8.3 How Do the Spirit and The Word Work Together; Claiming the Word and the Witness of the Spirit; The Holy Word by the Holy Spirit may be Applied as it is Written Without The Holy Spirit’s Direct Application; The Holy Spirit has the Right to Apply or Discern His Will in Each Case and therefore One Verse May Apply Whereas Another may not; The Spirit and the Word Often Work Together and Must in Some Areas; The Spirit and Jesus without the Word

>Chp 9 (Addition) - Free Will

>9.1 Self

>9.2 Faith / Faith & Law (cont’d in book)

>9.2a Praise & Thanksgiving, Christianity the Religion of

>9.2ab Love & Care

>9.3 Position Folk: Church Folk in position-Rejecting Sound Doctrine

>9.4 Reasons, Motives, and God

>10.3 Judgment; Judging Others; Discernment

>10.3a Rebuke / Correct

>10.4 Hell - an Eternal Place Where the Sinner Will Exist Eternally?

>10.5 Atonement: Basis of; Understandings of Law, Substitutes, Sanctions, Value

>10.6 Cults, Deception, False Christianity, Simplicity Evil, Lunatics, Stupid, Dumb, Craziness, Maniacs, Disordered, etc. Lies, and their Reasons

Chapter 1—How Do We Know God’s Will? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 2—Proof = Absolute Evidence Presented Herein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 3—Truth and Spirit Laws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chapter 4—Heart (Spirit) Matters in Preparing To Hear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

> Call to Humility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

> Call to Honesty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

> Spirit of the Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

> Fear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

> References for Reading and Truth Appeal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

> History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

> Understanding, Wisdom, Knowledge, Discernment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

> Willing Mind and Heart / Openness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 5—Sin Doctrine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

> Clarity and Soundness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

> Antinomianism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

> The Definition of Sin—What Is Sin?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

> God Hates Sin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Subchapter 5a > Sin Causes Death. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

5a-1 Line Upon Line, Precept Upon Precept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

5a-2 Partiality or Respecter of Persons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

5a-3 Unchangeableness or Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5a-4 Past, Present, Future Sin Acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

5a-5 The Foolishness To Think God Gave Up and Said, “I’ll Just Have

To Make a Way for Them So They Can Make It While They Sin” . . . . . . . . . . 34

5a-6 Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

5a-7 Discernment as to Where the Standard Is . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

5a-8 Effects of Sinning Religion on Sinners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

5a-9 Christ Died for the Church—Worshippers of God, Not Sinners . . . . . . . . . . . . 38

5a-10 Born Again Argument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

5a-11 Victory Principle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

5a-12 Sin Needed To Keep Humble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

5a-12a Choice Is Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

5a-13 Security Feeling, True Security, Spirits, Love of the Truth . . . . . . . . . . . . . . . . 43

5a-13a Weakness of Sin’s Cause . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

5a-14 Unity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

5a-15 God Commands When He Knows That We Cannot Perform the Command . 44

5a-16 God’s Main Purpose or Objective—Our Calling

and Christ Our Example Includes No Sin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

5a-17 Assurances to Eternal Life Are Exclusive of Sin and Cannot Have Any Sin . . 46

5a-18 Temptation To Sin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

5a-19 Finding God and Keeping God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

5a-20 Wholeheartedness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

5a-21 L I F E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

5a-22 Death Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

5a-23 Death and Life—Two Different States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

5a-24 Light and Darkness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

5a-25 Devil’s Doctrine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

5a-26 Sin Causes a Separation or Leave of Absence From God’s Presence . . . . . . 56

5a-27 No Separation of Fruit From Tree—Deeds and Person Are in Unity—

Sins and Person Are One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

5a-28 Tests of a Christian Are All Sinlessness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

5a-29 Comparing Sin in the OT and the NT—Consistency . . . . . . . . . . . . . . . . . . . . 58

5a-30 Holy Spirit / God’s Presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

5a-31 Cause and Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

5a-32 Universal and Eternal Law of God—Sin Causes Death . . . . . . . . . . . . . . . . . 62

5a-33 List of Some Holy Scriptures All Showing That One Willful

(Intentional or Deliberate) Sin Causes Spiritual Death . . . . . . . . . . . . . . . . . . 64

5a-34 Special Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

5a-35 Righteous Principle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

5a-36 BLOOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

> Sin Nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Chapter 6—False Arminianism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

> Regarding Committing of a Certain Type of Sin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

> Blasphemy of the Holy Spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

> Regarding the Practice of Sin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Chapter 7—Law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Chapter 8—Witness of the Spirit / God’s Presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Chapter 9—Free Will . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Chapter 10—Cooperation (Covenant) Principle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

> Cooperation or Covenant Relationship Proved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

> How To Enter the Salvation State and How To Be Sanctified . . . . . . . . . . . . . . . . . . . . . . 133

> Salvation Is a State of Being . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

> Repentance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

> Obedience and Following Jesus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

> Faith / Belief / Trust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

> Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

> Salvation Is a State of Being That Requires a

Continuing or an Abiding (Continuing Principle) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

> Grace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

> Righteousness or Holiness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

> Perfection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

> Chastening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Chapter 11—Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Chapter 12—Worldliness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Chapter 13—Devotions—An Intensive Appeal Towards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Chapter 14—Farewell, Dear Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

> Appeal Towards a Good Attitude and Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

> Departing Plea and Earnest Bid for Your Heart To Yearn for God. . . . . . . . . . . . . . . . . . . 160

Chapter 15—Final Appeal Towards Sanctification. . . . . . .

St Andrew, Great Saxham, Suffolk

 

This is a church I seem to revisit every five years or so, and I'm always left wondering why I don't come back more often. After the longest winter I can remember, and a good five months since my previous church exploring bike ride, I set off from Bury St Edmunds on a bright, cold Saturday morning, and Great Saxham was my first port of call.

 

Nothing much had changed. A large oak tree had fallen near to the fence of the park in a recent storm, but otherwise it was exactly as I remembered. It is always reassuring to cycle off into rural Suffolk to find that England has not entirely succumbed to the 21st Century.

 

But Suffolk has changed in the thirty-odd years I've been living here. There is hardly a dairy farm left, and not a single cattle market survives in the county. Ipswich, Lowestoft, Bury, and even the smaller places, are ringed by out-of-town shopping experiences, and the drifts of jerry-built houses wash against the edges of nearly every village. But the countryside has always been in a state of perpetually change, a constant metamorphosis, and often a painful one. I had been struck by this before while cycling across this parish, and the memory added a frisson to the experience of coming back.

 

For many modern historians, the 19th Century finished on August 4th 1914, and you can see their point. That was the day that the First World War began, and the England that would emerge from the mud, blood and chaos would be quite different. A new spirit was abroad, and rural areas left behind their previous patterns of ownership and employment that were little more than feudalism. Suffolk would never be the same again.

 

No more the Big House, no more the farm worker going cap in hand to the hiring fair, or the terrible grind to keep at bay the horrors of the workhouse. I think of Leonard, remembering the pre-war days in Ronald Blythe’s Akenfield, that passionate account of a 20th century Suffolk village, Charsfield: I want to say this simply as a fact, that Suffolk people in my day were worked to death. It literally happened. It is not a figure of speech. I was worked mercilessly. I am not complaining about it. It is what happened to me. But the men coming home from Flanders would demand a living wage. The new world would not bring comfort and democracy overnight, of course, and there are many parts of Suffolk where poverty and patronage survive even today, to a greater or lesser extent, but the old world order had come to an end. The Age of Empires was over, and the Age of Anxiety was beginning.

 

The English have a love-hate relationship with the countryside. As Carol Twinch argues in Tithe Wars, it is only actually possible for British agriculture to be fully profitable in war time. In time of peace, only government intervention can sustain it in its familiar forms. Here, at the beginning of the 21st century, British farmers are still demanding levels of subsidy similar to that asked for by the mining industry in the 1980s. With the UK's exit from the European Union looming, the answer from the state is ultimately likely to be the same. British and European agriculture are still supported by policies and subsidies that were designed to prevent the widespread shortages that followed the Second World War. They are half a century out of date, and are unsustainable, and must eventually come to an end.

 

But still sometimes in Suffolk, you find yourself among surroundings that still speak of that pre-WWI feudal time. Indeed, there are places where it doesn’t take much of a leap of the imagination to believe that the 20th century hasn’t happened. Great Saxham is one such place.

 

You travel out of Bury westwards, past wealthy Westley and fat, comfortable Little Saxham with its gorgeous round-towered church. The roads narrow, and after another mile or so you turn up through a straight lane of rural council houses and bungalows. At the top of the lane, there is a gateway. It is probably late 19th century, but seems as archaic as if it was a survival of the Roman occupation. The gate has gone, but the solid stone posts that tower over the road narrow it, so that only one car can pass in each direction. It is the former main entrance to Saxham Hall, and beyond the gate you enter the park, cap in hand perhaps.

 

Looking back, you can see now that the lane behind you is the former private drive to the Big House, obviously bought and built on by the local authority in the 1960s. It is easy to imagine it as it had once been.

 

Beyond the gate is another world. The narrowed road skirts the park in a wide arc, with woods off to the right. Sheep turn to look once, then resumed their grazing. About a mile beyond the gate, there is a cluster of 19th century estate buildings, and among them, slightly set back from the road beyond an unusually high wall, was St Andrew.

 

There was a lot of money here in the late 18th and early 19th centuries, so that you might even think it a Victorian building in local materials. But there is rather more to it than that. Farm buildings sit immediately against the graveyard, only yards from the church. When Mortlock came this way, he found chickens pottering about among the graves, and like me you may experience the unnervingly close neighing of a horse in the stables across from the porch.

 

The great restoration of this church was at a most unusual date, 1798, fully fifty years before the great wave of sacramentalism rolled out of Oxford and swept across the Church of England. Because of this, it appears rather plain, although quite in keeping with its Perpendicular origins - no attempt was made to introduce the popular mock-classical features of the day. The patron of the parish at the time was Thomas Mills, more familiar from his ancestors at Framlingham than here. There was another makeover in the 1820s.

 

I've always found this church open, and so it should be, for it has a great treasure which cannot be stolen, but might easily be vandalised if the church was kept locked (I wish that someone would explain this to the churchwardens at Nowton). The careful restoration preserved the Norman doorways and 15th century font, and the church would be indistinguishable from hundreds of other neat, clean 19th century refurbishments if it were not for the fact that it contains some most unusual glass. It was collected by Thomas Mills' son, William, and fills the east and west windows. It is mostly 17th century (you can see a date on one piece) and much of it is Swiss in origin. As at Nowton, it probably came from continental monasteries.

 

The best is probably the small scale collection in the west window. This includes figures of St Mary Magdalene, St John the Baptist and the Blessed Virgin, as well as scenes of the Annunciation, the Coronation of the Queen of Heaven, the Vision of St John, and much more. The work in the east window is on a larger scale, some of it Flemish in origin.

 

There are several simple and tasteful Mills memorials - but the Mills family was not the first famous dynasty to hold the Hall here. Back in the 16th and 17th centuries, it was the home of the Eldred family, famous explorers and circumnavigators of the globe. John Eldred died in 1632, and has one wall-mounted bust memorial on the south sanctuary wall, as well as a figure brass reset in the chancel floor from a lost table tomb. Both are gloriously flamboyant, and might seem quite out of kilter with that time, on the eve of the long Puritan night. Compare them, for instance, with the Boggas memorial at Flowton, barely ten years later. But, although the bust is of an elderly Elizabethan, I think that there is a 17th Century knowingness about them. The inscription beneath the bust reads in part The Holy Land so called I have seene and in the land of Babilone have bene, but in thy land where glorious saints doe live my soule doth crave of Christ a room to give - curiously, the carver missed out the S in Christ, and had to add it in above. It might have been done in a hurry, but perhaps it is rather a Puritan sentiment after all, don't you think?

 

The brass has little shields with merchant ships on, one scurrying between cliffs and featuring a sea monster. The inscription here is more reflective, asking for our tolerance: Might all my travells mee excuse for being deade, and lying here, for, as it concludes, but riches can noe ransome buy nor travells passe the destiny.

 

The First World War memorial remembers names of men who were estate workers here. And, after all, here is the English Church as it was on the eve of the First World War, triumphant, apparently eternal, at the very heart of the Age of Empires. Now, it is only to be found in backwaters like this, and the very fact that they are backwaters tells us that, really, it has not survived at all.

PRAISE GOD!! ANOTHER SWEET MIRACLE! Statue Marie Rose Ferron (St. Gabriel) Bows & Prays to her Sacred Heart of Jesus PROFOUNDLY- Bowing at her neck, back, knees & ankles this time! God, surely taught me a great valuable lesson- NEVER to put limitations on him this year, as I have only seen this statue bow to her Jesus at most from 8 inches away from fence to at most 24 inches, so I had in my head, she can't possibly bow any more than that! Well, this year, I found Marie Rose Ferron bowing 26 plus inches, and she was found changing her body position one day as I found her leaning on Mamma Mary litterally & she was bowing so much she couldn't stand by herself! Well, again, foolish me, said that is her limit, she can't possibly bow any more, and what did God do?- He had me find her bowing even more at 27 1/2 plus inches, and leaning on Mamma as she twists her body to Lean on her whiile still praying to her beloved Sacred Heart of Jesus! Well, I took Pictures & measurements, and said to eveyone, well, she can't stand anymore so basically she is now considered "UNMEASURABLE" as the only measurement I can get now is before her base lifts off ground so she can't possibly bow to her Jesus anymore or she'll break! Well, again, God, would teach me- Don't put limitations on him as we find Marie Rose Ferron Bowing even more & More & More! 28 plus inches, then 29 plus, then 30 plus, 31 plus til she was bowing almost as much as she was tall! She is normally like St. Francis (right next to her) and would stand straight at about 39 1/2 inches but Rose bowed up to 36 inches! She was bowing so much that you couldn't even see her face & I had to crawl down into my water pond laying down to get even a shot of her face somewhat! Wait til you see all the beautiful pictures! I was floored to witness such beauty & did apologize to God, for putting Limitations on him! What a lesson well- learned! After I got out of the waterfall hole, and was done measuring, & taking pictures, I went, as sick as I was over to St. Francis Parish, to prostrate myself before God & Give great thanks & praise, and did my prayers & talk to him, then decided to take a picture of Jesus's precious Tabernacle as I miss him as I can't get to Church very much so I thought having a picture would bring me atleast in spirit feeling closer etc.. I did take the picture & even of his cross behind the alter, and was going to leave when I felt a strong compelling to go out of my way to the other side of the Church where Mamma Mary was holding Child Jesus. I looked up at her & him and said, Thank You and started talking to them too, telling them Thank you for everything they've done and asking them, that I hope they like all the changes I did in the "Holy Family" Garden for them, and saying I hope you like what I did for your honor & the Holy Family. Well I had been repainting my statues for first time and had been a high critic of my Sacred Heart of Jesus and another statue of Mamma Mary as Jesus had one huge eye & one small one which made him look kind of scary to me, and Mamma's face detail was horrible. I had wondered all this time, why someone wouldn't take better care of painting Gods family in better respect to show his Glory. Well, now, finally I was correcting the problem that had driven me crazy all these years but I learned it is not as easy as one would think & learned the hard way a whole new appreciation to anyone who has to do this work. I had to recorrect many of my own mistakes, taking the whole summer even til now to do. Well to get back to St. Francis Parish, while standing before Mamma & Child Jesus, I asked them, I hope you like the Ferron Family Rosary that you told Rose about, that I made for you. While speaking in prayer, my eyes & criticizing got the best of me, as I wondered why the artist of this statue had made Mamma Mary look so very serious looking and yet Child Jesus is smiling ear to ear with so much Joy! Why did the artist do this & what are they trying to protray? I kept criticizing in my head thinking it just didn't look right to me, but I am in our Father's house, so I should not judge, so I struggled my thoughts. When I was done, I took a picture or two & then went to leave stopping & saying a short prayer to St. Francis & St. Anthony too then leaving. I got home & showed my husband the pictures & when we got to Mamma & Child Jesus, I began telling him my struggle with criticizm of Mamma being so serious & Child Jesus smiling ear to ear with joy, when my husband looking at it, said, "Um, Laurie, Jesus is not smiling, he looks just as serious as Mamma!". I took the camera from his hands swearing he was smiling, and was absolutely stunned to see in the picture, that Child Jesus was not smiling even remotely! Now, I am baffled, as I was not expecting anything to happen, here while I was simply giving thanks & hoping they liked the work done for them in the Holy Family Garden, but, I couldnt go back to confirm either way as the Church was now closed. I couldn't go back later as I got ill, but did ask my friend to go check for me, and she said that to her, Jesus doesn't look like he's smiling either at the Church. So, now, I think sweet Child Jesus, was confirming to me, that he and they did like what was done in the Holy Family Garden, as I have no explanation to what has happened there & what I thought I saw. I Thank You sweet Child Jesus & Mamma, what a sweet way to let me know you approve, you really took me back with surprise this time but I trully am grateful to you! With love always, Thank You Father, I praise your Holy Name & Will, May it be done on earth as it IS in Heaven!. Laurie

  

Krishna [1](/ˈkrɪʃnə/; Sanskrit: कृष्ण, Kṛṣṇa in IAST, pronounced [ˈkr̩ʂɳə] ( listen)) is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kurukshetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.[2]

Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana,[3] or as an elder giving direction and guidance as in the Bhagavad Gita.[4] The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions.[5] They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being.[6] The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.

Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE.[7] Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC.[8][9] Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.[10]The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue".[11] The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening".[12] Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.[13]

As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh).[14][15] Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.[16]Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute.[17][18] In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.

A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.[19][20]The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.[21]

Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures:[22] his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.

Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna,[23] a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra[24] and Nimbarka sampradaya,[25] as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.[26]

Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal.[27][28] Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra,[29] Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu.[30] Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.

The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles".[31] Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna.[32] Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13.[33] Some authors have also likened prehistoric depictions of deities to Krishna.

Chandogya Upanishad (3.17.6) composed around 900 BCE[34] mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.[35][36][37][38]

Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna.[39] Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.[40]

Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.[35][41][42]

Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.[43]

The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.[44]

The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.[45]

According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.[41]

Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.[46][47]

In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors".[48] Brahmi inscription on the Mora stone slab, now in the Mathura Museum.[49][50]

Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools.[51] Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.

Life[edit]

This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami,[52] is 18 July 3228 BCE.[53] He was born to Devaki and her husband, Vasudeva,[54][55] When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kansa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kansa's sister (Devaki) would kill Kansa. Out of affection for Devaki, Kansa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kansa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring.[citation needed] Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world.[56][57][58] However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children.[59] Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.

The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kansa.

Krishna belonged to the Vrishni clan of Yadavas from Mathura,[60] and was the eighth son born to the princess Devaki, and her husband Vasudeva.

Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kansa, Devaki's brother,[61] had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kansa had the couple locked in a prison cell. After Kansa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kansa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Abhijit nakshatra and simultanously Ekanamsha was born as Yogamaya in Gokulam to Nanda and Yashoda.

Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda[62] and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna)Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder,[64] his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.

Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.

Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources.[65][66] In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra.[67] In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.

The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.[68]

Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation.[69] The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun.[70] This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kansa, after quelling several assassination attempts from Kansa's followers. He reinstated Kansa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court.[73] During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.[74]

Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens—collectively called the Ashtabharya—including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana.[75][76] Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour.[77][78] Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation.[79] In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi— consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.[80]

When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.

Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.[82]Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons—which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation—an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed

Ashwathama Hatahath, naro va Kunjaro va

i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.

When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.

The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).[83][84][85]

After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body[86] ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth.[87][88][89] The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event.[86] The place of this incident is believed to be Bhalka, near Somnath temple.[90][91]

According to Puranic sources,[92] Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE.[7] Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.

Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature.[93] While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him.[94] Krishna is also explicitly described as without deterioration elsewhere.[95]The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself.[96] However the exact relationship between Krishna and Vishnu is complex and diverse,[97] where Krishna is sometimes considered an independent deity, supreme in his own right.[98] Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.[99]

All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism,[100][101] Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God.[102][103][104][105][106] Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period.[107] Today the faith has a significant following outside of India as well.[108]The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism.[8][39] It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity.[9][109] This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna.[110][111] Some early scholars would equate it with Bhagavatism,[9] and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace.[9] In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka.[112] The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.[113]

Bhakti tradition[edit]

Main article: Bhakti yoga

Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects.[100][114] Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."[101]

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country.[115] A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre.[116][117] [118] Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.

Spread of the Krishna-bhakti movement[edit]

The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India[119]While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.

In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba,[29] a local form of Krishna, from the beginning of the 13th century until the late 18th century.[6] In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.[114]In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.[10][120][121]In South India, Vaishnavas usually belong to the Sri Sampradaya[citation needed]. The acharyas of the Sri Sampradaya have written reverentially about Krishna in most of their works like the Thiruppavai by Andal[122] and Gopala Vimshati by Vedanta Desika.[123] In South India, devotion to Krishna, as an avatar of Vishnu, spread in the face of opposition to Buddhism, Shaktism, and Shaivism and ritualistic Vedic sacrifices. The acharyas of the Sri Sampradaya like Manavala Mamunigal, Vedanta Desika strongly advocated surrender to Vishnu as the aim of the Vedas. Out of 108 Divya Desams there are 97 Divya Desams in South India.While discussing the origin of Indian theatre, Horwitz talks about the mention of the Krishna story in Patanjali's Mahabhashya (c. 150 BC), where the episodes of slaying of Kamsa (Kamsa Vadha) and "Binding of the heaven storming titan" (Bali Bandha) are described.[124] Bhasa's Balacharitam and Dutavakyam (c. 400 BC) are the only Sanskrit plays centered on Krishna written by a major classical dramatist. The former dwells only on his childhood exploits and the latter is a one-act play based on a single episode from the Mahābhārata when Krishna tries to make peace between the warring cousins.[125]

From the 10th century AD, with the growing bhakti movement, Krishna became a favorite subject of the arts. The songs of the Gita Govinda became popular across India, and had many imitations. The songs composed by the Bhakti poets added to the repository of both folk and classical singing.

The classical Indian dances, especially Odissi and Manipuri, draw heavily on the story. The 'Rasa lila' dances performed in Vrindavan shares elements with Kathak, and the Krisnattam, with some cycles, such as Krishnattam, traditionally restricted to the Guruvayur temple, the precursor of Kathakali.[126]

The Sattriya dance, founded by the Assamese Vaishnava saint Sankardeva, extols the virtues of Krishna. Medieval Maharashtra gave birth to a form of storytelling known as the Hari-Katha, that told Vaishnava tales and teachings through music, dance, and narrative sequences, and the story of Krishna one of them. This tradition spread to Tamil Nadu and other southern states, and is now popular in many places throughout India.

Narayana Tirtha's (17th century AD) Krishna-Lila-Tarangini provided material for the musical plays of the Bhagavata-Mela by telling the tale of Krishna from birth until his marriage to Rukmini. Tyagaraja (18th century AD) wrote a similar piece about Krishna called Nauka-Charitam. The narratives of Krishna from the Puranas are performed in Yakshagana, a performance style native to Karnataka's coastal districts. Many movies in all Indian languages have been made based on these stories. These are of varying quality and usually add various songs, melodrama, and special effects.

In other religions[edit]

Jainism[edit]

Further information: Salakapurusa

The most exalted figures in Jainism are the twenty-four Tirthankaras. Krishna, when he was incorporated into the Jain list of heroic figures, presented a problem with his activities which are not pacifist. The concept of Baladeva, Vasudeva and Prati-Vasudeva was used to solve it.[neutrality is disputed] The Jain list of sixty-three Shalakapurshas or notable figures includes, amongst others, the twenty-four Tirthankaras and nine sets of this triad. One of these triads is Krishna as the Vasudeva, Balarama as the Baladeva and Jarasandha as the Prati-Vasudeva. He was a cousin of the twenty-second Tirthankara, Neminatha. The stories of these triads can be found in the Harivamsha of Jinasena (not be confused with its namesake, the addendum to Mahābhārata) and the Trishashti-shalakapurusha-charita of Hemachandra.[127]

In each age of the Jain cyclic time is born a Vasudeva with an elder brother termed the Baladeva. The villain is the Prati-vasudeva. Baladeva is the upholder of the Jain principle of non-violence. However, Vasudeva has to forsake this principle to kill the Prati-Vasudeva and save the world. [128][129]The story of Krishna occurs in the Jataka tales in Buddhism,[130] in the Vaibhav Jataka as a prince and legendary conqueror and king of India.[131] In the Buddhist version, Krishna is called Vasudeva, Kanha and Keshava, and Balarama is his older brother, Baladeva. These details resemble that of the story given in the Bhagavata Purana. Vasudeva, along with his nine other brothers (each son a powerful wrestler) and one elder sister (Anjana) capture all of Jambudvipa (many consider this to be India) after beheading their evil uncle, King Kamsa, and later all other kings of Jambudvipa with his Sudarshana Chakra. Much of the story involving the defeat of Kamsa follows the story given in the Bhagavata Purana.[132]

As depicted in the Mahābhārata, all of the sons are eventually killed due to a curse of sage Kanhadipayana (Veda Vyasa, also known as Krishna Dwaipayana). Krishna himself is eventually speared by a hunter in the foot by mistake, leaving the sole survivor of their family being their sister, Anjanadevi of whom no further mention is made.[133]

Since Jataka tales are given from the perspective of Buddha's previous lives (as well as the previous lives of many of Buddha's followers), Krishna appears as the "Dhammasenapati" or "Chief General of the Dharma" and is usually shown being Buddha's "right-hand man" in Buddhist art and iconography.[134] The Bodhisattva, is born in this tale as one of his youngest brothers named Ghatapandita, and saves Krishna from the grief of losing his son.[131] The 'divine boy' Krishna as an embodiment of wisdom and endearing prankster forms a part of the pantheon of gods in Japanese Buddhism .[135]Bahá'ís believe that Krishna was a "Manifestation of God", or one in a line of prophets who have revealed the Word of God progressively for a gradually maturing humanity. In this way, Krishna shares an exalted station with Abraham, Moses, Zoroaster, Buddha, Muhammad, Jesus, the Báb, and the founder of the Bahá'í Faith, Bahá'u'lláh.[Members of the Ahmadiyya Community believe Krishna to be a great prophet of God as described by their founder, Mirza Ghulam Ahmad. This belief is maintained by the Qur'anic Principle that God has sent prophets and messengers to every nation of the world leaving no region without divine guidance (see for instance Quran 10:47 and Quran 16:36).

Ghulam Ahmad also claimed to be the likeness of Krishna as a latter day reviver of religion and morality whose mission was to reconcile man with God.[138] Ahmadis maintain that the Sanskrit term Avatar is synonymous with the term 'prophet' of the Middle Eastern religious tradition as God's intervention with man; as God appoints a man as his vicegerent upon earth. In Lecture Sialkot, Ghulam Ahmed wrote:

Let it be clear that Raja Krishna, according to what has been revealed to me, was such a truly great man that it is hard to find his like among the Rishis and Avatars of the Hindus. He was an Avatar—i.e., Prophet—of his time upon whom the Holy Spirit would descend from God. He was from God, victorious and prosperous. He cleansed the land of the Aryas from sin and was in fact the Prophet of his age whose teaching was later corrupted in numerous ways. He was full of love for God, a friend of virtue and an enemy of evil.[138]

Krishna is also called Murli Dhar. The flute of Krishna means the flute of revelation and not the physical flute. Krishna lived like humans and he was a prophet.[139][140]Krishna worship or reverence has been adopted by several new religious movements since the 19th century and he is sometimes a member of an eclectic pantheon in occult texts, along with Greek, Buddhist, biblical and even historical figures.[141] For instance, Édouard Schuré, an influential figure in perennial philosophy and occult movements, considered Krishna a Great Initiate; while Theosophists regard Krishna as an incarnation of Maitreya (one of the Masters of the Ancient Wisdom), the most important spiritual teacher for humanity along with Buddha.[142][143]

Krishna was canonized by Aleister Crowley and is recognized as a saint in the Gnostic Mass of Ordo Templi Orientis.[144][145]

Before this day, I had not heard of Hemblington. But I saw a sign pointing to the church, away over the fields, and I had time, so I turned to see where it went.

 

The road went for ages until I saw the church, tucked in the countryside, round tower looking so typically Norfolk.

 

Inside I was dazzled by the painted font, the wall paintings on the north wall and the various nooks and crannies of this ancient church, but not really knowing what each was for.

 

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You don't have to go far off of the hellish A47 between Norwich and Yarmouth to come out into an utterly rural and remote corner of Norfolk. This is partly sleight of hand, because the narrow lanes which leave the busy road are so winding that they make you think you've come further than you have. Also, you might expect this area between the marshes and the broads to be flat and open; but here the landscape rolls, a patchwork of hedged fields and copses. In the late summer, there was a balmy restlessness, the soothing warmth of the sun competing with the wind from the North Sea ruffling and rustling the long grass.

All Saints is set in a secretive graveyard on a rise above a lattice of country lanes. From a distance it appears a sentinel; but, closer to, the aspect softens, and the church reveals itself as a humble little round-towered building, with much that is old about it, but also the simple mendings and making dos of later generations. I was particularly struck by the use of red brick, both in the elegant window in the western side of the Norman tower (is it 17th century?) and the moulding inside the opening of what is otherwise a humble south porch.

 

When I first came this way I bemoaned the fact that Hemblington church was kept locked, but I am happy to report that it is now open every day. Certainly, Hemblington is a remote parish, and its church a remote church, and trusting strangers is a risk - and Faith itself is a risk, of course. But the great medieval treasures of Hemblington are not the kind that can be carted away in the back of a white van.

 

The first is one of a number of very interesting, even idiosyncratic, fonts in this part of Norfolk. These do not appear to be part of a series, although this one does bear a strong resemblance to that nearby at Buckenham. They do suggest, however, that there was an abundance of stonecarvers working in this area in the 15th century, and that parishes were able to express their independence and individuality in their choice of subject. The Reformation would put a stop to that.

 

The Hemblington font was recoloured lightly in the 1930s under the eye of Professor Tristram. It is a great celebration of Saints; there are seven seated on the panels of the bowl, and eight more standing around the shaft. The eighth panel subject is a beautiful Holy Trinity, with God the Father seated holding his crucified Son between his knees, while the dove of the Spirit descends. It is a charming image; there is another on the font at Acle a few miles off. Among the Saints on the panel are St Augustine, St Edward the Confessor, St Barbara, and a striking St Agatha - she sits with her breasts bared, a sword descending. Among those around the shaft are St Lawrence with a finely carved grid iron, St Leonard with his manacles, St Margaret dispatching a dragon with her cross, St Catherine with her wheel and sword, St Stephen and St Mary Magdalene.

 

If there was only the font, Hemblington would be a must-see for anyone interested in the late medieval period. But just as the font demonstrates the enthusiasms of the cool, rational 15th century, so there is evidence of the shadowier devotions of a century earlier. This is the best single surviving wall painting of the narrative of St Christopher in England. The giant figure bestrides the river opposite the south doorway, just as he does in about twenty churches in this part of Norfolk, but here his staff has become a club, and on either bank there are smaller scenes depicting events in the Saint's story. those on the west side, recalling his life as a pagan before conversion, are all but obliterated. Those on the east side, however, are marvellously well-preserved, vivid and immediate in their clarity. They show the trials and tribulations he underwent in his life as a Christian, including the occasion on which two women were sent to tempt him in prison, and another where he is led to the executioner's sword. Another shows him tied to a tree being flogged, an echo of the scourging of Christ; another shows him being shot through with arrows, which would have immediately brought to mind the martyrdom of their own dear St Edmund to the medieval East Anglians.

 

The donors who paid for the font, in that great, late medieval attempt to reinforce Catholic orthodoxy in the face of local abuses and superstitions, are probably among those remembered by brass inscriptions in the nave.

 

And this must have been a busy parish in those days, for will evidence reveals that there were three guild altars where lights burned for the dead. We can even trace where these guild altars may have been, for on the north side of the nave there is a piscina, and connected to it is a pedestal, where a statue of a Saint would have stood. Such things were probably destroyed in the 1530s by orders of the increasingly paranoid King Henry VIII; those that survived would have fallen to the orders of the enthusiastically puritan advisors of his son, the boy King Edward VI a decade later. It is appalling to think of the richness that once was, not just here, but in thousands of village churches all over England. So much lost, so much wilfully destroyed.

Hemblington has retained more than most, and the church is a fascinating testimony to the mindset of late medieval East Anglia. But even without these great treasures, All Saints is a charming, rural building that speaks as loudly of the Victorian villagers who paid for, and probably worked on, its restoration as it does of their mysterious Catholic forebears. I stood for a moment imagining the blacksmith and the plowboy, the wheelwright and the carpenter, sitting in the pews for Divine Service. And then, after a chat with the modern custodians, we headed on for North Burlingham.

 

Simon Knott, November 2007

 

www.norfolkchurches.co.uk/hemblington/hemblington.htm

 

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Six socmen of Gert were at the Conquest deprived of 30 acres of land, 2 acres of meadow, with 2 carucates, in this town, there were also 2 socmen, one of them belonged to the soc of the hundred, who held half a carucate of land, and a borderer with 6 acres of meadow, who had under them 7 socmen, with 20 acres of land, and one of meadow, and there was one carucate and an half among them all; it was one leuca long, and half a leuca broad, and paid 16d. gelt. (fn. 1)

 

This lordship was in the Crown at the survey, and Godric took care of it; and was granted to the family of Le Botiler, and from them came to the Botetourts, as in South Walsham, and Upton.

 

William de Rothing and Joan his wife claimed view of frankpledge, &c. in the 15th of Edward I.

 

Henry de Cat and Margery his wife had an interest herein, in the 35th of the said King, and Henry Cat, and Jeffrey Atte Fenne were returned to be lords in the 9th of Edward II. after this John Fastolf and Margery his wife.

 

The principal manor belonged to the see of Norwich; at the survey William Beaufoe Bishop of Thetford held it in his own right, as a lay fee, 60 acres of land; of which 2 freemen (of Ralph Stalre were deprived) with the soc and sac; of one of these Almar Bishop of Elmham had the commendation, or protection only, of this Beaufoe had the soc, &c. and Ralph, the Earl had the other, valued at 2s.

 

Bishop Beaufoe in right of his see had also 21 socmen, with 140 acres of land, 8 acres of meadow, and 3 carucates and a half, &c. this was valued in his principal lordship of Blowfield: in this town, there were also 60 acres of demean land. (fn. 2)

 

Bishop Beaufoe gave this to his see at his death, and Bishop Herbert settled it on the priory, with the advowson of the church.

 

The ancient family of the Castons held a considerable part of these fees. of the see of Norwich, of whom see in Blofield, Bradeston, &c. and after came to the Berneys of Reedham; the Lords Bardolf had also an interest herein, in the 15th of Edward I. William Bardolf, claimed the assise, frank pledge, &c.

 

Sir Thomas Berney died lord in 1389, and his descendant, Henry Berney, Esq. in 1584.

 

The tenths were 2l. The temporalities of St. Faith's priory 18d. Of Weybridge 5s.

 

The Church was a rectory dedicated to All-Saints, and formerly in the patronage of the Bishops of Norwich, but was appropriated to the prior and convent of Norwich, for the prior's table, by Walter Suffield Bishop in 1248, and was valued together with the vicarage at 5l.—Peter-pence 12d.—Carvage 2d. ob.

 

Vicars.

 

In 1304, Thomas de Langele, instituted vicar, presented by the prior &c. of Norwich.

 

1307, Richard de Boton. Ditto.

 

1324, And. de Bedingham. Ditto.

 

1349, Edmund Barker. Ditto.

 

1367, Thomas Gilbert. Ditto.

 

1395, John Malpas. Ditto.

 

1395, Edmund Heryng. Ditto.

 

1397, Robert Gernon. Ditto.

 

1401, Sim. Annable. Ditto.

 

1402, Robert Body. Ditto.

 

It has for many years been served with a stipendiary curate, nominated by the dean and chapter, who have the appropriated rectory.

 

¶In the church were the lights of All-Saints, St. Mary, Holy Cross, St. Catherine, and St. Margaret.

 

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

This article is about the Greek conception of the transmigration of the soul. For the general concept, see Reincarnation.

 

A section of Metempsychosis (2019) by François Gachon

; a drop of water from the vapours in the sky transforms into a mountain stream, which flows into a great river and on into the sea, whence rises a dragon (pictured) that turns back to vapour; National Museum of Modern Art, (Important Cultural Property)[1]

Metempsychosis (Greek: μετεμψύχωσις) is a philosophical term in the Greek language referring to transmigration of the soul, especially its reincarnation after death. Generally, the term is derived from the context of ancient Greek philosophy, and has been recontextualised by modern philosophers such as Arthur Schopenhauer[2] and Kurt Gödel;[3] otherwise, the term "transmigration" is more appropriate. The word plays a prominent role in James Joyce's Ulysses and is also associated with Nietzsche.[4] Another term sometimes used synonymously is palingenesis.

Metempsychosis is a concept from Greek philosophy which is similar to reincarnation. Metempsychosis is also called "transmigration of souls" and describes the process of a soul being transferred to another body after death. This transfer can happen between any human and / or animal body. For example, a human can come back as another human, or as a bird or animal or reptile of some kind. Likewise, animal souls can come back as human. Metempsychosis is different from reincarnation because the soul is not going "up" or "down" the ladder as a result of good or bad actions in life. Instead, the soul chooses a new body as a way of gaining diverse experiences.

 

Pythagoras was the first to theorize metempsychosis as a potential life after death experience, and then Plato expounded on the theory in his Republic. While it is unclear whether Plato actually believed in metempsychosis, he was responsible for its popularization. In Plato's story, a warrior called Er travels to another, immortal realm, and then brings back knowledge to the mortal realm. While he is there, he sees metempsyschosis happening. The souls of the dead are congregated, choosing new bodies to inhabit—animals choosing to become different animals, men choosing to become other men, birds choosing to become men, and even gods choosing to become athletic heroes. When the soul had decided on its new home, it was told to drink from the River Lethe, and then sent down to earth to be born. There are some instances in the Bible of fallen angels taking on human or animal form (Genesis 3:1–7; 6:1–4) and of holy angels appearing as men (Mark 16:5) but this is not considered metempsychosis because the spirit is only inhabiting a body for a short period of time, not taking ownership of it until death.

 

While metempsychosis is a rather poetic idea, it is not a biblical one. Metempsychosis, reincarnation, and all other iterations of this myth are refuted by the Scriptures, which say that man has only one chance to live and only one time to die, after which he must face the judgment of a holy God (Hebrews 9:27). The reincarnation concept takes the pressure off of men by delaying, or even entirely eliminating the judgment of God. But it is very clear that God will judge each man according to the things he has done while in the body (2 Corinthians 5:10).

 

This should be sobering, and even frightening, when we think of the things we have done throughout our lives and the fact that God is completely holy and just, and cannot tolerate anything less than perfection to enter His presence. But God's character is also merciful and He is "a shield for all those who take refuge in him" (2 Samuel 22:31). This was proven by the life of Jesus, who came to live a perfect life and then die as a perfect sacrifice which (by its perfection and its eternal nature) could satisfy the justice of God on our behalf. Every man and woman must stand before God. Those who trust in their own good works to save them will fall short (Romans 3:20). But all who trust in Christ's righteousness rather than their own will be saved (John 3:16–18; Romans 5:1–2; 1 John 2:2). "What is metempsychosis?"

 

Answer: Metempsychosis is a concept in Greek philosophy related to reincarnation and the transmigration of the soul. It is the idea that, when a person dies, his or her soul is transferred into another body, either another human body or the body of an animal. There is nothing biblical about metempsychosis.

 

The theory of metempsychosis originated with Pythagoras and his teacher, Pherecydes of Syros, but the popularization of the concept is due to its adoption by Plato. According to Plato’s view, there is a fixed number of souls in existence, and those souls transmigrate in and out of human and animal bodies, never being destroyed. These souls sometimes travel to another, immortal realm, before returning to the mortal realm, bringing back knowledge. In Plato’s Republic, the soul of a warrior named Er travels to heaven and sees the souls of the dead choosing new bodies. Er sees tame animals choosing to be wild and vice versa, men choosing to be birds, birds choosing to become men, gods choosing to become athletes. Once the soul had made its choice, it drank of the River Lethe and was shot down to earth like a star to be born.

 

Scholars are not sure whether Plato actually believed in metempsychosis or whether his tales were meant to be allegorical. Metempsychosis is unlike reincarnation in that metempsychosis is based on the desire of the soul for new experiences rather than a result of judgment. In the theory of reincarnation, one’s good or bad actions in life determine the nature of the body assigned in the next life. Metempsychosis fits well with Greek philosophy and mythology as a whole; in the Greek myths, gods often take on a human and animal form to achieve their ends.

 

The idea of metempsychosis or reincarnation does not exist in the Bible. At times, spiritual beings took the form of men or animals to influence humankind. Satan appeared to Eve as a serpent in order to engineer the fall of man (Genesis 3:1–7). The holy angels sometimes appeared as men (Mark 16:5). And it seems that fallen angels once took on the form of men in order to procreate with human women and produce giant, evil offspring called Nephilim (Genesis 6:1–4). But none of this can be considered metempsychosis.

 

The Bible teaches that each human soul has one life; after death, the soul faces judgment (Hebrews 9:27). There is no coming back in another body of any form for any reason. Jesus gives a wise perspective: “I will show you whom you should fear: Fear him who, after your body has been killed, has authority to throw you into hell. Yes, I tell you, fear him” (Luke 12:5).

  

Contents

1Europe before the pre-Socratic philosophers

2In Greek philosophy

3Post-Classical occurrence

4In literature after the classical era

5See also

6References

7External links

Europe before the pre-Socratic philosophers[edit]

It is unclear how the doctrine of metempsychosis arose in Greece. It is easiest to assume that earlier ideas which had never been extinguished were utilized for religious and philosophic purposes. The Orphic religion, which held it, first appeared in Thrace upon the semi-barbarous north-eastern frontier. Orpheus, its legendary founder, is said to have taught that soul and body are united by a compact unequally binding on either; the soul is divine, immortal and aspires to freedom, while the body holds it in fetters as a prisoner. Death dissolves this compact, but only to re-imprison the liberated soul after a short time: for the wheel of birth revolves inexorably. Thus the soul continues its journey, alternating between a separate unrestrained existence and fresh reincarnation, round the wide circle of necessity, as the companion of many bodies of men and animals." To these unfortunate prisoners Orpheus proclaims the message of liberation, that they stand in need of the grace of redeeming gods and of Dionysus in particular, and calls them to turn to God by ascetic piety of life and self-purification: the purer their lives the higher will be their next reincarnation, until the soul has completed the spiral ascent of destiny to live for ever as a God from whom it comes. Such was the teaching of Orphism which appeared in Greece about the 6th century BC, organized itself into private and public mysteries at Eleusis and elsewhere, and produced a copious literature.[5][6][7]

 

In Greek philosophy[edit]

The earliest Greek thinker with whom metempsychosis is connected is Pherecydes of Syros;[8] but Pythagoras, who is said to have been his pupil, is its first famous philosophic exponent. Pythagoras is not believed to have invented the doctrine or to have imported it from Egypt. Instead he made his reputation by bringing the Orphic doctrine from North-Eastern Hellas to Magna Graecia, and creating societies for its diffusion.

 

The real weight and importance of metempsychosis in Western tradition is due to its adoption by Plato.[citation needed] In the eschatological myth which closes the Republic he tells the myth how Er, the son of Armenius, miraculously returned to life on the twelfth day after death and recounted the secrets of the other world. After death, he said, he went with others to the place of Judgment and saw the souls returning from heaven, and proceeded with them to a place where they chose new lives, human and animal. He saw the soul of Orpheus changing into a swan, Thamyras becoming a nightingale, musical birds choosing to be men, the soul of Atalanta choosing the honours of an athlete. Men were seen passing into animals and wild and tame animals changing into each other. After their choice the souls drank of Lethe and then shot away like stars to their birth. There are myths and theories to the same effect in other dialogues, the Phaedrus, Meno, Phaedo, Timaeus and Laws.[citation needed] In Plato's view the number of souls was fixed; birth therefore is never the creation of a soul, but only a transmigration from one body to another.[9] Plato's acceptance of the doctrine is characteristic of his sympathy with popular beliefs and desire to incorporate them in a purified form into his system.[citation needed] The extent of Plato's belief in metempsychosis has been debated by some scholars in modern times. Marsilio Ficino (Platonic Theology 17.3–4), for one, argued that Plato's references to metempsychosis were intended allegorically.

 

In later Greek literature the doctrine appears from time to time; it is mentioned in a fragment of Menander (the Inspired Woman) and satirized by Lucian (Gallus 18 seq.). In Roman literature it is found as early as Ennius,[10] who in his Calabrian home must have been familiar with the Greek teachings which had descended to his times from the cities of Magna Graecia. In a lost passage of his Annals, a Roman history in verse, Ennius told how he had seen Homer in a dream, who had assured him that the same soul which had animated both the poets had once belonged to a peacock. Persius in one of his satires (vi. 9) laughs at Ennius for this: it is referred to also by Lucretius (i. 124) and by Horace (Epist. II. i. 52). Virgil works the idea into his account of the Underworld in the sixth book of the Aeneid (vv. 724 sqq.). It persists in antiquity down to the latest classic thinkers, Plotinus and the other Neoplatonists.

 

Post-Classical occurrence[edit]

Metempsychosis was a part of the Neo-Manichaen dogma of the Albigenses around France in the 12th century.[11]

 

Created in the early XVth century, the Rosicrucianist movement also conveyed an occult doctrine of metempsychosis.[12]

 

In literature after the classical era[edit]

"Metempsychosis" is the title of a longer work by the metaphysical poet John Donne, written in 1601.[13] The poem, also known as the Infinitati Sacrum,[14] consists of two parts, the "Epistle" and "The Progress of the Soule". In the first line of the latter part, Donne writes that he "sing[s] of the progresse of a deathlesse soule".[14]

 

Metempsychosis is a prominent theme in Edgar Allan Poe's 1832 short story "Metzengerstein".[15] Poe returns to metempsychosis again in "Morella" (1835)[16] and "The Oval Portrait" (1842).[17]

 

Metempsychosis is referred to prominently in the concluding paragraph of Chapter 98, "Stowing Down and Clearing Up", of Herman Melville's Moby-Dick.

 

Metempsychosis is mentioned as the religion of choice by the minor character Princess Darya Alexandrovna Oblonsky in Leo Tolstoy’s Anna Karenina.

 

Herbert Giles uses the term metempsychosis in his translation of the butterfly dream from the Zhuangzi (Chinese: 《莊子》).[18] The use of this term is contested by Hans Georg Möller (de), though, who claims that a better translation is “the changing of things”.[19]

 

Metempsychosis is a recurring theme in James Joyce's modernist novel Ulysses (1922).[20] In Joycean fashion, the word famously appears in Leopold Bloom's inner monologue, recalling how his wife, Molly Bloom, apparently mispronounced it earlier that day as "met him pike hoses."[21]

 

In Thomas Pynchon's 1963 premiere novel V., metempsychosis is mentioned in reference to the book "The Search for Bridey Murphy" by Morey Bernstein, and also later in chapter eight.

 

Metempsychosis is referenced in Don DeLillo's 1982 novel The Names.

 

In David Foster Wallace's 1996 novel Infinite Jest, the name of the character Madame Psychosis is an intentional malapropism of metempsychosis.

 

Guy de Maupassant's story "Le docteur Héraclius Gloss" (1875) is a fable about metempsychosis.

 

In Marcel Proust's famous first paragraph from In Search of Lost Time, the narrator compares his separation from the subject of a book to the process of metempsychosis.

 

In Robert Montgomery Bird's fiction novel Sheppard Lee Written by Himself (1836) the protagonist is a serial identity thief by way of metempsychosis.

 

The eponymous Archy of Don Marquis's archy and mehitabel poems is a cockroach with the transmigrated soul of a human vers libre poet.

 

en.wikipedia.org/wiki/Metempsychosis

This is Rose BOWING to her JESUS now at 18 INCHES on 08 OCTOBER 2006. She is in a cement level base since 25 September that we made. I couldn't resist, when we made it to put soil from Rose's grave, soil from each of her houses, some tiny rocks, a leaf, and a flower from her houses. It was just a little of each but I thought it would make it all the more special. You can see her Heart shape base which is what I will make her memorial stone into soon. It will be made with smooth cement, black die, a white birch cross with Rose's name engraved in it & her picture with Angel wings. The "FERRON" ROSARY with 15 Mysteries that the Virgin Mary had designed & showed Rose on 01 May 1928 and will show each of the Ferron children will surround the edge in heart-shape form with gemstones representing the 10 X 15 Hail Mary beads.. Also Roses saying "Let us braid a crown of Thorns here on earth so my Jesus will turn it into a crown of Roses in Heaven will be surroung the edge a half inch inside before the Rosary. Mr. & Mrs. Ferron will be at the end. I would also like to include St. Michael & Mama Mary with Jesus somehow but havent figured that out yet.. I hope to complete that within next few weeks as Jesus blesses me strength & health enough to do so. I can't wait til it is completed, it will be so beautiful. Then I want to repaint Jesus's face as his eyes don't look right from the statue makers doings. One eye is bigger than the other. It's a shame statue makers & painters don't take greater care in their work but I think I can fix it.