Trinity's history began with the arrival of the circuit rider from the Mission at St. Mary's in 1829. In 1832, Trinity's meeting place was a little log courthouse that stood on the northeast corner of Spring and Main Streets. In 1835, Trinity moved to its own building on the corner of Union and Market Streets. By that time, Lima had grown to a 300-person settlement.

   

The second church was a larger building and was erected on the same lot in 1852. It was a two-story building with the first story constructed of red brick and the second was frame with a steeple and a bell. The bell can still be viewed within Trinity's current structure. Like its predecessors, the building was used for several years for worship and educational purposes.

   

In 1871, the first step toward the third church took place when land was purchased on the corner of Market and Elizabeth streets. By this time, Lima was a thriving village of 4,500 and the church thought it was time to move west, away from "all business and noise!" Because of the panic of 1873, the building project was slowed and completion/ dedication was delayed until 1876. The church was an imposing one with its tall spire.

   

But things were changing by 1910. The sanctuary, some distance above ground level, was not easy to access by the elderly. The building's acoustics had become unsatisfactory to many and modern fire regulations said there were too few exits. So, by 1909, a building committee was organized and a larger lot on the southwest corner of Market and West streets was purchased. In January of 1910, the committee gave the architect their ideas about what was wanted.

   

By June, the contract was let and work began in September. A Tudor Gothic style was chosen and the famous Bedford limestone was the selected building material. The last worship service in the red brick church was appropriately held on Christmas Eve in 1911. From old Trinity, the communion service, pulpit, bell and pews were brought to the new building.

   

Several minor changes were made to the original building over the years in an effort to meet the demands of a growing congregation and program. The pipe organ, installed after the dedication, was rebuilt in 1936 and an echo organ was added in 1948.

   

In 1961, the sanctuary was remodeled and the education addition was competed on the south side of the main building. It consisted of three floors and included classroom space for preschoolers, a chapel and parlor, and a youth lounge. In 1984, Trinity again remodeled our existing sanctuary and created a place for gathering before and after worship, and built the building over the parking lot that houses our office area and a multi-purpose room.

   

In its early history, Trinity helped launch five other Methodist churches, one of them being Grace United Methodist Church!

   

Grace Church had its beginning at the 1879 Christmas Eve prayer meeting of three people. Mr. Timothy Schroyer of Trinity Church met and prayed with Mr. and Mrs. Joseph Ballard. The home meetings continued and grew into a house church in 1880. The congregation moved into a new church building at Kibby and Elizabeth streets in 1881. The former Grace congregation, like Trinity, occupied several different buildings (in 1881, 1883, and 1915) and underwent several other instances of remodeling, responding to changing needs. Grace, with the same intention as Trinity choosing to remain downtown, purposely chose to be a presence of Christ on the near Southside in order to serve the people in the surrounding community.

   

On March 23, 2008 the congregations of Trinity United Methodist Church of Lima and Grace United Methodist Church of Lima merged. It is clear that God’s Holy Spirit has been moving through these two churches for a long time.

   

During its long history, Trinity has worn her title of "leader" well and has always been one of the largest and most centrally located meeting places in Lima and continues to be so today. It has thrown open its doors on numerous occasions for evangelistic services, interdenominational programs and more than a normal share of wedding and funeral services. It has served the community in such significant ways as being a Red Cross blood bank and polling site, hosting organ and other music recitals, union services, open forums, the Lima Choral Society, and a city-wide choir clinic.

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

Condizioni d'Uso: Avviso legale e condizioni per l’uso

  

Conoscere la più recente opera di Dio e seguire le Sue orme

 

Ora il vostro obiettivo consiste nel diventare il popolo di Dio e nell’iniziare l’intero accesso sulla retta via. Essere il popolo di Dio significa entrare nell’Età del Regno. Oggi cominciate ufficialmente ad accedere alla preparazione al Regno, e la vostra vita futura dovrà cessare di essere indolente e trasandata come è stata finora; una simile vita non è in grado di soddisfare il criterio stabilito da Dio. Se non percepisci alcuna urgenza, ciò dimostra che non hai alcun desiderio di migliorarti, che la tua ricerca è disorientata e confusa, e sei incapace di attuare la volontà di Dio. Accedere alla preparazione al Regno significa cominciare la vita del popolo di Dio: sei disposto ad accettare una simile preparazione? Sei disposto a provare un senso di urgenza? Sei disposto a vivere sotto la disciplina di Dio? Sei disposto a vivere sotto il castigo di Dio? Quando la parola di Dio scenderà su di te e ti metterà alla prova, come ti comporterai? E che cosa farai quando dovrai affrontare ogni sorta di realtà? Nel passato, non ti concentravi sulla vita; oggi devi entrare nella realtà della vita e perseguire la trasformazione della tua indole di vita. Questo è ciò che il popolo del Regno deve conseguire. Tutti coloro che fanno parte del popolo di Dio devono possedere la vita, devono accettare la preparazione al Regno e perseguire la trasformazione della loro indole di vita. Questo è ciò che Dio richiede al popolo del Regno.

 

Le prescrizioni di Dio per il popolo del Regno sono le seguenti:

 

1. Deve accettare gli incarichi assegnati da Dio, ossia deve accettare tutte le parole pronunciate durante l’opera di Dio degli ultimi giorni.

 

2. Deve accedere alla preparazione al Regno.

 

3. Deve cercare di farsi toccare il cuore da Dio. Quando il tuo cuore sarà completamente rivolto a Dio e avrai una normale vita spirituale, vivrai nel mondo della libertà, ossia vivrai sotto la tutela e la protezione dell’amore di Dio. Solo quando vivrai sotto la tutela e la protezione di Dio Gli apparterrai.

 

4. Deve essere guadagnato da Dio.

 

5. Deve diventare una manifestazione della gloria di Dio in terra.

 

Questi cinque punti sono i Miei incarichi per voi. Le Mie parole sono rivolte al popolo di Dio, e se non sei disposto ad accettare questi incarichi Io non ti costringerò; ma se li accetti veramente sarai in grado di fare la volontà di Dio. Oggi voi cominciate ad accettare gli incarichi assegnati da Dio e a cercare di diventare il popolo del Regno e soddisfare i criteri richiesti per essere il popolo del Regno. Questo è il primo passo per l’accesso. Se desideri fare pienamente la volontà di Dio, devi accettare questi cinque incarichi, e se sarai in grado di conseguirli starai agendo secondo il cuore di Dio e sicuramente Dio farà buon uso di te. Ciò che è cruciale oggi è l’accesso alla preparazione al Regno. L’accesso alla preparazione al Regno implica la vita spirituale. In precedenza non si parlava di vita spirituale, ma oggi, mentre accedi alla preparazione al Regno, accedi ufficialmente alla vita spirituale.

 

Che genere di vita è la vita spirituale? La vita spirituale è quella in cui il tuo cuore è completamente rivolto a Dio e sa essere consapevole dell’amore di Dio. È quella in cui vivi nelle parole di Dio e nient’altro occupa il tuo cuore, e sei in grado di comprendere oggi la volontà di Dio e nel compiere il tuo dovere sei guidato dalla luce dello Spirito Santo oggi. Una simile vita fra uomo e Dio è la vita spirituale. Se non sei in grado di seguire la luce di oggi, allora si è aperto un varco nel tuo rapporto con Dio – che potrebbe perfino essere stato troncato – e tu sei privo di una normale vita spirituale. Un rapporto normale con Dio è costruito sulle fondamenta dell’accettazione delle parole di Dio oggi. Hai una normale vita spirituale? Hai un normale rapporto con Dio? Sei una persona che segue l’opera dello Spirito Santo? Se sei in grado di seguire oggi la luce dello Spirito Santo e puoi comprendere la volontà di Dio nella Sua parola e hai accesso a tale parola, allora sei una persona che segue la corrente dello Spirito Santo. Se non segui la corrente dello Spirito Santo, allora indubbiamente sei una persona che non persegue la verità. Lo Spirito Santo non ha alcuna possibilità di operare in coloro che non hanno alcun desiderio di migliorarsi, e di conseguenza simili persone non sono mai in grado di raccogliere le forze e sono sempre passive. Oggi segui la corrente dello Spirito Santo? Sei nella corrente dello Spirito Santo? Sei emerso dalla condizione di passività? Coloro che credono nella parola di Dio, che pongono a fondamento l’opera di Dio e seguono oggi la luce dello Spirito Santo sono tutti nella corrente dello Spirito Santo. Se ritieni che la parola di Dio sia inequivocabilmente vera e giusta e se credi alla parola di Dio qualunque cosa Egli dica, sei una persona che persegue l’accesso all’opera di Dio e in questo modo attui la volontà di Dio.

 

Per entrare nella corrente dello Spirito Santo devi avere un normale rapporto con Dio e devi prima liberarti della tua condizione di passività. Alcuni seguono sempre la maggioranza, e il loro cuore si è troppo allontanato da Dio; simili persone non hanno alcun desiderio di migliorarsi, e i criteri che perseguono sono troppo modesti. Solo il perseguimento dell’amore per Dio e l’essere guadagnati da Dio rappresenta la Sua volontà. Vi sono persone che usano soltanto la propria coscienza per ripagare l’amore di Dio, ma ciò non può soddisfare la volontà di Dio; più sono elevati i criteri che persegui, più sarà in armonia con la volontà di Dio. In quanto siete normali e perseguite l’amore di Dio, l’accesso al Regno per diventare parte del popolo di Dio è il vostro vero futuro, e una vita che è del massimo valore e della massima importanza; nessuno è più benedetto di voi. Perché dico questo? Perché coloro che non credono in Dio vivono per la carne e vivono per Satana, ma oggi voi vivete per Dio e vivete per fare la volontà di Dio. Ecco perché dico che la vostra vita è della massima importanza. Solo questo gruppo di persone, che sono state selezionate da Dio, sono in grado di vivere una vita della massima importanza: nessun altro in terra è in grado di vivere una vita di tale valore e significato. Poiché siete stati selezionati da Dio e siete innalzati da Dio e, per di più, per via dell’amore di Dio per voi, avete compreso la vera vita e sapete come vivere una vita del massimo valore. Questo non perché la vostra ricerca sia valida, ma per via della grazia di Dio; è stato Dio ad aprire gli occhi del vostro spirito, ed è stato lo Spirito di Dio a toccarvi il cuore, conferendovi la buona sorte di presentarvi davanti a Lui. Se lo Spirito di Dio non ti avesse illuminato, saresti incapace di vedere ciò che vi è di amorevole in Dio, né ti sarebbe possibile amare Dio. È interamente a causa del fatto che lo Spirito di Dio ha toccato i cuori delle persone che essi si sono volti a Dio. Talvolta, quando gioisci della parola di Dio, il tuo spirito viene toccato e senti di non poter fare a meno di amare Dio, senti che vi è grande forza in te e non vi è nulla che tu non possa accantonare. Se ti senti così, sei stato toccato dallo Spirito di Dio, e il tuo cuore è completamente rivolto a Dio, e pregherai Dio dicendo: “O Dio! Veramente siamo stati predestinati e prescelti da Te. La Tua gloria mi dà orgoglio, e per me è splendido far parte del Tuo popolo. Adopererò qualsiasi cosa e darò qualsiasi cosa per fare la Tua volontà, e dedicherò a Te tutti i miei anni, un’intera vita di impegno”. Quando pregherai così, vi saranno nel tuo cuore un amore infinito e una vera obbedienza nei confronti di Dio. Hai mai avuto un’esperienza come questa? Se le persone vengono spesso toccate dallo Spirito di Dio, sono particolarmente disposte a dedicarsi a Dio nelle loro preghiere: “O Dio! Desidero contemplare il Tuo giorno di gloria, e desidero vivere per Te: nulla è più degno o significativo che vivere per Te, e non ho il minimo desiderio di vivere per Satana e per la carne. Tu mi innalzi consentendomi di vivere per Te oggi”. Quando avrai pregato in questo modo, sentirai di non poter fare a meno di donare il tuo cuore a Dio, di dover guadagnare Dio e che odieresti morire senza avere guadagnato Dio durante la vita. Quando avrai pronunciato una simile preghiera, vi sarà in te una forza inesauribile, e non ne capirai la provenienza; nel tuo cuore vi sarà una potenza illimitata, e percepirai che Dio è così amorevole e che è degno di essere amato. Allora sarai stato toccato da Dio. Tutti coloro che hanno avuto una simile esperienza sono stati toccati da Dio. Coloro che sono spesso toccati da Dio vedono cambiamenti nella loro vita, sono in grado di decidere e sono disposti a guadagnare completamente Dio, l’amore per Dio nel loro cuore è più intenso, hanno il cuore rivolto completamente a Dio, non tengono in alcuna considerazione la famiglia, il mondo, i vincoli o il loro futuro e sono disposti a dedicare una vita di impegno a Dio. Tutti coloro che sono stati toccati dallo Spirito di Dio sono persone che ricercano la verità e che hanno speranza di essere rese perfette da Dio.

 

Hai rivolto il tuo cuore a Dio? Il tuo cuore è stato toccato dallo Spirito di Dio? Se non hai mai avuto una simile esperienza, e se non hai mai pregato in tal modo, significa che Dio non ha posto nel tuo cuore. Tutti coloro che sono guidati dallo Spirito di Dio e sono stati toccati dallo Spirito di Dio sono in possesso dell’opera di Dio, il che dimostra che la parola di Dio e l’amore di Dio hanno messo radici in loro. Alcuni dicono: “Io non sono scrupoloso come te nelle mie preghiere, né sono così toccato da Dio; talvolta – quando medito e prego – sento che Dio è amorevole, e il mio cuore è toccato da Dio”. Niente è più importante del cuore dell’uomo. Quando il tuo cuore sarà rivolto a Dio, il tuo intero essere sarà rivolto a Dio e in quel momento il tuo cuore sarà stato toccato dallo Spirito di Dio. I più fra voi hanno avuto una simile esperienza: però la profondità della vostra esperienza non è uguale. Alcuni dicono: “Non pronuncio molte parole di preghiera, mi limito ad ascoltare la comunione degli altri e in me si accresce la forza”. Ciò dimostra che sei stato toccato interiormente da Dio. Coloro che sono stati toccati interiormente da Dio sono ispirati quando ascoltano la comunione di altri; se il cuore della persona rimane totalmente impassibile nell’ascoltare parole di ispirazione, ciò dimostra che in tale persona non è presente l’opera dello Spirito Santo. In lei non vi è desiderio, il che dimostra l’assenza di determinazione e pertanto dell’opera dello Spirito Santo. Se una persona è stata toccata da Dio, avrà una reazione quando ascolterà la parola di Dio; se non è stata toccata da Dio, non è impegnata con le parole di Dio, con cui non ha nessun rapporto, e non è in grado di essere illuminata. Coloro che hanno udito la parola di Dio e non hanno avuto alcuna reazione sono persone che non sono state toccate da Dio: sono persone prive dell’opera dello Spirito Santo. Tutti coloro che sono in grado di accettare la nuova luce sono stati toccati e sono in possesso dell’opera dello Spirito Santo.

 

Misura te stesso:

 

1. Sei nel mezzo dell’attuale opera dello Spirito Santo?

 

2. Il tuo cuore è rivolto a Dio? Sei stato toccato da Dio?

 

3. La parola di Dio ha messo radici dentro di te?

 

4. La tua pratica è costruita sulle fondamenta delle prescrizioni di Dio?

 

5. Vivi sotto la guida dell’attuale luce dello Spirito Santo?

 

6. Il tuo cuore è governato da vecchie concezioni oppure è governato dalle parole di Dio oggi?

 

Ascoltando queste parole, qual è la reazione dentro di voi? Avendo creduto per tutti questi anni, le parole di Dio sono la tua vita? Vi è stata una trasformazione della tua precedente indole corrotta? In conformità con le parole di Dio oggi, sai che cosa significhi possedere la vita e che cosa significhi essere privo di vita? Vi è chiaro? Un elemento di capitale importanza nel seguire Dio è che tutto sia conforme alle parole di Dio oggi: che tu stia perseguendo l’accesso alla vita o l’attuazione della volontà di Dio, tutto va incentrato sulle parole di Dio oggi. Se ciò con cui sei in comunione e persegui non sono incentrati sulle parole di Dio oggi, sei estraneo alle parole di Dio e totalmente privo dell’opera dello Spirito Santo. Ciò che Dio vuole sono persone che seguano le Sue orme. Per quanto meraviglioso e puro sia ciò che capivi in precedenza, Dio non lo vuole, e se non sei in grado di accantonare queste cose, esse costituiranno un ostacolo enorme per il tuo accesso nel futuro. Tutti coloro che sono in grado di seguire l’attuale luce dello Spirito Santo sono benedetti. Anche le persone dei secoli passati seguivano le orme di Dio, però non hanno potuto seguirle fino a oggi; questa è la benedizione del popolo degli ultimi giorni. Coloro che possono seguire l’attuale opera dello Spirito Santo e sono in grado di seguire le orme di Dio, andando perciò Dio ovunque Egli li conduca, sono persone benedette da Dio. Coloro che non seguono l’attuale opera dello Spirito Santo non hanno avuto accesso all’opera delle parole di Dio, e per quanto si sforzino o per quanto grande sia la loro sofferenza o per quanto corrano qua e là, nulla di tutto questo ha alcun significato per Dio, ed Egli non li elogia. Oggi, tutti coloro che seguono le attuali parole di Dio sono nella corrente dello Spirito Santo; coloro che sono estranei alle parole di Dio oggi sono al di fuori della corrente dello Spirito Santo, e simili persone non sono elogiate da Dio. Il servizio disgiunto dagli attuali discorsi dello Spirito Santo è un servizio che appartiene alla carne, e alle concezioni, e non è in grado di essere in conformità con la volontà di Dio. Se le persone vivono fra le concezioni religiose, sono incapaci di fare alcunché di adatto alla volontà di Dio, e anche se servono Dio Lo servono in mezzo alle loro fantasie e concezioni e sono totalmente incapaci di servire in conformità con la volontà di Dio. Coloro che sono incapaci di seguire l’opera dello Spirito Santo non capiscono la volontà di Dio, e coloro che non capiscono la volontà di Dio non possono servire Dio. Dio vuole un servizio che sia secondo il Suo cuore; non vuole un servizio che appartenga alle concezioni e alla carne. Se le persone sono incapaci di seguire i passi dell’opera dello Spirito Santo, vivono in mezzo alle concezioni. Il servizio di simili persone interrompe e disturba, e un tale servizio si svolge in senso contrario a Dio. Pertanto coloro che sono incapaci di seguire le orme di Dio sono incapaci di servire Dio; coloro che sono incapaci di seguire le orme di Dio di sicuro si oppongono a Dio e sono incapaci di essere in armonia con Dio. “Seguire l’opera dello Spirito Santo” significa capire la volontà di Dio oggi, essere in grado di agire in conformità con le attuali prescrizioni di Dio, essere in grado di obbedire e seguire il Dio di oggi e ottenere l’accesso in conformità con i nuovissimi discorsi di Dio. Soltanto così si può seguire l’opera dello Spirito Santo ed essere nella corrente dello Spirito Santo. Simili persone non soltanto sono in grado di ricevere la lode di Dio e di vedere Dio, ma sanno anche riconoscere l’indole di Dio dalla Sua opera più recente e sanno riconoscere le concezioni e la disobbedienza dell’uomo, nonché la natura e la sostanza dell’uomo, dalla Sua opera più recente; inoltre durante il servizio sono in grado di conseguire gradualmente una trasformazione della loro indole. Soltanto tali persone sono in grado di guadagnare Dio e hanno autenticamente trovato la vera via. Coloro che sono eliminati dall’opera dello Spirito Santo sono persone che non sono in grado di seguire la nuovissima opera di Dio e si ribellano contro la nuovissima opera di Dio. Tale aperta opposizione a Dio è dovuta al fatto che Dio ha compiuto una nuova opera e che l’immagine di Dio non è uguale a quella delle concezioni di queste persone; di conseguenza si oppongono apertamente a Dio e giudicano Dio, il che induce Dio a disprezzarle e a respingerle. Possedere la conoscenza della più recente opera di Dio non è cosa facile, ma se le persone hanno in mente di obbedire intenzionalmente all’opera di Dio e di ricercare l’opera di Dio, avranno la possibilità di vedere Dio e di guadagnare la più recente guida dello Spirito Santo. Coloro che intenzionalmente si oppongono all’opera di Dio non possono ricevere l’illuminazione dello Spirito Santo né la guida di Dio. Pertanto, l’eventualità che le persone possano o meno ricevere la nuovissima opera di Dio dipende dalla grazia di Dio, dalla loro ricerca e dalle loro intenzioni.

 

Tutti coloro che sono in grado di obbedire agli attuali discorsi dello Spirito Santo sono benedetti. Non importa come fossero prima o come lo Spirito Santo operasse in loro: coloro che hanno guadagnato l’opera più recente sono i più benedetti, e coloro che non sono in grado di seguire oggi l’opera più recente vengono eliminati. Dio vuole coloro che sono in grado di accettare la nuova luce e vuole coloro che accettano e conoscono la Sua opera più recente. Perché viene detto che devi essere una vergine casta? Una vergine casta è in grado di ricercare l’opera dello Spirito Santo e capire le cose nuove e per di più è in grado di accantonare le vecchie concezioni e obbedire all’opera di Dio oggi. Questo gruppo di persone, che accettano l’odierna opera più recente, erano state predestinate da Dio prima dei secoli e sono le più benedette fra le persone. Voi ascoltate direttamente la voce di Dio e contemplate la manifestazione di Dio e così, in tutti i cieli e la terra, e in tutti i secoli, nessuno è stato benedetto più di voi, di questo gruppo di persone. Tutto ciò è dovuto all’opera di Dio, alla predestinazione e alla selezione operate da Dio e alla grazia di Dio; se Dio non avesse parlato e trasmesso le Sue parole, le vostre circostanze sarebbero le stesse di oggi? Pertanto, sia a Dio tutta la gloria e la lode, poiché tutto questo è dovuto al fatto che Dio vi innalza. Con queste cose in mente, potresti ancora essere passivo? Potrebbe la tua forza essere ancora incapace di accrescersi?

 

Il fatto che tu sia in grado di accettare il giudizio, il castigo, il colpo e l’affinamento della parola di Dio e per di più sia in grado di accettare gli incarichi di Dio, è stato predestinato da Dio al principio del tempo, e pertanto non devi essere troppo angosciato quando vieni castigato. Nessuno può portar via l’opera che è stata compiuta in voi e le benedizioni che vi sono state impartite, e nessuno può portar via tutto ciò che vi è stato dato. Le persone religiose non tollerano alcun confronto con voi. Voi non siete in possesso di grande competenza riguardo alla Bibbia e non siete addestrati in teoria religiosa, ma poiché Dio ha operato in voi avete guadagnato più di chiunque altro in tutti i secoli, e così questa è la vostra più grande benedizione. Per questo dovete essere ancora più dediti a Dio e ancora più leali nei Suoi confronti. Poiché Dio ti innalza, devi intensificare i tuoi sforzi e devi predisporre la levatura adatta per accettare gli incarichi di Dio. Devi rimanere saldo nel luogo che Dio ti ha assegnato, cercare di diventare parte del popolo di Dio, accettare la preparazione al Regno, essere guadagnato da Dio e in definitiva divenire una gloriosa testimonianza di Dio. Quanti di questi propositi possiedi? Se sei in possesso di tali propositi, in definitiva sei certo di essere guadagnato da Dio e diventerai una gloriosa testimonianza di Dio. Devi capire che l’incarico principale è essere guadagnato da Dio e diventare una gloriosa testimonianza di Dio. Questa è la volontà di Dio.

 

Le parole dello Spirito Santo oggi sono la dinamica dell’opera dello Spirito Santo, e la continua illuminazione dell’uomo da parte dello Spirito Santo durante questo periodo è la tendenza nell’opera dello Spirito Santo. E qual è oggi la tendenza nell’opera dello Spirito Santo? È condurre le persone verso l’opera di Dio oggi e verso una normale vita spirituale. Vi sono diversi passi per entrare in una normale vita spirituale:

 

1. Primo, devi riversare il tuo cuore nelle parole di Dio. Non devi perseguire le parole di Dio del passato e non devi studiarle né confrontarle con le parole di oggi. Invece devi riversare completamente il tuo cuore nelle attuali parole di Dio. Le persone che ancora desiderano leggere le parole di Dio, libri spirituali o altri resoconti di predicazioni del passato, persone che non seguono le parole dello Spirito Santo oggi, sono le più sciocche fra le persone; Dio detesta simili persone. Se sei disposto ad accettare la luce dello Spirito Santo oggi, riversa completamente il tuo cuore nei discorsi di Dio oggi. Questo è il primo obiettivo che devi conseguire.

 

2. Devi pregare sulle fondamenta delle parole pronunciate da Dio oggi, accedere alle parole di Dio ed essere in comunione con Dio, e formulare i tuoi propositi davanti a Dio, stabilendo i criteri che desideri soddisfare.

 

3. Devi perseguire un accesso profondo alla verità sulle fondamenta dell’opera dello Spirito Santo oggi. Non attenerti a discorsi superati e teorie del passato.

 

4. Devi cercare di essere toccato dallo Spirito Santo e accedere alle parole di Dio.

 

5. Devi perseguire l’accesso al cammino percorso dallo Spirito Santo oggi.

 

E come cerchi di essere toccato dallo Spirito Santo? Ciò che è cruciale è vivere nella attuale parola di Dio e pregare sulle fondamenta delle prescrizioni di Dio. Se avrai pregato in questo modo, lo Spirito Santo sicuramente ti toccherà. Se non cerchi in base alle fondamenta delle parole pronunciate da Dio oggi, tutto questo è vano. Devi pregare e dire: “O Dio! Io mi oppongo a Te e Ti devo tanto; sono così disobbediente e mai capace di soddisfarTi. O Dio, desidero che Tu mi salvi, desidero essere al Tuo servizio fino alla fine, desidero morire per Te. Tu mi giudichi e mi castighi e io non mi lamento; mi oppongo a Te e merito di morire, cosicché tutti possano contemplare nella mia morte la Tua giusta indole”. Quando pregherai in questo modo dal profondo del tuo cuore, Dio ti ascolterà e ti guiderà; se non preghi sulle fondamenta delle parole dello Spirito Santo oggi, non vi è possibilità che lo Spirito Santo ti tocchi. Se preghi secondo la volontà di Dio e secondo ciò che Dio desidera fare oggi, dirai[a]: “O Dio! Desidero accettare i Tuoi incarichi ed essere fedele ai Tuoi incarichi, e sono disposto a dedicare l’intera mia vita alla Tua gloria, affinché tutto ciò che faccio possa soddisfare i criteri del popolo di Dio. Possa il mio cuore essere toccato da Te. Desidero che il Tuo Spirito mi illumini sempre, faccia sì che ogni mia azione apporti vergogna a Satana, e che io in definitiva venga guadagnato da Te”. Se preghi in questo modo, incentrato sulla volontà di Dio, lo Spirito Santo opererà inevitabilmente in te. Non importa quante siano le parole delle tue preghiere: fondamentale è che tu comprenda o meno la volontà di Dio. Voi tutti potreste aver avuto l’esperienza seguente: talvolta, pregando in assemblea, le dinamiche dell’opera dello Spirito Santo raggiungono il culmine, accrescendo la forza di ognuno. Alcuni piangono amaramente e versano lacrime mentre pregano, sopraffatti dal rimorso davanti a Dio, e alcuni dimostrano la propria determinazione e fanno voti. Tale è l’effetto conseguibile dall’opera dello Spirito Santo. Oggi è cruciale che tutti riversino completamente il proprio cuore nelle parole di Dio. Non concentrarti sulle parole pronunciate in precedenza; se continui ad attenerti a ciò che è venuto prima, lo Spirito Santo non opererà in te. Capisci quanto sia importante?

 

Conoscete il cammino percorso dallo Spirito Santo oggi? I vari punti sopra esposti sono ciò che deve essere conseguito dallo Spirito Santo oggi e nel futuro; sono il cammino intrapreso dallo Spirito Santo, e l’accesso che l’uomo deve perseguire. Nel tuo accesso alla vita, come minimo devi riversare il tuo cuore nelle parole di Dio ed essere in grado di accettare il giudizio e il castigo delle parole di Dio; il tuo cuore deve desiderare Dio, devi perseguire un accesso profondo alla verità e gli obiettivi richiesti da Dio. Quando sei in possesso di questa forza, si vede che sei stato toccato da Dio e il tuo cuore ha cominciato a rivolgersi a Dio.

 

Il primo passo dell’accesso alla vita consiste nel riversare completamente il tuo cuore nelle parole di Dio, e il secondo passo consiste nell’accettare di essere toccato dallo Spirito Santo. Qual è l’effetto da conseguire accettando di essere toccato dallo Spirito Santo? Poter desiderare, cercare, ed esaminare una verità più profonda e poter collaborare con Dio secondo modalità positive. Oggi collabori con Dio, vale a dire che vi è un obiettivo nella tua ricerca, nelle tue preghiere e nella tua comunione con la parola di Dio, e svolgi il tuo dovere in conformità con le prescrizioni di Dio: soltanto questo è collaborare con Dio. Se ti limiti a dire di lasciar agire Dio, ma non intraprendi alcuna azione, né pregando né ricercando, come si potrebbe definire ciò una collaborazione? Se non hai in te alcun intento di collaborazione e sei privo di preparazione per l’accesso finalizzata a un obiettivo, allora non stai collaborando. Alcuni dicono: “Tutto dipende dalla predestinazione di Dio, tutto è fatto da Dio Stesso; se Dio non l’ha fatto, come potrebbe farlo l’uomo?” L’opera di Dio è normale e neanche minimamente soprannaturale, e lo Spirito Santo opera solo tramite la tua ricerca attiva, poiché Dio non obbliga l’uomo: devi dare a Dio l’occasione di operare, e se non persegui o non ottieni l’accesso, e se nel tuo cuore non vi è il benché minimo desiderio, Dio non ha possibilità di operare. Per quale cammino puoi cercare di essere toccato da Dio? Attraverso la preghiera e avvicinandoti a Dio. Ma la cosa più importante, rammenta, è che tutto ciò deve fondarsi sulle parole espresse da Dio. Quando sei toccato spesso da Dio, non sei schiavo della carne: marito, moglie, figli e denaro sono tutti incapaci di imprigionarti, e desideri solo perseguire la verità e vivere davanti a Dio. In quel momento sarai una persona che vive nel mondo della libertà.

 

Note a piè di pagina:

 

a. Il testo originale non contiene la parola “dirai”.

  

www.kingdomsalvation.org/it/know-the-newest-work-of-god-a...

 

‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

 

Avul Pakir Jainulabdeen "A. P. J." Abdul Kalam (Listeni/ˈæbdʊl kəˈlɑːm/; 15 October 1931 – 27 July 2015) was the 11th President of India from 2002 to 2007. A career scientist turned politician, Kalam was born and raised in Rameswaram, Tamil Nadu, and studied physics and aerospace engineering. He spent the next four decades as a scientist and science administrator, mainly at the Defence Research and Development Organisation (DRDO) and Indian Space Research Organisation (ISRO) and was intimately involved in India's civilian space program and military missile development efforts.[1] He thus came to be known as the Missile Man of India for his work on the development of ballistic missile and launch vehicle technology.[2][3][4] He also played a pivotal organizational, technical, and political role in India's Pokhran-II nuclear tests in 1998, the first since the original nuclear test by India in 1974.[5]

 

Kalam was elected as the 11th President of India in 2002 with the support of both the ruling Bharatiya Janata Party and the then-opposition Indian National Congress. Widely referred to as the "People's President,"[6] he returned to his civilian life of education, writing and public service after a single term. He was a recipient of several prestigious awards, including the Bharat Ratna, India's highest civilian honour.

 

While delivering a lecture at the Indian Institute of Management Shillong, Kalam collapsed and died from an apparent cardiac arrest on 27 July 2015, aged 83.[7] Thousands including national-level dignitaries attended the funeral ceremony held in his hometown of Rameshwaram, where he was buried with full state honours.[8]Avul Pakir Jainulabdeen Abdul Kalam was born on 15 October 1931 to a Tamil Muslim family in the pilgrimage centre of Rameswaram on Pamban Island, then in the Madras Presidency and now in the State of Tamil Nadu. His father Jainulabudeen was a boat owner and imam of a local mosque;[9] his mother Ashiamma was a housewife.[10][11][12][13] His father owned a ferry that took Hindu pilgrims back and forth between Rameswaram and the now uninhabited Dhanushkodi.[14][15] Kalam was the youngest of four brothers and one sister in his family.[16][17][18] His ancestors had been wealthy traders and landowners, with numerous properties and large tracts of land. Their business had involved trading groceries between the mainland and the island and to and from Sri Lanka, as well as ferrying pilgrims between the mainland and Pamban. As a result, the family acquired the title of "Mara Kalam iyakkivar" (wooden boat steerers), which over the years became shortened to "Marakier." With the opening of the Pamban Bridge to the mainland in 1914, however, the businesses failed and the family fortune and properties were lost over time, apart from the ancestral home.[19] By his early childhood, Kalam's family had become poor; at an early age, he sold newspapers to supplement his family's income.[20][20][21]

 

In his school years, Kalam had average grades but was described as a bright and hardworking student who had a strong desire to learn. He spent hours on his studies, especially mathematics.[21] After completing his education at the Schwartz Higher Secondary School, Ramanathapuram, Kalam went on to attend Saint Joseph's College, Tiruchirappalli, then affiliated with the University of Madras, from where he graduated in physics in 1954.[22] He moved to Madras in 1955 to study aerospace engineering in Madras Institute of Technology.[13] While Kalam was working on a senior class project, the Dean was dissatisfied with his lack of progress and threatened to revoke his scholarship unless the project was finished within the next three days. Kalam met the deadline, impressing the Dean, who later said to him, "I was putting you under stress and asking you to meet a difficult deadline".[23] He narrowly missed achieving his dream of becoming a fighter pilot, as he placed ninth in qualifiers, and only eight positions were available in the IAF.[24]

 

Career as a scientistAfter graduating from the Madras Institute of Technology in 1960, Kalam joined the Aeronautical Development Establishment of the Defence Research and Development Organisation (DRDO) as a scientist. He started his career by designing a small hovercraft, but remained unconvinced by his choice of a job at DRDO.[26] Kalam was also part of the INCOSPAR committee working under Vikram Sarabhai, the renowned space scientist.[13] In 1969, Kalam was transferred to the Indian Space Research Organisation (ISRO) where he was the project director of India's first Satellite Launch Vehicle (SLV-III) which successfully deployed the Rohini satellite in near-earth orbit in July 1980; Kalam had first started work on an expandable rocket project independently at DRDO in 1965.[1] In 1969, Kalam received the government's approval and expanded the programme to include more engineers.[25]

 

Kalam addresses engineering students at IIT Guwahati

In 1963–64, he visited NASA's Langley Research Center in Hampton, Virginia; Goddard Space Flight Center in Greenbelt, Maryland; and Wallops Flight Facility.[11][27] Between the 1970s and 1990s, Kalam made an effort to develop the Polar Satellite Launch Vehicle (PSLV) and SLV-III projects, both of which proved to be successful.

 

Kalam was invited by Raja Ramanna to witness the country's first nuclear test Smiling Buddha as the representative of TBRL, even though he had not participated in its development. In the 1970s, Kalam also directed two projects, Project Devil and Project Valiant, which sought to develop ballistic missiles from the technology of the successful SLV programme.[28] Despite the disapproval of the Union Cabinet, Prime Minister Indira Gandhi allotted secret funds for these aerospace projects through her discretionary powers under Kalam's directorship.[28] Kalam played an integral role convincing the Union Cabinet to conceal the true nature of these classified aerospace projects.[28] His research and educational leadership brought him great laurels and prestige in the 1980s, which prompted the government to initiate an advanced missile programme under his directorship.[28] Kalam and Dr V S Arunachalam, metallurgist and scientific adviser to the Defence Minister, worked on the suggestion by the then Defence Minister, R. Venkataraman on a proposal for simultaneous development of a quiver of missiles instead of taking planned missiles one after another.[29] R Venkatraman was instrumental in getting the cabinet approval for allocating ₹388 crores for the mission, named Integrated Guided Missile Development Programme (IGMDP) and appointed Kalam as the chief executive.[29] Kalam played a major part in developing many missiles under the mission including Agni, an intermediate range ballistic missile and Prithvi, the tactical surface-to-surface missile, although the projects have been criticised for mismanagement and cost and time overruns.[29][30]

 

Kalam served as the Chief Scientific Adviser to the Prime Minister and the Secretary of the Defence Research and Development Organisation from July 1992 to December 1999. The Pokhran-II nuclear tests were conducted during this period in which he played an intensive political and technological role. Kalam served as the Chief Project Coordinator, along with Rajagopala Chidambaram, during the testing phase.[11][31] Media coverage of Kalam during this period made him the country's best known nuclear scientist.[32] However, the director of the site test, K Santhanam, said that the thermonuclear bomb had been a "fizzle" and criticisied Kalam for issuing an incorrect report.[33] Both Kalam and Chidambaram dismissed the claims.[34]

 

In 1998, along with cardiologist Soma Raju, Kalam developed a low cost coronary stent, named the "Kalam-Raju Stent".[35][36] In 2012, the duo designed a rugged tablet computer for health care in rural areas, which was named the "Kalam-Raju Tablet".[37]

 

Presidency

Kalam served as the 11th President of India, succeeding K. R. Narayanan. He won the 2002 presidential election with an electoral vote of 922,884, surpassing the 107,366 votes won by Lakshmi Sahgal. His term lasted from 25 July 2002 to 25 July 2007.[38]

 

On 10 June 2002, the National Democratic Alliance (NDA) which was in power at the time, expressed that they would nominate Kalam for the post of President,[39][40] and both the Samajwadi Party and the Nationalist Congress Party backed his candidacy.[41][42] After the Samajwadi Party announced its support for Kalam, Narayanan chose not to seek a second term in office, leaving the field clear.[43] Kalam said of the announcement of his candidature:

 

I am really overwhelmed. Everywhere both in Internet and in other media, I have been asked for a message. I was thinking what message I can give to the people of the country at this juncture.[44]

 

On 18 June, Kalam filed his nomination papers in the Indian Parliament, accompanied by Vajpayee and his senior Cabinet colleagues.[45]

 

Kalam along with Vladimir Putin and Manmohan Singh during his presidency

The polling for the presidential election began on 15 July 2002 in Parliament and the state assemblies, with the media claiming that the election was a one-sided affair and Kalam's victory was a foregone conclusion; the count was held on 18 July.[46] Kalam became the 11th president of the Republic of India in an easy victory,[47] and moved into the Rashtrapati Bhavan after he was sworn in on 25 July.[48] Kalam was the third President of India to have been honoured with a Bharat Ratna, India's highest civilian honour, before becoming the President. Dr Sarvepalli Radhakrishnan (1954) and Dr Zakir Hussain (1963) were the earlier recipients of Bharat Ratna who later became the President of India.[49] He was also the first scientist and the first bachelor to occupy Rashtrapati Bhawan.[50]

 

During his term as president, he was affectionately known as the People's President,[51][52][53] saying that signing the Office of Profit Bill was the toughest decision he had taken during his tenure.[54][55] Kalam was criticised for his inaction in deciding the fate of 20 out of the 21 mercy petitions submitted to him during his tenure.[56] Article 72 of the Constitution of India empowers the President of India to grant pardons, and suspend or commute the death sentence of convicts on death row.[56][57] Kalam acted on only one mercy plea in his five-year tenure as president, rejecting the plea of rapist Dhananjoy Chatterjee, who was later hanged.[56] Perhaps the most notable plea was from Afzal Guru, a Kashmiri terrorist who was convicted of conspiracy in the December 2001 attack on the Indian Parliament and was sentenced to death by the Supreme Court of India in 2004.[57] While the sentence was scheduled to be carried out on 20 October 2006, the pending action on his mercy plea resulted in him remaining on death row.[57] He also took the controversial decision to impose President's Rule in Bihar in 2005.[58]

 

In September 2003, in an interactive session in PGI Chandigarh, Kalam supported the need of Uniform Civil Code in India, keeping in view the population of the country.[59][60][61][62]

 

At the end of his term, on 20 June 2007, Kalam expressed his willingness to consider a second term in office provided there was certainty about his victory in the 2007 presidential election.[63] However, two days later, he decided not to contest the Presidential election again stating that he wanted to avoid involving Rashtrapati Bhavan from any political processes.[64] He did not have the support of the left parties, Shiv Sena and UPA constituents, to receive a renewed mandate.[65][66]

 

Nearing the expiry of the term of the 12th President Pratibha Patil on 24 July 2012, media reports in April claimed that Kalam was likely to be nominated for his second term.[67][68][69] After the reports, social networking sites witnessed a number of people supporting his candidature.[70][71] The BJP potentially backed his nomination, saying that the party would lend their support if the Trinamool Congress, Samajwadi Party and Indian National Congress proposed him for the 2012 presidential election.[72][73] A month ahead of the election, Mulayam Singh Yadav and Mamata Banerjee also expressed their support for Kalam.[74] Days afterwards, Mulayam Singh Yadav backed out, leaving Mamata Banerjee as the solitary supporter.[75] On 18 June 2012, Kalam declined to contest the 2012 presidential poll. He said of his decision not to do so:

 

Many, many citizens have also expressed the same wish. It only reflects their love and affection for me and the aspiration of the people. I am really overwhelmed by this support. This being their wish, I respect it. I want to thank them for the trust they have in me.[76]

 

Post-presidency

After leaving office, Kalam became a visiting professor at the Indian Institute of Management Shillong, the Indian Institute of Management Ahmedabad, and the Indian Institute of Management Indore; an honorary fellow of Indian Institute of Science, Bangalore;[77] chancellor of the Indian Institute of Space Science and Technology Thiruvananthapuram; professor of Aerospace Engineering at Anna University; and an adjunct at many other academic and research institutions across India. He taught information technology at the International Institute of Information Technology, Hyderabad, and technology at Banaras Hindu University and Anna University.[78]

 

In May 2012, Kalam launched a programme for the youth of India called the What Can I Give Movement, with a central theme of defeating corruption.[79][80]

 

In 2011, Kalam was criticised by civil groups over his stand on the Koodankulam Nuclear Power Plant; he supported the establishment of the nuclear power plant and was accused of not speaking with the local people.[81] The protesters were hostile to his visit as they perceived to him to be a pro-nuclear scientist and were unimpressed by the assurances provided by him regarding the safety features of the plant.[82]

 

Death

 

Kalam at Bijnor a week before his death

Wikinews has related news: Former Indian president APJ Abdul Kalam dies at age 83

On 27 July 2015, Kalam travelled to Shillong to deliver a lecture on "Creating a Livable Planet Earth" at the Indian Institute of Management Shillong. While climbing a flight of stairs, he experienced some discomfort, but was able to enter the auditorium after a brief rest.[83] At around 6:35 p.m. IST, only five minutes into his lecture, he collapsed.[84][85] He was rushed to the nearby Bethany Hospital in a critical condition; upon arrival, he lacked a pulse or any other signs of life.[84] Despite being placed in the intensive care unit, Kalam was confirmed dead of a sudden cardiac arrest at 7:45 p.m IST.[84][86][87] His last words, to his aide Srijan Pal Singh, were reportedly: "Funny guy! Are you doing well?"[88]

 

Following his death, Kalam's body was airlifted in an Indian Air Force helicopter from Shillong to Guwahati, from where it was flown to New Delhi on the morning of 28 July in an air force C-130J Hercules. The flight landed at Palam Air Base that afternoon and was received by the President, the Prime Minister, Chief Minister of Delhi Arvind Kejriwal, and the three service chiefs of the Indian Armed Forces, who laid wreaths on Kalam's body.[89] His body was then placed on a gun carriage draped with the Indian flag and taken to his Delhi residence at 10 Rajaji Marg; there, the public and numerous dignitaries paid homage, including former prime minister Manmohan Singh, Congress President Sonia Gandhi and Vice-President Rahul Gandhi, and Uttar Pradesh Chief Minister Akhilesh Yadav.[90]

 

On the morning of 29 July, Kalam's body, wrapped in the Indian flag, was taken to Palam Air Base and flown to Madurai in an air force C-130J aircraft, arriving at Madurai Airport that afternoon. His body was received at the airport by the three service chiefs and national and state dignitaries, including cabinet ministers Manohar Parrikar, Venkaiah Naidu, Pon Radhakrishnan and the governors of Tamil Nadu and Meghalaya, K Rosaiah and V. Shanmuganathan. After a brief ceremony, Kalam's body was flown by air force helicopter to the town of Mandapam, from where it was taken in an army truck to his hometown of Rameswaram. Upon arriving at Rameswaram, his body was displayed in an open area in front of the local bus station to allow the public to pay their final respects until 8 p.m. that evening.[91][92]

 

On 30 July 2015, the former President was laid to rest at Rameswaram's Pei Karumbu Ground with full state honours. Over 350,000 people attended the last rites, including the Prime Minister, the governor of Tamil Nadu and the chief ministers of Karnataka, Kerala and Andhra Pradesh.[93][94]

 

Reactions

 

Prime Minister Narendra Modi lays a wreath at Kalam's body, on arrival at Palam Air Base.

India reacted to Kalam's death with an outpouring of grief; numerous tributes were paid to the former President across the nation and on social media.[95] The Government of India declared a seven-day state mourning period as a mark of respect.[96] President Pranab Mukherjee, Vice President Hamid Ansari, Home Minister Rajnath Singh, and other leaders condoled the former President's demise.[86] Prime Minister Narendra Modi said "[Dr. Kalam's] death is a great loss to the scientific community. He took India to great heights. He showed the way."[97] Former Prime Minister Dr. Manmohan Singh, who had served as prime minister under Kalam, said, "our country has lost a great human being who made phenomenal contributions to the promotion of self reliance in defence technologies. I worked very closely with Dr. Kalam as prime minister and I greatly benefited from his advice as president of our country. His life and work will be remembered for generations to come."[98] ISRO chairman A. S. Kiran Kumar called his former colleague "a great personality and a gentleman", while former chairman G. Madhavan Nair described Kalam as "a global leader" for whom "the downtrodden and poor people were his priority. He always had a passion to convey what is in his mind to the young generation", adding that his death left a vacuum which none could fill.[99][100]

 

South Asian leaders expressed condolences and lauded the late statesman. The Bhutanese government ordered the country's flags to fly at half-staff to mourn Kalam's death, and lit 1000 butter lamps in homage. Bhutanese Prime Minister Tshering Tobgay expressed deep sadness, saying Kalam "was a leader greatly admired by all people, especially the youth of India who have referred to him as the people's President".[101] Bangladesh Prime Minister Sheikh Hasina described Kalam as "a rare combination of a great statesman, acclaimed scientist, and a source of inspiration to the young generation of South Asia" and termed his death an "irreparable loss to India and beyond". Bangladesh Nationalist Party chief Khaleda Zia said "as a nuclear scientist, he engaged himself in the welfare of the people". Ashraf Ghani, the President of Afghanistan, called Kalam "an inspirational figure to millions of people," noting that "we have a lot to learn from his life". Nepalese Prime Minister Sushil Koirala recalled Kalam's scientific contributions to India: "Nepal has lost a good friend and I have lost an honoured and ideal personality." The President of Pakistan, Mamnoon Hussain, and Prime Minister of Pakistan Nawaz Sharif also expressed their grief and condolences on his death.[102][103][104] The President of Sri Lanka, Maithripala Sirisena, also expressed his condolences. "Dr. Kalam was a man of firm conviction and indomitable spirit, and I saw him as an outstanding statesman of the world. His death is an irreparable loss not only to India but to the entire world."[105] Maldivian President Abdulla Yameen and Vice President Ahmed Adheeb condoled Kalam's death, with Yameen naming him as a close friend of the Maldives who would continue to be an inspiration to Indians and generations of South Asians. Former president Maumoon Abdul Gayoom, who had made an official visit to India during Kalam's presidency, termed his demise as a great loss to all of humankind.[106] The Commander-in-Chief of the Myanmar Armed Forces, Senior General Min Aung Hlaing, expressed condolences on behalf of the Myanmar government.[107] The Dalai Lama expressed his sadness and offered condolences and prayers, calling Kalam's death "an irreparable loss".[108]

 

Kathleen Wynne, the Premier of Ontario, which Kalam had visited on numerous occasions, expressed "deepest condolences ... as a respected scientist, he played a critical role in the development of the Indian space program. As a committed educator, he inspired millions of young people to achieve their very best. And as a devoted leader, he gained support both at home and abroad, becoming known as 'the people's President'. I join our Indo–Canadian families, friends, and neighbours in mourning the passing of this respected leader."[109] United States President Barack Obama extended "deepest condolences to the people of India on the passing of former Indian President Dr. APJ Abdul Kalam", and highlighted his achievements as a scientist and as a statesman, notably his role in strengthening U.S.–India relations and increasing space cooperation between the two nations. "Suitably named 'the People's President', Dr. Kalam's humility and dedication to public service served as an inspiration to millions of Indians and admirers around the world."[110] Russian President Vladimir Putin expressed sincere condolences and conveyed his sympathy and support "to the near and dear ones of the deceased leader, to the government, and entire people of India". He remarked on Kalam's outstanding "personal contribution to the social, economic, scientific, and technical progress of India and in ensuring its national security," adding that Dr. Kalam would be remembered as a "consistent exponent of closer friendly relations between our nations, who has done a lot for cementing mutually beneficial Russian–Indian cooperation."[111] Other international leaders—including former Indonesian president Susilo Bambang Yudhoyono, Malaysian Prime Minister Najib Razak, Singaporean Prime Minister Lee Hsien Loong, President of the United Arab Emirates Sheikh Khalifa bin Zayed Al Nahyan, and Vice President and Prime Minister of the United Arab Emirates and emir of Dubai Sheikh Mohammed bin Rashid Al Maktoum—also paid tribute to Kalam.[112][113] In a special gesture, Secretary-General of the United Nations Ban Ki-moon visited the Permanent Mission of India to the UN and signed a condolence book. "The outpouring of grief around the world is a testament of the respect and inspiration he has garnered during and after his presidency. The UN joins the people of India in sending our deepest condolences for this great statesman. May he rest in peace and eternity", Ban wrote in his message.[114]

 

Personal life

Kalam was the youngest of five siblings, the eldest of whom was a sister, Asim Zohra (d. 1997), followed by three elder brothers: Mohammed Muthu Meera Lebbai Maraikayar (b. 1916; aged 99), Mustafa Kamal (d. 1999) and Kasim Mohammed (d. 1995).[115] He was extremely close to his elder siblings and their extended families throughout his life, and would regularly send small sums of money to his older relations, himself remaining a lifelong bachelor.[115][116]

 

Kalam was noted for his integrity and his simple lifestyle.[116] He never owned a television, and was in the habit of rising at 6:30 or 7 a.m and sleeping by 2 a.m.[117] His few personal possessions included his books, his veena, some articles of clothing, a CD player and a laptop; at his death, he left no will, and his possessions went to his eldest brother, who survived him.[118][119]

 

In the 2011 Hindi film I Am Kalam, Kalam is portrayed as a positive influence on a poor but bright Rajasthani boy named Chhotu, who renames himself Kalam in honour of his idol.[120]

 

Religious and spiritual views

Religion and spirituality were very important to Kalam throughout his life.[121] In fact, he made his own spiritual journey the subject of his final book, Transcendence: My Spiritual Experiences with Pramukh Swamiji.[122][123]

 

Islam

A proud and practicing Muslim, daily namāz and fasting during Ramadan were integral to Kalam's life.[9][124][125] His father, the imam of a mosque in his hometown of Rameswaram, had strictly instilled these Islamic customs in his children.[9] His father had also impressed upon the young Kalam the value of interfaith respect and dialogue. As Kalam recalled: "Every evening, my father A.P. Jainulabdeen, an imam, Pakshi Lakshmana Sastry, the head priest of the Ramanathaswamy Hindu temple, and a church priest used to sit with hot tea and discuss the issues concerning the island."[122][126] Such early exposure convinced Kalam that the answers to India's multitudinous issues lay in "dialogue and cooperation" among the country's religious, social, and political leaders.[124] Moreover, since Kalam believed that "respect for other faiths" was one of the key cornerstones of Islam, he was fond of saying: "For great men, religion is a way of making friends; small people make religion a fighting tool."[127]

 

Syncretism

One component of Kalam's widespread popularity among diverse groups in India, and an enduring aspect of his legacy, is the syncretism he embodied in appreciating various elements of the many spiritual and cultural traditions of India.[124][125][128][129] In addition to his faith in the Koran and Islamic practice, Kalam was well-versed in Hindu traditions; he learnt Sanskrit,[130][131] read the Bhagavad Gita[132][133] and he was a vegetarian.[134] Kalam also enjoyed writing Tamil poetry, playing the veena (a South Indian string instrument),[135] and listening to Carnatic devotional music every day.[125] In 2002, in one of his early speeches to Parliament after becoming President, he reiterated his desire for a more united India, stating that "[d]uring the last one year I met a number of spiritual leaders of all religions ... [and] I would like to endeavour to work for bringing about unity of minds among the divergent traditions of our country".[128] Describing Kalam as a unifier of diverse traditions, Congress leader Shashi Tharoor stated, "Kalam was a complete Indian, an embodiment of the eclecticism of India's heritage of diversity".[125] BJP leader L. K. Advani concurred that Kalam was "the best exemplar of the Idea of India, one who embodied the best of all the cultural and spiritual traditions that signify India's unity in immense diversity. This was most strikingly evident in the last book he wrote, presciently titled Transcendence: My Spiritual Experiences with Pramukh Swami.[129]

 

Pramukh Swami as Guru

Kalam's desire to meet spiritual leaders to help create a more prosperous, spiritual, and unified India was what initially led him to meet Pramukh Swami, the Hindu guru of the BAPS Swaminarayan Sampradaya, who Kalam would come to consider his ultimate spiritual teacher and guru.[122][124] The first of eight meetings between Kalam and Pramukh Swami over a fourteen-year period took place on 30 June 2001 in New Delhi, during which Kalam described being immediately drawn to Pramukh Swami's simplicity and spiritual purity.[136] Kalam stated that he was inspired by Pramukh Swami throughout their numerous interactions. One such incident occurred the day following the terrorist attack on BAPS' Akshardham, Gandhinagar complex in September 2002; Pramukh Swami prayed for, and sprinkled holy water upon, the sites of all of the deceased, including the terrorists, demonstrating the view that all human life is sacred. Kalam recalled being moved by Pramukh Swami's equanimity and compassion, citing this incident as one of his motivations for writing Transcendence: My Spiritual Experiences with Pramukh Swamiji.[137] Summarizing the effect that Pramukh Swami had on him, Kalam stated that "[Pramukh Swami] has indeed transformed me. He is the ultimate stage of the spiritual ascent in my life ... Pramukh Swamiji has put me in a God-synchronous orbit. No manoeuvres are required any more, as I am placed in my final position in eternity."[124][138] Following Kalam's death a month after his final book was released, co-author Arun Tiwari pointed to this passage as potentially prophetic and premonitory of Kalam's death.[139]

 

Writings

 

A P J Abdul Kalam delivering a speech

In his book India 2020, Kalam strongly advocated an action plan to develop India into a "knowledge superpower" and a developed nation by the year 2020. He regarded his work on India's nuclear weapons programme as a way to assert India's place as a future superpower.[140]

 

I have identified five areas where India has a core competence for integrated action: (1) agriculture and food processing; (2) education and healthcare; (3) information and communication technology; (4) infrastructure, reliable and quality electric power, surface transport and infrastructure for all parts of the country; and (5) self-reliance in critical technologies. These five areas are closely inter-related and if advanced in a coordinated way, will lead to food, economic and national security.

 

Kalam describes a "transformative moment" in his life when he asked Pramukh Swami, the guru of the BAPS Swaminarayan Sampradaya, how India might realize this five-pronged vision of development. Pramukh Swami's answer—to add a sixth area developing faith in God and spirituality to overcome the current climate of crime and corruption—became the spiritual vision for the next 15 years Kalam's life, which he describes in his final book, Transcendence: My Spiritual Experiences with Pramukh Swamiji, published just a month before his death.[136]

 

It was reported that there was considerable demand in South Korea for translated versions of books authored by him.[141]

 

Kalam took an active interest in other developments in the field of science and technology, including a research programme for developing biomedical implants. He also supported open source technology over proprietary software, predicting that the use of free software on a large scale would bring the benefits of information technology to more people.[142]

 

Kalam set a target of interacting with 100,000 students during the two years after his resignation from the post of scientific adviser in 1999.[21] He explained, "I feel comfortable in the company of young people, particularly high school students. Henceforth, I intend to share with them experiences, helping them to ignite their imagination and preparing them to work for a developed India for which the road map is already available."[21]

 

Awards and honours

 

An Indian Post commemorative postage stamp on A. P. J. Abdul Kalam - issued on October 15, 2015

Kalam received honorary doctorates from 40 universities.[143][144] The Government of India honoured him with the Padma Bhushan in 1981 and the Padma Vibhushan in 1990 for his work with ISRO and DRDO and his role as a scientific advisor to the Government.[145] In 1997, Kalam received India's highest civilian honour, the Bharat Ratna, for his contribution to the scientific research and modernisation of defence technology in India.[146] In 2013, he was the recipient of the Von Braun Award from the National Space Society "to recognize excellence in the management and leadership of a space-related project".[147]

 

Following his death, Kalam received numerous tributes. The Tamil Nadu state government announced that his birthday, 15 October, would be observed across the state as "Youth Renaissance Day;" the state government further instituted the "Dr. A.P.J. Abdul Kalam Award," constituting an 8-gram gold medal, a certificate and ₹500,000 (US$7,400). The award will be awarded annually on Independence Day, beginning in 2015, to residents of the state with achievements in promoting scientific growth, the humanities or the welfare of students.[148]

 

On occasion of his birth day (2015), CBSE has given the topics on his name in the CBSE expression series.[149]

 

The Prime Minister, Mr. Narendra Modi released the commemorative postal stamps on the former President of India, Dr. A.P.J. Abdul Kalam, on his 84th birth anniversary celebrations, at DRDO Bhawan, in New Delhi on October 15, 2015.

 

Educational and scientific institutions

Several educational and scientific institutions and other locations were renamed or named in honour of Kalam following his death.

 

An agricultural college at Kishanganj, Bihar, was renamed the "Dr. Kalam Agricultural College, Kishanganj" by the Bihar state government on the day of Kalam's funeral. The state government also announced it would name a proposed science city after Kalam.[150]

Uttar Pradesh Technical University (UPTU) was renamed "A.P.J. Abdul Kalam Technical University" by the Uttar Pradesh state government.[151]

A.P.J. Abdul Kalam Memorial Travancore Institute of Digestive Diseases, a new research institute in Kollam city, Kerala attached to the Travancore Medical College Hospital.[152]

A new academic complex at Mahatma Gandhi University in Kerala.[153]

A new science centre and planetarium in Lawspet, Puducherry.[154]

India and the US have launched the Fulbright-Kalam Climate Fellowship In September 2014. The first call for applicants was announced on Friday March 12, 2016, for the fellowship which will enable up to 6 Indian PhD students and post-doctoral researchers to work with US host institutions for a period of 6–12 months. The fellowship will be operated by the binational US-India Educational Foundation (USIEF) under theFulbright programme.[155]

Island

Wheeler Island, a national missile test site in Odisha, was renamed Abdul Kalam Island in September 2015.[156]

   

Detail of the exterior of Tom Denny's superb Holy Spirit Window at St Peter's Church, Ipsley, Redditch.

 

This detail, whilst giving away little of the internal appearance of the glass, does at least convey some sense of the multi-layered nature of this window;

 

Most of the window is exceuted using 'flashed glass', where the colour is only present in a thin outer layer (normally the colour permeates the entire thickness of the glass) which can be selectively removed (usually with acid) to give isolated pockets of colour on a clear/white ground.(this is most commonly used for heraldic details)

 

If two seperate pieces of different colur are treated this way, and then overlapped and plated when leaded together it is possible to create a third colour from this effect (red+blue=purple etc) in addition to white which gives a variety of hues contained in (what appears to be) a single leaded piece of glass where one colour would be the norm. When covered with heavily painted detail the elements visually blend perfectly within.

 

This technique is used brilliant by Tom Denny in works such as this; it was lperhaps most famously used in the work of the great early 20th century stained glass artists, such as Karl Parsons and Henry Payne in England and Harry Clarke and Michael Healy in Ireland.

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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 beats, 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

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Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

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‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

"Although the Lord Jesus’ time of working in the flesh was full of hardships and suffering, through His appearance in His spiritual body of flesh and blood, He completely and perfectly accomplished His work of that time in the flesh to redeem mankind. He began His ministry by becoming flesh, and He concluded His ministry by appearing to mankind in His fleshly form. He heralded the Age of Grace, He began the Age of Grace through His identity as Christ. Through His identity as Christ, He carried out the work in the Age of Grace and He strengthened and led all of His followers in the Age of Grace. It can be said of God’s work that He truly finishes what He starts. There are steps and a plan, and it is full of God’s wisdom, His omnipotence, and His marvelous deeds. It is also full of God’s love and mercy. Of course, the main thread running through all of God’s work is His care for mankind; it is permeated with His feelings of concern that He can never put aside" (Continuation of The Word Appears in the Flesh).

 

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SILVER SUN MOON LOCAL THIS HOLIDAY SEASON! THANK YOU! #SMOKEYMOUNTAINSNATIONALPARK #PRESENTS "WITHOUT MUSIC, WOULD BE A MISTAKE." FRIEDRICH NIETZSCHE PERFECT SPOT VACATION CHRISTMAS SHOPPING! FRESH BEAUTIFUL AROUND, NESTLED HISTORIC PRISTINE VALLEY RIGHT NEXT TO PARK! YOU CAN HIKE UP BEFORE GOING DOWNTOWN THAT HAS BEEN HERE 1978, AS WELL MANY OTHER SHOPS ARE WAITING BY DO SHOPPING YOURSELF OR OTHERS! SECTION: MOVIES CARRYING WIDE RANGE THOUSANDS RECORDS, CDS, T-SHIRTS, POSTERS, STICKERS, PATCHES, PINS, MAGNETS, MORE UNIQUE AMAZING ITEMS CONSTANTLY BEING RESTOCKED WITH RELEASES, ARRIVALS, RESTOCKS BESTSELLERS! WWW.FACEBOOK.COM/GATLINBURGMTNMALL SEND MESSAGE ASK AVAILABILITY! www.redbubble.com/people/rhythmsectiontn/shop @visit Visit Gatlinburg Mountain Mall "WELL, IT'S NOTHING VERY SPECIAL. TRY NICE PEOPLE, AVOID EATING FAT, READ GOOD BOOK EVERY NOW THEN, GET SOME WALKING IN, LIVE TOGETHER PEACE HARMONY PEOPLE CREEDS NATIONS." MONTY PYTHON'S MEANING #EARTHWORLD #MEMORYISLAND #SMOKYMTNS. #PIN #PATCH #GHOST #TSHIRTSTYLE #EQVISPRESLEY #PUNKROCK #LABYRINTHMAGNETS #SHIRTSHOP #PRAYERSFORRAINRECORDS #TSHIRTSTORE #TSHIRTSTORES #MORE! #NEIL #GAIMAN #TREX #ELLIOTT #SMITH #DEATHGRIPS #GRIPS #BILLY #JOEL #MILES #DAVIS #STEVIE #NICKS #MARCBOLAN #RECORDSBUTTERFLY #GENESISSHIVA #PLANETRAINBOWINN #PASTISAGROTESQUEANIMAL #IFIHADAHEART #SAPPHIREDIAMOND #SOULDREAMS #FIREFLIES #THEWORDFORWORLDISFOREST #MATRIXWATEROFLIFE #MANDALASTARWILDERNESS #GATEWAYSTATION #MIRACLEOFLIFE #SPACEPYRAMID #TIMEWIND #MIRACLEOFLOVELUCK #LIFEMATRIX #STARWILDERNESS #MIRACLEOFLOVE #MIRACLEOFLIGHT #SECRETCOLLEGE #JUSTONEVICTORY #LOVEISTHEANSWER #ONEWORLD #RESCUE #IMAGINATIONMANDALA #STATIONCROSSROADS #SPIRITOFIMAGINATION #PROTECTIONTOWER #DREAMRIVER #SPIRALLABYRINTH #FIFTHDIMENSIONAL #WINDOWSINTIME #LIFESTATION #BUTTERFLYHEALING #FAERYFOREST #INVISIBLEUNIVERSITY #MEMORYBRIDGE #LIVINGMIND #AMETHYS #BEES <#3 #TECHNOLOGY #RAINBOWGUARDIAN #UNDERTHEPRESSURE #NOSTALGIANOSTALGIANOSTALGIANOSTALGIAN #1978 #T-SHIRTS #MUCH #10 #2 #EST #865-436-4342 #ORDERS #A-3 #37738 #SHIRTSTORES #CHANGES #POWEROFSOUL #WEGOTTALIVETOGETHER #RELATIVELY #JAZZ #THOUSANDS #SIZE #2XL. #GRAB #JEWELRY #GUITAR #PICKS #PICTURE #DISCS #PREMIER #CAN #UP #COUPLE #HOURS #POSSIBLY #NC <#3@THERHYTHMSECTION78 <#3@THERHYTHMSECTION78DREAMREALMEXPLORATION #NOSTALGIAFOOTLOOSE #ENAMELPINS #L#JIMIHENDRIXVINYL #EAR #BLUERIDGEMOUNTAIN #LIFEMOVING #SHIRTS! #PEACERECORD #BARBIE+ #NEWALBUMS #COASTLINES #EXPERIENCES!THAT'S #VINYLSTICKERS #DIRECTIONS #APPRECIATE #SMOKYMOUNTAINS+ #ZOMBIES #BANDSHIRTSETCBANDSHIRTSETC #FARFROMME #SERVE #IMPORTED #SMOKYMOUNTAINSRECORDS #STICKERSRHYTHMSECTIONGATLINBURG #ATMOSPHERE #SOUVLAKI #OCCUR #TRULY #MUSICISLOVE #BANDSHIRTSETC #PATRONAGE #POSTERSRAINBOW #PEOPLEWHODIED #F #EVOLVE #RICHNESS #RESURRECTING #OLD #MINDSCAPEEVOLUTIONCHANGE #PROSEMUSIC #3. #INTRODUCES #TIEDYESHIRTS #YOURSELF? #SOMBREREPTILES #NAILS #INBETWEENEMERALD #CORPORATION "#SCARY" #CREATION+ #PRAYERSFORRAIN+GOINGTOCALIFORNIAOCEANIA #CITYTREEOFLIFE #GET #TROVE: #INNWHATISTHIS #LIVEMILES #LIBRAAGEOFWINTERS #USED #PILOTSSUNFLOWERWIZARDS #SPACE-TIME #HEAVYMETALMUSIC #JOSH! #ABSOLUTEBEGINNERS #JUNG #WHOLE #MANNER #MAGEWAVEMOONSHADOW #VINYLRECORDSRECORDS #GOLDENHOURS #PLAYBOI #FARMING #T-SHIRTS+ #UNKNOWN #YOUCHAMGEDMYLIFE :#OCEANIA #OOHLALA #RESOURCES: #EMISSARIES #THERHYTHMSECTION78! #BAJAS #TYLERTHECREATOR! #EXPLORATION. #WHILE #REFRACTIONSOFDAWN #SAFETYDANCE #RESTORATION+ #MORE!RECORDSRECORDS+RECORDS+++RECORDS+JIMIHENDRIX #HUMALLAHHUM #HIGHLANDERSOUNDTRACK #LANADELREY! #ADDRESSING #SHOPTSHIRTS #MAGGIEROGER #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78VALLEYSTICKERSTHERHYTHMSECTION78 #ELTON #TRAFFIC :#RAINBOW #BLUES #LIBRARY! #UNDERTHEMILKYWAY #KNOWLEDGEINFORMATION #UTILIZED #SMOKYMTNSMALL <#3THERHYTHMSECTION78 #BRUNOS #REY #DISC #THECURE! #SELFECOLOGY #PRESIDENTGAS #RECORDSHOPS #REQUESTS! #ENVIRONMENT? #TAYLORNATIONTSHIRTS #INNBETWEENWO0RLDS #SANCTUM #LUMPYSPACEPRINCESSTHE #THECARNIVALISOVER #CURRENTLY #CHILDRENOFTHESUNTHERESHEGOESMYBEAUTIFULWORLD #COMPELLING #BLUEROOM #NEWVINYL #YOUTUBEMUSIC #POTENTIAL. #VINYLALBUMS #BRAIN #TSHIRTSHOPGOINGTOCALIFORNIA #COULEURS #NESTLED #TNVINYL #LODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78!THERHYTHMSECTION78!THERHYTHMSECTION78!THERHYTHMSECTION78!VALLEY+STICKERS+THERHYTHMSECTION78! #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #COSMOS. #PRAYERSFORRAIN:GREEN_HIMAGINATIONLIBRARY #PLEASEREMEMBERME #SPACEAGELOVESONG #TIMEITSTIME #AIKEAGUINEA #GHOST! #URATH #AERODYNAMICBEATS #LEDZEPPELINGATLINBURG #PREVIOUS #RAMBLEON #FRACTALBODHISATTVA #FUNERALFORAFRIEND #TENACIOUSDRECORDS #ONGOING #AMETHYSTBRIGHT #WEDNESDAY #DRAGON-TURTLE #EXPERIENCE #6 #IMAGINATIONLIBRARYGOLDEN #TIEDYEISART #CONDITION ++++ #TWENTYTWOWHEELSOFLIGHT #NEWYEARSDAYRECORDS #VEIL #DRAGONTURTLE #REVEAL (#ONLY #4. #FOUNTAINS #PROMISEOFWATER #GATLINBURGUSA #SEPIA #EMERGED: #EXPLOITING #CLEANLINES

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

A BRONZE FIGURE OF BUDDHA

KHMER, ANGKOR PERIOD, BAYON STYLE, 16 -17TH CENTURY.

 

Seated on a waisted base worked in relief with lotus petal friezes and a band of flowerheads, his right hand lowered in Bhumisparsa mudra, wearing a tightly fitted sanghati draped across his left shoulder, his face with clearly delineated incised features and broad smiling mouth, richly encrusted with a patina.

 

It was a common practice for many households in the Cambodian region to place a Buddha statue in the wall (during construction)

 

Culture: Khmer style.

Origin: Thailand/Cambodia.

Material: Bronze ( with great patination and traces of gold gilt)

Measures: Height: 140mm

Weight: 313 grams

Condition: Intact, Very fine with dark patination.

Code 9240

 

Provenance, Simon's Treasures of Wisdoms private collection.

 

About.

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.

Nowadays, the city of Lopburi lies within the borders of the nation of Thailand. However, the roots of this city, then known as Lavo, can be traced back to the pre-Thai Dvaravati culture more than one thousand years ago. Under the Khmer civilization, Lopburi became a provincial capital that merged Khmer artistic and cultural influences with the Indian inspired native traditions. This bronze Buddha stands on a circular base, with both hands raised in gesture of reassurance. Very much of the Khmer style, this sculpture reveals the enormous influence this neighboring kingdom had on their regional subject.

 

Comments by dealw.dealw, Hertfordshire, United Kingdom

Extremely rare artifact 16th - 17th century possibly earlier originally excavated cast gilt bronze temple shrine Buddha Indian . In very good condition for age nearly all the gilding has come off. Beautiful dark green patina. Brought back from India by my grandfather in the 1940s

   

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

RHYTHM SECTION SYMMETRICAL ANGELIC LUMINOUS PSYCHEDELIC ULTRA DETAILED MOEBIUS WATERCOLOR ENHANCED SUPER BLUE ELECTRIC SOUND VISION ++ RAINBOW CASTLE IMAGINATION STATION NEXUS GATEWAY COSMIC OCEAN STAR ISLAND DREAM WORLD TREE LIBRARY LABYRINTH LEGENDARY GLASS SPIDER / TIME WILL CRAWL NEVERENDING STORY UP TO ME LOVING THE ALIEN DREAM MIDNIGHT CITY TELEVISION RULES NATION INTO WILD EVERYTHING IN ITS RIGHT PLACE PYRAMID SONG KARMA POLICE LEAVING MEANING SOME NEW THINGS FOR SUN RAINBOW RISING DARK TOUCH OF GRAY I KNOW YOU RIDER LOGOS THRU METAMORPHIC ROCKS TYGER LONDON UNDERWATER SUNLIGHT RIDE ON RAY SILVER CROSSES SUPERNATURAL POWER PLANT DRAGON SACRED HEART LAST LINE MAGICAL MYSTERY TOUR MOTHER PEARL #THE #WILD # #RAINBOW #TOWER #LIBRARY #CASTLE #MEMORY #PALACE #STATION #RAINBOW #INN #ASTRAL #CELESTIAL #CITADEL #SANCTUARY #IMAGINATION #STAIRWAY #TO #HEAVEN #RIVER #OF #DREAMS #LIGHT #LIFE #LOVE #GUARDIAN #PEACE #DRAGON #LUCK #SPIRAL #WIZARD #HEART #EMERALD #AVATAR #MOUNTAIN #GREEN 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#TOPAZ #CHAMELEONS #PRINCESS #TEMPLEOFLOVE #CELTIC #BLOOM #ELEMENTAL #NEUTRALMILKHOTEL #EARTHLINGS #BABAOREILY #NEW #RILKEANHEART #ETERNITY #SAVE #TOTAL #MOVEMENT #STAY #PERCEPTION #ROCKANDROLLWITHME #COLORED #DAY #WATCH #HOLOGRAPHIC 🌈😍⭐💙✨🌠💜🔵😻🌝❤️💛💚🐦💟🐈🐢🐉🙏STONETEMPLEPILOTS 🌻 🐦 😻 🌚 🌛 🌝 🌜 🔵 🌈 🌠 ✨ ⭐ 💙 💚 💟 💜 💛 ❤️ 🐈 🐢 🐉 RECORDS#SHIRTS #records #broadcasts #fromeurope #pearljam #smashingpumpkins #gratefuldead #aliceinchains #brucespringsteen #mikeoldfield #nirvana + #COMESEE #comevisit #gatlinburgtn @visitgatlinburg @mountain_mall @therhythmsection78 🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉 "...Get some walking in, and try live together in peace harmony with people of all creeds nations." -- Monty Python's Meaning Life <3 THE MUSIC1978.COM POSTERS $$*%+#PEACE #LOVEGORILLAZ ♊ ♋ ♌ ♍ ♎ ♏ ♐ ♑ ♒ ⛎ ⛎ ♉ ♊💜🌈💛🌻✨🔥🎑😍🎨🔜🌠🌝🍀💕🕘🙏😯🐢🐈💟🐦🐉💙🔵💚💙💜💖💗💛💘💚💓😻💝💟♥️❣️💕💞😍🔥🌎🙏🐢🐈🐦🐉🔵💙💚💙 💜☮️♈♉♊♋♌♍♎♏♐♑♒⛎⛎♾️🔴🔵 #KINGDOM #RAINFOREST #ALOYSIUS #DAYS #SPIRITOFLIFE #TECHNICOLOR #JIMIHENDRIX #EYEINTHESKY #KEY #JONANDERSON 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TREASURE TROVE COME VISIT MALL GREAT BLUE RIDGE HAVEN REFUGE TREE BIRD CITY OF LIGHT ♈♉♊♋♌♍♎♏♐♑♒⛎ #GATLINBURG #RECORDSTORE #SMOKYMOUNTAINS #RECORDS #GATLINBURGTENNESSEE #TAYLORSWIFT #THERHYTHMSECTION #SHIRTS #VINYLRECORDS WWW.MUSIC1978.COM WWW.FLICKR.COM/PHOTOS/MUSIC1978 WWW.RHYTHMSECTIONGATLINBURG.COM RADIOHEAD TAYLORSWIFT ADVENTURETIME METALLICA STURGILLSIMPSON TOOL JIMIHENDRIX BARBIE ELTONJOHN NIRVANA QUEEN ALICEINCHAINS TOMPETTY MOTLEYCRUE KISS LABYRINTH OLIVIARODRIGO JEFFBUCKLEY LANADELREY NINEINCHNAILS GRATEFULDEAD REDHOTCHILIPEPPERS BLACKSABBATH MICHAELJACKSON MFDOOM THECURE WUTANGCLAN GORILLAZ DEFTONES TEARSFORFEARS RAGEAGAINSTTHEMACHINE GUNSNROSES M83 NIGHTMAREBEFORECHRISTMAS LEDZEPPELIN BOBDYLAN NEONGENESISEVANGELION KINGCRIMSON BACKTOTHEFUTURE YES NEUTRALMILKHOTEL ARCTICMONKEYS DOLLYPARTON TYLERTHECREATOR DEFLEPPARD SOUNDGARDEN MGMT OZZYOSBOURNE SLIPKNOT MYBLOODYVALENTINE DAVIDBOWIE PINKFLOYD MISFITS COCTEAUTWINS ROLLINGSTONES BEATLES BEASTIEBOYS TAMEIMPALA WEEZER JOHNNYCASH PRINCE BEETLEJUICE STONETEMPLEPILOTS MACDEMARCO MACMILLER IRONMAIDEN RAINBOW FLEETWOODMAC SMASHINGPUMPKINS MELANIEMARTINEZ KORN STRANGERTHINGS TYPEONEGATIVE DIO TYLERCHILDERS DIRTYDANCING FOOTLOOSE GENESIS MOTORHEAD THEDOORS 🌈😍⭐💙✨🌠💜🔵😻🌝❤️💛💚🐦💟🐈🐢🐉🙏STONETEMPLEPILOTS 🌻 🐦 😻 🌚 🌛 🌝 🌜 🔵 🌈 🌠 ✨ ⭐ 💙 💚 💟 💜 💛 ❤️ 🐈 🐢 🐉 RECORDS#SHIRTS #records #broadcasts #fromeurope #pearljam #smashingpumpkins #gratefuldead #aliceinchains #brucespringsteen #mikeoldfield #nirvana + #COMESEE #comevisit #gatlinburgtn @visitgatlinburg @mountain_mall @therhythmsection78 🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉 "...Get some walking in, and try live together in peace harmony with people of all creeds nations." -- Monty Python's Meaning Life <3 THE MUSIC1978.COM POSTERS $$*%+#PEACE #LOVEGORILLAZ ♊ ♋ ♌ ♍ ♎ ♏ ♐ ♑ ♒ ⛎ ⛎ ♉ ♊💜🌈💛🌻✨🔥🎑😍🎨🔜🌠🌝🍀💕🕘🙏😯🐢🐈💟🐦🐉💙🔵💚💙💜💖💗💛💘💚💓😻💝💟♥️❣️💕💞😍🔥🌎🙏🐢🐈🐦🐉🔵💙💚💙 💜☮️♈♉♊♋♌♍♎♏♐♑♒⛎⛎♾️🔴🔵I GOT / BLIND FAR FROM ME DAY-IN DAY-OUT BLOWIN IN WIND MY GIRLS #REALMS #LAYERS #LEVELS #MAGICMIRROR #HEALINGMAGIC #MAZE 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#VISITTENNESSEE #DOOM CD MOVIE T-SHIRT STORE💙 NATIONAL PARK www.flickr.com/photos/music1978/ PRETTY COOL T TOWER CASTLE PALACE STAIRWAY WATERFALL ISLAND CONTINENT FANTASY SURREAL PSYCHEDELIC FLOWER LIFE HEAVEN AURA BUTTERFLY CAT TURTLE EARTH WATER FIRE AIR SPIRIT ELEMENTAL BALANCE CENTER MANDALA GEOMETRIC ORDER CREATION DREAM RIVER SAPPHIRE EMERALD AMETHYST GOLDEN SILVER SUN MOON STAR NOSTALGIA PLEASE LOCAL THIS HOLIDAY SEASON! THANK YOU! #SMOKEYMOUNTAINSNATIONALPARK #PRESENTS "WITHOUT MUSIC, WOULD BE A MISTAKE." FRIEDRICH NIETZSCHE PERFECT SPOT FOR VACATION AND CHRISTMAS SHOPPING! FRESH BEAUTIFUL ALL AROUND, NESTLED HISTORIC PRISTINE VALLEY RIGHT NEXT TO PARK! YOU CAN HIKE UP BEFORE GOING DOWNTOWN THAT HAS BEEN HERE SINCE 1978, AS WELL MANY OTHER SHOPS ARE WAITING BY DO SHOPPING YOURSELF OR OTHERS! SECTION: MOVIES 1978 CARRYING WIDE RANGE THOUSANDS RECORDS, CDS, T-SHIRTS, CONCERT REPRODUCTION POSTERS, STICKERS, PATCHES, ENAMEL PINS, MAGNETS, MORE UNIQUE AMAZING ITEMS CONSTANTLY BEING RESTOCKED WITH RELEASES, ARRIVALS, RESTOCKS BESTSELLERS! 611 PARKWAY WWW.FACEBOOK.COM/GATLINBURGMTNMALL SEND MESSAGE ASK PRODUCT AVAILABILITY! www.redbubble.com/people/rhythmsectiontn/shop @visit Visit Gatlinburg Mountain Mall "WELL, IT'S NOTHING VERY SPECIAL. TRY NICE PEOPLE, AVOID EATING FAT, READ GOOD BOOK EVERY NOW THEN, GET SOME WALKING IN, LIVE TOGETHER PEACE HARMONY PEOPLE CREEDS NATIONS." 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#TAYLORNATIONTSHIRTS #INNBETWEENWO0RLDS #SANCTUM #LUMPYSPACEPRINCESSTHE #THECARNIVALISOVER #CURRENTLY #CHILDRENOFTHESUNTHERESHEGOESMYBEAUTIFULWORLD #COMPELLING #BLUEROOM #NEWVINYL #YOUTUBEMUSIC #POTENTIAL. #VINYLALBUMS #BRAIN #TSHIRTSHOPGOINGTOCALIFORNIA #COULEURS #NESTLED #TNVINYL 🌈😍⭐💙✨🌠💜🔵😻🌝❤️💛💚🐦💟🐈🐢🐉🙏STONETEMPLEPILOTS 🌻 🐦 😻 🌚 🌛 🌝 🌜 🔵 🌈 🌠 ✨ ⭐ 💙 💚 💟 💜 💛 ❤️ 🐈 🐢 🐉 RECORDS#SHIRTS #records #broadcasts #fromeurope #pearljam #smashingpumpkins #gratefuldead #aliceinchains #brucespringsteen #mikeoldfield #nirvana + #COMESEE #comevisit #gatlinburgtn @visitgatlinburg @mountain_mall @therhythmsection78 🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉 "...Get some walking in, and try live together in peace harmony with people of all creeds nations." -- Monty Python's Meaning Life <3 THE MUSIC1978.COM POSTERS $$*%+#PEACE #LOVEGORILLAZ ♊ ♋ ♌ ♍ ♎ ♏ ♐ ♑ ♒ ⛎ ⛎ ♉ ♊💜🌈💛🌻✨🔥🎑😍🎨🔜🌠🌝🍀💕🕘🙏😯🐢🐈💟🐦🐉💙🔵💚💙💜💖💗💛💘💚💓😻💝💟♥️❣️💕💞😍🔥🌎🙏🐢🐈🐦🐉🔵💙💚💙 💜☮️♈♉♊♋♌♍♎♏♐♑♒⛎⛎♾️🔴🔵 #LODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78!THERHYTHMSECTION78!THERHYTHMSECTION78!THERHYTHMSECTION78!VALLEY+STICKERS+THERHYTHMSECTION78! #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #COSMOS. #PRAYERSFORRAIN:GREEN_HIMAGINATIONLIBRARY #PLEASEREMEMBERME #SPACEAGELOVESONG #TIMEITSTIME #AIKEAGUINEA #GHOST! #URATH #AERODYNAMICBEATS #LEDZEPPELINGATLINBURG #PREVIOUS #RAMBLEON #FRACTALBODHISATTVA #FUNERALFORAFRIEND #TENACIOUSDRECORDS #ONGOING #AMETHYSTBRIGHT #HOODIES #WEDNESDAY #DRAGON-TURTLE #EXPERIENCE #6 #IMAGINATIONLIBRARYGOLDEN #TIEDYEISART #CONDITION ++++ #TWENTYTWOWHEELSOFLIGHT #NEWYEARSDAYRECORDS #VEIL #DRAGONTURTLE #REVEAL (#ONLY #4. #FOUNTAINS #PROMISEOFWATER #GATLINBURGUSA #SEPIA #EMERGED: #EXPLOITING #BLACKFLAG #CLEANLINES

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.

 

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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.

 

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

 

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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

 

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

Richard Benjamin March 26 at 10:50am

I would like to share with you all what a great night i had worshiping God through music on Friday night at the Rock and Worship Road Show in the coliseum in Madison WI.

First i would like to thank the Rush family for following Gods will and putting on this show and 102.5 for there support and the 7, top 20 christian music list bands, that played.

The excitement in the coliseum for God was like being at a great revival, a Benny Hinn healing service, and a big wedding party, all mixed together.

Let me try to explain.

The concert sold out and over 8,000 people came out to praise and rock out for the Lord and people waited out side for hours to get in. I got to work the doors and help direct the people to where they needed to go and saw the excitement of all to what was about to come.

I'm always impressed with the gifts that God gives to the bands and the Holy Spirit gives them the words and music to write, But what really surprises me is the ability to give a message like a seasoned pastor and that's what they did.

I didn't get to see the whole show but what i did see gave me hope for the next generation.

When Francesca Battistelli came out i saw little girls running up to get pics of her and singing all her music and jumping up and down. I couldn't help but think what a great role model she is for these little girls.

Then David Crowder Band came out with there country sound and the floor of the coliseum went wild. kids from all over came down and formed a conga line and danced all around the floor as everyone else danced and raised there hands to God with praise.

Family Force 5 came out and though i don't know the music and rap isn't my thing, the kids from 7 to 15 went nuts for this music.They did put on a good show and i had to smile at there performance. The kids now a days like this rap music and i was glad to see that they had this band to listen to because the alliterative out there is pure bad.

 

But what really gave me hope the the future is when Mercyme came out, the same kids that where jumping for Family Force 5 are now raising there hands toward heaven and singing there heart out to God in praise and worship. As the Holy Spirit touched me through the songs from Mercyme I couldn't keep the tears back and i look around and saw hundreds of boys and girls with tears running down there faces standing with there hands waving back and fourth, holding hands with there parents, and singing to God with all there hearts. I knew right then God was in the house and the same thing i was feeling, even the 7 year olds where feeling and the pressures of life was just as hard for them as it is for me and how they knew it is God pulling them through as they thanked Him through the words in the music.

I'm so glad i didn't miss this event and i feel sorry for those that didn't make it as it was a intimate time with God and 8,000 others that love Him like i do and to see the next generation strong and with a true heart for God. Music breaks the barriers of languages and generations and we were all one in praising are Lord and King.

Later this week i heard that the local men around town were saying on Friday night, " Benji's out at a concert rock'in with God." Praise the Lord, even those that don't know God where affected by this concert and i was able to share the love of God to these men.

 

Richard Benjamin

Comments,

 

Kallie Cline

Thank you, Richard! I witnessed the same type of worship and enthusiasm at Indy but didn't have the words to articulate myself as well as you did. Praise God!!

Yesterday

 

Doreen A. Lont

Wow...Richard, you really summed up the concert here in Wisconsin....thanks for putting it into words! Absolutely an amazing evening....watching the live feed for tonights concert and wishing it were last Friday night all over again!

 

Richard,

I too was amazed at what I witness Friday. AMEN!!

Thank you for sharing your heart felt experience with me and I have passed this on to the RUSH family.

 

Blessings

Mark

There is a point in our lives when we, the children, become the adults in the relationship with our parents.

 

It will come for most of us, no one tells you this will happen, and you are unprepared for it. But it comes

 

And each of us has a different relationship with our parents than everyone else, what's right for me, and my views, do not apply to you.

 

Yesterday, was the funeral of the person I have known longer than anyone else on this earth, now that my family is all gone. Margaret and Brian were married a few weeks before mine, and moved into the new build bungalow also a few weeks before my parents.

 

They also had one child, a son, and Douglas and I have been friends longer than I have been friends with anyone else, although he is a year younger than me.

 

I have my views on Margaret, but the reason I travelled back to Suffolk for her funeral, was to be there for Douggie, and give him the support he has given me through three weddings and two funerals.

 

Norfolk isn't far away, and the funeral and wake were taking place just a mile or two over the border from Suffolk, but the roads beyond Ipswich are poor, twisty and where there are accidents or roadworks, no real alternative routes.

 

I was also leaving just before six, so had to get across the Thames at Dartford and up the A12 during rush hour, so it wouldn't be easy. But at least there would be no rain.

 

I was up at five, dressed and washed, with time to drink a coffee before leaving. Loading the car with me and my camera bag, as I had plans in case I had time, to visit a church or two.

 

It was dark up the M20 to Dartford, and busy with traffic, but I made good time, and listened to a loop of old music podcasts all day, so chat and music kept me awake.

 

I got onto the M25 with no problem, and through the tunnels with only a slight slowdown, but on the other side there were queues.

 

Despite not wanting to spend money on a new railway, there is always money for road and junction improvements, even if it will just increase traffic. So it is that the M25/A12 junction is being upgraded, and with narrow lanes, speed restrictions, jams began a good four miles before the roadworks started.

 

I forced my way to the left hand lane, which became a filter lane, meaning it was much quicker than the remaining four lanes. But then came the roundabout. The roundabout under the motorway is the reason the improvements are needed, and queueing traffic blocks the junctions and causes even more backlogs.

 

Of course, traffic lights on roundabouts are never good ideas, so I was confronted with a wall of traffic, so when the light went green, I went in front of a track before it could shuffle forward and block more of the junction, then there was some clear road.

 

And ducking into the extreme left hand lane, I dodged past the queuing traffic that was blocking the exit from the A12, and onto clear road.

 

Yay.

 

The sky was clear, the sun about to rise, and it was going to be a glorious day.

 

Just north of Chelmsford, I stopped for breakfast: two sausage rolls and a coffee from Greggs, then filled up the tank and on my way north.

 

More traffic at Ipswich where the A12 meets the A14 to get over the Orwell, but then clear traffic again after ten minutes delay.

 

Soon, though, the road narrows to two lane blacktop, and all is well until you meet a slower vehicle. Like a tractor as we did soon after Whickham Market.

 

For 15 long minutes the tractor lead a growing snake of cars along the winding lanes until it pulled over and we could get past.

 

Blythburgh was always the marker when travelling back from Ipswich or beyond, that we were nearly home. he handsome church sits high, for Suffolk, overlooking the village and river which is mostly mudflats.

 

The busy A12 skirts close, but you get to the church via a narrow land, leaving the modern world far behind.

 

The church opened at nine, it was nearly half past, it was probably open before nine, and was open when I pushed the porch door.

 

Inside is an unspoilt space, grey wood that have witnessed the centuries so that their vigour has faded to almost no colour of all.

 

Its the roof people come for. Wooden beams and pairs of wooden angels. I have brought my big lens so to snap them.

 

My plan was to visit the large and impressive church in Southwold. I turned off the A12 and drove along the straight road into the town, where I found multiple sets of roadworks, and few places to park for a short time, anywhere near the church.

 

My back is achy, so I wanted somewhere close to park. Anyway, I drove round the town twice, found nowhere to park, so turned the car round and headed back north, until I came to South Cove.

 

South Cove is a small village, a few farms really, but has a fine, if rustic, well-proportioned church, set in a large churchyard.

 

And the church was open, so small the wide angle lens wasn't needed, and with windows close to the floor too, no big lens needed either.

 

Next town up is Kessingland, which until the 80s had the A12 running through the centre of it, but now a bypass lays to the west and the village is quiet. I don't think I had been of the main street, so I went in search of the church, and found it on Church Street.

 

Obviously.

 

I rarely research churches before I visit, so nothing prepared me for the interior of St Edmund.

 

It seems in the last two years, they church had sourced some banners with apt slogans on, banners which were made to look like large tapered ensigns, hanging from or along the supports of the roof.

 

A man was practicing on the organ, and the notes echoed round the church. Not only does the church have banners, it has ship's wheels and other nautical stuff, although most traditionalists won't like it, I think it hangs together, and if the congregation wants it thus, who are we to argue?

 

Next stop was South Cove, which I had forgotten I had visited before, so redid all my shots. But this time did see the panel featuring St Michael behind the font, where the rood steps began.

 

A small, perfect, church, perfect for a small country parish.

 

I take my shots and leave, driving back onto the A12 and heading into Lowestoft, my main task was to drive over the new bridge which spans Lake Lothing.

 

The town had been waiting since at least 1966 for a new bridge, and the 3rd crossing was opened in September, and offers fine views as you drive across.

 

I went to see the old family home. It has been renovated and looks splendid, and not much like it was when sold four years back, it looks cared for and lived in, which is what the buyer promised us he would do.

 

So then to the crematorium, a drive north through Gunton and past Hopton where Dougie lives, then through the housing estate behind the area hospital to the car park, and then wait.

 

Margaret was 89, had a long life, but friends of the same age are few, and families are now scattered. So, one can never be sure how many will attend. The chapel was half full at least, with people coming from Kent, Wiltshire and even California to be there.

 

The celebrant spoke for twenty minutes, saying nice things as they have to do. But, avoiding, or just hinting at faults. Whatever she had done in her life to Dougie, he still loved her, and he was in bits.

 

Afterward we lined up to shake his hand or give him and Pennie a hug, and allowed me to tell him he was the brother I never had. He was always there for me, and will be there for him.

 

More tears.

 

There was a wake at the pub in Hopton, but there was no one I knew other than Dougie and Penny, so I had a drink and made my excuses. These things are really for family and close friends, so I left at quarter to three, hoping to get home before midnight.

 

In the end, I made good time, I was going round Ipswich before four, and at the M25 junction less than an hour later, and was able to easily join it and zoom round to the bridge. No queues on the southbound side, but the queue northbound went all the way back to the M20 junction, so six mines.

 

I zoomed on.

 

I got home at ten past six, happy to have done it and go home in under three and a half hours. Dinner was defrosted ragu, pasta and reheated focaccia, which we were sitting down to eat twenty minutes after getting in.

 

Phew.

 

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

 

Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the late medieval Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.

 

Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some extraordinary legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.

 

It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.

 

At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this at the top. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of Holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.

 

Figures stand on pedestals atop the south side and east end. The most easterly is unusual, a crowned old man sitting on a throne directly on the gable end. This is a medieval image of God the Father, a rare survival. Moving westwards from here we find the Blessed Virgin in prayerful pose, Christ as the Saviour of the World holding an orb in one hand and blessing with the other, and then a collared bear with a ragged staff, a seated woodwose, another bear, this time with a collar and bell, and last of all a fox with a goose in its mouth, his jaws grasping the neck:

 

The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham. Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatries. Indeed, as late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.

 

William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.

 

Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.

 

Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.

 

Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that probably explains where the shot came from. Here are some details of that wonderful roof:

 

The otherwise splendid church guide also repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.

 

Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses. Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.

 

In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here. You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration. More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.

 

Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.

 

The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.

 

Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.

 

The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are partial sets of basically three series: the Seven Deadly Sins, the Seven Works of Mercy, and the Labours of the Seasons. There are also angels bearing symbols of the Holy Trinity and the Crown. There are other figures too, obscure and fragmentary and whose purpose is unclear, as if surviving figments of a broken dream. The quality of what remains makes you grieve for what has been lost.

 

The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, a scattering of medieval glass, mainly angels. There is more in the south aisle, including a collection of shields of the Holy Trinity:

 

But step through the central aisle to see something remarkable. The priest and choir stalls are fronted by exquisite carvings of the Apostles, the Evangelists, John the Baptist, St Stephen, Mary Queen of Heaven and Christ in Majesty. Seeing these eighteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665. There is nothing at all like them anywhere else in Suffolk.

 

Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them is Peter Ball's beautiful Madonna and Child. Separating the south aisle chapel from the sanctuary is is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. Behind the high altar, branches arranged like huge stag antlers spread dramatically. It is all just about perfect. Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.

 

This is a wonderful church to wander around in, the light and the air changing with the seasons, a suffused sense of the numinous presenting its different faces according to the time of day and time of year. Come here on a bright spring morning, or in the drowsy heat of a summer's day. Come on a cold winter afternoon as the colours fade and the smell of woodsmoke from neighbouring cottages weaves a spell above the old stone floors and woodwork. And before you leave, find the doorway in the south-west corner of the nave. It opens onto a low, narrow stairway. You can go up it. It leads up into the parvise storey of the south porch, now reappointed and dedicated as a tiny chapel, a peaceful spot to spend a few moments before continuing your journey.

 

You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one

 

Simon Knott, 2014.

 

www.suffolkchurches.co.uk/Blythburgh.htm

The Postcard

 

A postally unused postcard that was published by Hartmann. The card, which was printed in Saxony, has a divided back.

 

John Bunyan

 

John Bunyan was baptised on the 30th. November 1628. He was an English writer and Puritan preacher, best remembered as the author of the Christian allegory The Pilgrim's Progress. In addition to The Pilgrim's Progress, Bunyan wrote nearly sixty titles, many of them expanded sermons.

 

Bunyan came from the village of Elstow, near Bedford. At the age of 16 he joined the Parliamentary Army during the first stage of the English Civil War. After three years in the army he returned to Elstow and took up the trade of tinker, which he had learned from his father.

 

He became interested in religion after his marriage, attending first the parish church and then joining the Bedford Meeting, a nonconformist group in Bedford, and becoming a preacher.

 

After the restoration of the monarch, when the freedom of nonconformists was curtailed, Bunyan was arrested and spent the next twelve years in jail as he refused to give up preaching.

 

During this time he wrote a spiritual autobiography, Grace Abounding to the Chief of Sinners.

 

The Pilgrim's Progress

 

While in prison he also began work on his most famous book, The Pilgrim's Progress, which was not published until some years after his release.

 

The Pilgrim's Progress became one of the most published books in the English language; 1,300 editions having been printed by 1938, 250 years after the author's death.

 

John Bunyan - The Later Years

 

Bunyan's later years, in spite of another shorter term of imprisonment, were spent in relative comfort as a popular author and preacher, and pastor of the Bedford Meeting.

 

The Death of John Bunyan

 

John Bunyan died on the 31st. August 1688 aged 59 after falling ill on a journey to London, and is buried in Bunhill Fields.

 

Final Thoughts From john Bunyan

 

"You have not lived today until you have

done something for someone who can

never repay you."

 

"If my life is fruitless, it doesn't matter who

praises me, and if my life is fruitful, it doesn't

matter who criticizes me."

 

"No man, without trials and temptations,

can attain a true understanding of the

Holy Scriptures."

 

"Pray and read, read and pray; for a little from

God is better than a great deal from men."

 

"He who runs from God in the morning will

scarcely find Him the rest of the day."

 

"What God says is best, is best, though

all the men in the world are against it."

 

"The truths that I know best I have learned

on my knees. I never know a thing well, till

it is burned into my heart by prayer."

 

"The fear of God is the beginning of wisdom,

and they that lack the beginning have neither

middle nor end."

 

"Hope is never ill when faith is well."

 

"It is said that in some countries trees will grow,

but will bear no fruit because there is no winter

there."

 

"Christians are like the several flowers in a garden

that have each of them the dew of heaven, which,

being shaken with the wind, they let fall at each

other's roots, whereby they are jointly nourished,

and become nourishers of each other."

 

"It is possible to learn all about the mysteries of the

Bible and never be affected by it in one's soul. Great

knowledge is not enough."

 

"Afflictions make the heart more deep, more

experimental, more knowing and profound,

and so, more able to hold, to contain, and

beat more."

 

"You have chosen the roughest road,

but it leads straight to the hilltops."

 

"Whatever contradicts the Word of God

should be instantly resisted as diabolical."

 

"The spirit of prayer is more precious

than treasures of gold and silver."

 

"If we have not quiet in our minds, outward

comfort will do no more for us than a golden

slipper on a gouty foot."

 

"An idle man's brain is the devil's workshop."

 

"No child of God sins to that degree as

to make himself incapable of forgiveness."

 

"If you are not a praying person,

you are not a Christian."

 

"The best prayer I ever prayed had

enough sin to damn the whole world."

 

"Words easy to be understood do often

hit the mark, when high and learned ones

do only pierce the air."

 

"I will stay in prison till the moss grows

on my eye lids rather than disobey God."

 

"I come from the Town of Stupidity; it lieth

about four degrees beyond the City of

Destruction."

 

"And, indeed, this is one of the greatest

mysteries in the world; namely, that a

righteousness that resides in heaven

should justify me, a sinner on earth!"

 

"I will stay in jail to the end of my days

before I make a butchery of my conscience."

 

"There is no way to kill a man's

righteousness but by his own

consent."

 

"Temptations, when we meet them at first,

are as the lion that reared upon Samson;

but if we overcome them, the next time we

see them we shall find a nest of honey

within them."

 

"I preach deliverance to others, I tell them

there is freedom, while I hear my own chains

clang."

 

"Then I saw that there was a way to

hell, even from the gates of heaven."

 

"He who bestows his goods upon the

poor shall have as much again, and

ten times more."

 

"Therefore, I bind these lies and slanderous

accusations to my person as an ornament; it

belongs to my Christian profession to be vilified,

slandered, reproached and reviled, and since all

this is nothing but that, as God and my conscience

testify, I rejoice in being reproached for Christ's sake."

 

"Man indeed is the most noble, by creation,

of all the creatures in the visible World; but

by sin he has made himself the most ignoble."

‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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

 

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

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 beats, 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

I am the only child or Roscoe and Virginia Pauline Warner… HOW DID YOU GET INTO PHYSICAL THERAPY? Football injury in high school. Then I went to Shepherd University played four years as starting center at Shepherd. So if I messed up, everybody knew it and the play was toast. ARE YOU STILL ACTIVE ATHLETICALLY OR SPORTS-WISE? Keystone Senior Games. I did ten events. Shot-put, discus, hammer throw, foul shooting, badminton, tennis, swimming…. March first I will be seven decades. But I was getting all ready last summer and I just didn’t feel right. And in February my intestines blew. And so I went from playing tennis to emergency surgery. Eight days of induced coma. During the coma (I’m sure it was sometime there) I went, ‘God, are you sure you got the right guy?’ And he didn’t answer. And then he came back in and He says, ‘George, I will take you home some day but I got some things for you to do.’ ‘God, please tell me it’s a long list.’ During that time I felt no fear, anxiety and it’s true. I think they did shift work between God, Jesus and the Holy Spirit- you know, around the clock. And the surgeons told my wife, ‘There’s no way he’s going to survive this’ because I had pneumonia, peritonitis …and it wasn’t to be my time. So since that time I teach a class once a week- balance, flexibility, isometrics, tai chi and shenanigans. And I do it for free. CAN YOU SHOW US A SHENANIGAN? Do you want my wife to really do me in? [To his wife] Young lady, do you know what a shenanigan is? George Warner of Hershey, PA spending New Year’s in Carlisle, PA.

 

Watch video here

 

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

 

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

In 2018, a Flickrfriend noticed I was posting shots near to where she lived in New York. Short story is that the next day we met up for beers and a chat.

 

Fast forward five years and Diane is back visiting the UK and she was coming to Canterbury, did I want to meet and show her round?

 

Yes.

 

Yes, I do.

 

With just the one car, and Canterbury being a car-unfriendly city built still on a medieval road plan, it is easier to travel by public transport. So, at half seven, Jools dropped me off at Dover Priory so I could catch the train to Canterbury East, through the overgrown remains of the Kent coalfield at Shepherdswell and Snowdon, and detrain at Canterbury.

 

It was a dull, damp morning, with a strong wind blowing, but the forecast suggested little rain, but the wind would ensure that what rain there was, would be thrown in our faces, or at our back, with some force.

 

It is a poorly marked path into the city centre, but thanks to the nearby Castle, St Mildrids and Dane John Park, I guessed, correctly, that I walked straight ahead, once having crossed the small park which seems to be where St Mary in Castro once stood, the centre would be about ten minutes away.

 

I had eaten just an orange before leaving home, having decided I should have breakfast out, so it was that I walked to, and into The Saffron Café, where I ordered a large breakfast a a pot of tea, then people watched as I waited for the bangers and rashers to be cooked.

 

When it arrived, it was very good indeed, not greasy, and just what I had planned breakfast to be.

 

Once eaten and paid, I walk to the Buttercross, where the time was a minute before nine, and the Cathedral would soon be open.

 

No one else around, so I became the first paying visitor of the day, and went round taking some shots (I only had the nifty fifty with me, but my main target was the Chapterhouse and Crypt.

 

Both were open, though photography not allowed in the Crypt, though I did take a couple of shots of what I wanted to see here, the two columns rescued from the old Saxon church at Recilver, which was pulled down by its parishioners who believed, thanks to the then vicar's mother, that it was imperilled by the encroaching sea.

 

200 years later and Reculver Towers still stand, and the footprint of the church is still safe from the sea.

 

My only concern as to see wheich of the dozens of columns down in the Crypt, all holding the cathedral above it, up, where the ones I wanted to see. That was answered by two oversized columns, which were labelled as such. I took my shots and went in search of the Chapterhouse, which somehow I had missed on previous visits too.

 

This was open, and empty, but the stunning ceiling and stined glass windows would require a return visit with the big lens, but no matter as the entrance ticket allows for unlimited revisits for 12 months.

 

I walk back outside after an hour, and get a message from Diane that she was delayed with ticket problems, so I had time on my hands before her new arrival time of ten past midday came.

 

So, I went for a haircut, saving me a job on Sunday, though not as good as the guys in Folkestone, it'll last until I return from Denmark in two weeks or maybe more.

 

I had forgotten to pring my allergy spray, so went in search of a branch of Boots, got the spray, then went to Waterstones for a copy of Stuart Maconie's new book, not for today, but for my trip to Denmark, something to read when dining alone.....

 

That found and bought, it was now time to walk to the station and meet Diane, and maybe even read the first chapter of the book too.

 

I reached the station with a quarter of an hour to spare, so I sat down to begin to read, when a group of four young adults sat behind, began playing music, smoking and to start being annoying. And then a man came to me and asked if I was local, and if so did I know where the job centre was?

 

I didn't, but one of the young men behind me chirped up and explained by turning left on the main road and following the road along would bring him to the job centre.

 

Never judge a book by the cover, Ian.

 

Diane's train came in, and after negotiating the lift up from the platform, along the walkway and down the lift the other side, ten more minutes had gone by, but she came out.

 

We hugged and I had to explain that the Cathedral had more steps than I remember, but we could go and see where we could get into and see.

 

So, first up was a walk back into the city, past the Westgate, over broth branches of the Stour, stopping to look at the ditching stool and then through to Palace Street to see Number 8, and further along to the old King's School Book Shop with its wonky door and all odd angles.

 

Diane got her shots, and on the way back we paused for a drink at the Bell and Crown, where a "typical" English beer was requested. After chatting with a guy at the bar, I decided on a Leffe, as I had bought her a Belgian beer in NYC when we last met.

 

I took the beer outside where we drank and talked more.

 

A check of the time revelled it to be after two, so we drank up and walked to the Cathedral. I had my ticket from the morning, Diane bought hers, and we made our way to the side door so she could see and take shots from the Nave.

 

To get to the Quire we had to go back out and walk all the way round past the Chancel, ruins of other buildings and to where there was a passageway to the School, the other way lead to a small barely marked lift, which took us up to the Quire, where the majesty of the Cathedral.

 

It really is rather magnificent, even if on her buggy we could not get to see the tomb of The Black Prince.

 

Sunlight falling through the stained glass was also wonderful, and we both took shots, but time was getting away.

 

Before I left for home, we looked for a place to eat, couldn't find a pasty shop, but we did find a chippy. So eating a battered sausage and well salted and vinegared chips we ate and talked so more.

 

And so it was time to part, I took her back to High Street, and she went off to West Station, while I walked back to East.

 

Thankfully I had walked it this morning, so found it no trouble, but the way was poorly marked and I could have easily got lost.

 

On the platform, there was a train in ten minutes, which would get me back to Priory station by twenty past five, just in time for Jools to pick me up on her way home.

 

Which would have been perfect had it not been for roadworks and traffic lights. I walked up Folkestone Road along the line of cars waiting at the lights until I found Jools, got in and once through the lights, back up Jubilee Way to home.

 

I quickly rustled up Carbonara, plating it up in less than 20 minutes. I checked my phone, 21,500 steps, which the health app seemed to approve of.

 

And to end the perfect day, Norwich were on telly, but playing Leicester who took their chances and we didn't. City lost 2-0.

 

Oh well.

 

A fine day, all in all

 

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History of the cathedral

THE ORIGIN of a Christian church on the scite of the present cathedral, is supposed to have taken place as early as the Roman empire in Britain, for the use of the antient faithful and believing soldiers of their garrison here; and that Augustine found such a one standing here, adjoining to king Ethelbert's palace, which was included in the king's gift to him.

 

This supposition is founded on the records of the priory of Christ-church, (fn. 1) concurring with the common opinion of almost all our historians, who tell us of a church in Canterbury, which Augustine found standing in the east part of the city, which he had of king Ethelbert's gift, which after his consecration at Arles, in France, he commended by special dedication to the patronage of our blessed Saviour. (fn. 2)

 

According to others, the foundations only of an old church formerly built by the believing Romans, were left here, on which Augustine erected that, which he afterwards dedicated to out Saviour; (fn. 3) and indeed it is not probable that king Ethelbert should have suffered the unsightly ruins of a Christian church, which, being a Pagan, must have been very obnoxious to him, so close to his palace, and supposing these ruins had been here, would he not have suffered them to be repaired, rather than have obliged his Christian queen to travel daily to such a distance as St. Martin's church, or St. Pancrace's chapel, for the performance of her devotions.

 

Some indeed have conjectured that the church found by St. Augustine, in the east part of the city, was that of St.Martin, truly so situated; and urge in favor of it, that there have not been at any time any remains of British or Roman bricks discovered scattered in or about this church of our Saviour, those infallible, as Mr. Somner stiles them, signs of antiquity, and so generally found in buildings, which have been erected on, or close to the spot where more antient ones have stood. But to proceed, king Ethelbert's donation to Augustine was made in the year 596, who immediately afterwards went over to France, and was consecrated a bishop at Arles, and after his return, as soon as he had sufficiently finished a church here, whether built out of ruins or anew, it matters not, he exercised his episcopal function in the dedication of it, says the register of Christ-church, to the honor of Christ our Saviour; whence it afterwards obtained the name of Christ-church. (fn. 4)

 

From the time of Augustine for the space of upwards of three hundred years, there is not found in any printed or manuscript chronicle, the least mention of the fabric of this church, so that it is probable nothing befell it worthy of being recorded; however it should be mentioned, that during that period the revenues of it were much increased, for in the leiger books of it there are registered more than fifty donations of manors, lands, &c. so large and bountiful, as became the munificence of kings and nobles to confer. (fn. 5)

 

It is supposed, especially as we find no mention made of any thing to the contrary, that the fabric of this church for two hundred years after Augustine's time, met with no considerable molestations; but afterwards, the frequent invasions of the Danes involved both the civil and ecclesiastical state of this country in continual troubles and dangers; in the confusion of which, this church appears to have run into a state of decay; for when Odo was promoted to the archbishopric, in the year 938, the roof of it was in a ruinous condition; age had impaired it, and neglect had made it extremely dangerous; the walls of it were of an uneven height, according as it had been more or less decayed, and the roof of the church seemed ready to fall down on the heads of those underneath. All this the archbishop undertook to repair, and then covered the whole church with lead; to finish which, it took three years, as Osbern tells us, in the life of Odo; (fn. 6) and further, that there was not to be found a church of so large a size, capable of containing so great a multitude of people, and thus, perhaps, it continued without any material change happening to it, till the year 1011; a dismal and fatal year to this church and city; a time of unspeakable confusion and calamities; for in the month of September that year, the Danes, after a siege of twenty days, entered this city by force, burnt the houses, made a lamentable slaughter of the inhabitants, rifled this church, and then set it on fire, insomuch, that the lead with which archbishop Odo had covered it, being melted, ran down on those who were underneath. The sull story of this calamity is given by Osbern, in the life of archbishop Odo, an abridgement of which the reader will find below. (fn. 7)

 

The church now lay in ruins, without a roof, the bare walls only standing, and in this desolate condition it remained as long as the fury of the Danes prevailed, who after they had burnt the church, carried away archbishop Alphage with them, kept him in prison seven months, and then put him to death, in the year 1012, the year after which Living, or Livingus, succeeded him as archbishop, though it was rather in his calamities than in his seat of dignity, for he too was chained up by the Danes in a loathsome dungeon for seven months, before he was set free, but he so sensibly felt the deplorable state of this country, which he foresaw was every day growing worse and worse, that by a voluntary exile, he withdrew himself out of the nation, to find some solitary retirement, where he might bewail those desolations of his country, to which he was not able to bring any relief, but by his continual prayers. (fn. 8) He just outlived this storm, returned into England, and before he died saw peace and quientness restored to this land by king Canute, who gaining to himself the sole sovereignty over the nation, made it his first business to repair the injuries which had been done to the churches and monasteries in this kingdom, by his father's and his own wars. (fn. 9)

 

As for this church, archbishop Ægelnoth, who presided over it from the year 1020 to the year 1038, began and finished the repair, or rather the rebuilding of it, assisted in it by the royal munificence of the king, (fn. 10) who in 1023 presented his crown of gold to this church, and restored to it the port of Sandwich, with its liberties. (fn. 11) Notwithstanding this, in less than forty years afterwards, when Lanfranc soon after the Norman conquest came to the see, he found this church reduced almost to nothing by fire, and dilapidations; for Eadmer says, it had been consumed by a third conflagration, prior to the year of his advancement to it, in which fire almost all the antient records of the privileges of it had perished. (fn. 12)

 

The same writer has given us a description of this old church, as it was before Lanfranc came to the see; by which we learn, that at the east end there was an altar adjoining to the wall of the church, of rough unhewn stone, cemented with mortar, erected by archbishop Odo, for a repository of the body of Wilfrid, archbishop of York, which Odo had translated from Rippon hither, giving it here the highest place; at a convenient distance from this, westward, there was another altar, dedicated to Christ our Saviour, at which divine service was daily celebrated. In this altar was inclosed the head of St. Swithin, with many other relics, which archbishop Alphage brought with him from Winchester. Passing from this altar westward, many steps led down to the choir and nave, which were both even, or upon the same level. At the bottom of the steps, there was a passage into the undercroft, under all the east part of the church. (fn. 13) At the east end of which, was an altar, in which was inclosed, according to old tradition, the head of St. Furseus. From hence by a winding passage, at the west end of it, was the tomb of St. Dunstan, (fn. 14) but separated from the undercroft by a strong stone wall; over the tomb was erected a monument, pyramid wife, and at the head of it an altar, (fn. 15) for the mattin service. Between these steps, or passage into the undercroft and the nave, was the choir, (fn. 16) which was separated from the nave by a fair and decent partition, to keep off the crowds of people that usually were in the body of the church, so that the singing of the chanters in the choir might not be disturbed. About the middle of the length of the nave, were two towers or steeples, built without the walls; one on the south, and the other on the north side. In the former was the altar of St. Gregory, where was an entrance into the church by the south door, and where law controversies and pleas concerning secular matters were exercised. (fn. 17) In the latter, or north tower, was a passage for the monks into the church, from the monastery; here were the cloysters, where the novices were instructed in their religious rules and offices, and where the monks conversed together. In this tower was the altar of St. Martin. At the west end of the church was a chapel, dedicated to the blessed Virgin Mary, to which there was an ascent by steps, and at the east end of it an altar, dedicated to her, in which was inclosed the head of St. Astroburta the Virgin; and at the western part of it was the archbishop's pontifical chair, made of large stones, compacted together with mortar; a fair piece of work, and placed at a convenient distance from the altar, close to the wall of the church. (fn. 18)

 

To return now to archbishop Lanfranc, who was sent for from Normandy in 1073, being the fourth year of the Conqueror's reign, to fill this see, a time, when a man of a noble spirit, equal to the laborious task he was to undertake, was wanting especially for this church; and that he was such, the several great works which were performed by him, were incontestable proofs, as well as of his great and generous mind. At the first sight of the ruinous condition of this church, says the historian, the archbishop was struck with astonishment, and almost despaired of seeing that and the monastery re edified; but his care and perseverance raised both in all its parts anew, and that in a novel and more magnificent kind and form of structure, than had been hardly in any place before made use of in this kingdom, which made it a precedent and pattern to succeeding structures of this kind; (fn. 19) and new monasteries and churches were built after the example of it; for it should be observed, that before the coming of the Normans most of the churches and monasteries in this kingdom were of wood; (all the monasteries in my realm, says king Edgar, in his charter to the abbey of Malmesbury, dated anno 974, to the outward sight are nothing but worm-eaten and rotten timber and boards) but after the Norman conquest, such timber fabrics grew out of use, and gave place to stone buildings raised upon arches; a form of structure introduced into general use by that nation, and in these parts surnished with stone from Caen, in Normandy. (fn. 20) After this fashion archbishop Lanfranc rebuilt the whole church from the foundation, with the palace and monastery, the wall which encompassed the court, and all the offices belonging to the monastery within the wall, finishing the whole nearly within the compass of seven years; (fn. 21) besides which, he furnished the church with ornaments and rich vestments; after which, the whole being perfected, he altered the name of it, by a dedication of it to the Holy Trinity; whereas, before it was called the church of our Saviour, or Christ-church, and from the above time it bore (as by Domesday book appears) the name of the church of the Holy Trinity; this new church being built on the same spot on which the antient one stood, though on a far different model.

 

After Lanfranc's death, archbishop Anselm succeeded in the year 1093, to the see of Canterbury, and must be esteemed a principal benefactor to this church; for though his time was perplexed with a continued series of troubles, of which both banishment and poverty made no small part, which in a great measure prevented him from bestowing that cost on his church, which he would otherwise have done, yet it was through his patronage and protection, and through his care and persuasions, that the fabric of it, begun and perfected by his predecessor, became enlarged and rose to still greater splendor. (fn. 22)

 

In order to carry this forward, upon the vacancy of the priory, he constituted Ernulph and Conrad, the first in 1104, the latter in 1108, priors of this church; to whose care, being men of generous and noble minds, and of singular skill in these matters, he, during his troubles, not only committed the management of this work, but of all his other concerns during his absence.

 

Probably archbishop Anselm, on being recalled from banishment on king Henry's accession to the throne, had pulled down that part of the church built by Lanfranc, from the great tower in the middle of it to the east end, intending to rebuild it upon a still larger and more magnificent plan; when being borne down by the king's displeasure, he intrusted prior Ernulph with the work, who raised up the building with such splendor, says Malmesbury, that the like was not to be seen in all England; (fn. 23) but the short time Ernulph continued in this office did not permit him to see his undertaking finished. (fn. 24) This was left to his successor Conrad, who, as the obituary of Christ church informs us, by his great industry, magnificently perfected the choir, which his predecessor had left unfinished, (fn. 25) adorning it with curious pictures, and enriching it with many precious ornaments. (fn. 26)

 

This great undertaking was not entirely compleated at the death of archbishop Anselm, which happened in 1109, anno 9 Henry I. nor indeed for the space of five years afterwards, during which the see of Canterbury continued vacant; when being finished, in honour of its builder, and on account of its more than ordinary beauty, it gained the name of the glorious choir of Conrad. (fn. 27)

 

After the see of Canterbury had continued thus vacant for five years, Ralph, or as some call him, Rodulph, bishop of Rochester, was translated to it in the year 1114, at whose coming to it, the church was dedicated anew to the Holy Trinity, the name which had been before given to it by Lanfranc. (fn. 28) The only particular description we have of this church when thus finished, is from Gervas, the monk of this monastery, and that proves imperfect, as to the choir of Lanfranc, which had been taken down soon after his death; (fn. 29) the following is his account of the nave, or western part of it below the choir, being that which had been erected by archbishop Lanfranc, as has been before mentioned. From him we learn, that the west end, where the chapel of the Virgin Mary stood before, was now adorned with two stately towers, on the top of which were gilded pinnacles. The nave or body was supported by eight pair of pillars. At the east end of the nave, on the north side, was an oratory, dedicated in honor to the blessed Virgin, in lieu, I suppose, of the chapel, that had in the former church been dedicated to her at the west end. Between the nave and the choir there was built a great tower or steeple, as it were in the centre of the whole fabric; (fn. 30) under this tower was erected the altar of the Holy Cross; over a partition, which separated this tower from the nave, a beam was laid across from one side to the other of the church; upon the middle of this beam was fixed a great cross, between the images of the Virgin Mary and St. John, and between two cherubims. The pinnacle on the top of this tower, was a gilded cherub, and hence it was called the angel steeple; a name it is frequently called by at this day. (fn. 31)

 

This great tower had on each side a cross isle, called the north and south wings, which were uniform, of the same model and dimensions; each of them had a strong pillar in the middle for a support to the roof, and each of them had two doors or passages, by which an entrance was open to the east parts of the church. At one of these doors there was a descent by a few steps into the undercroft; at the other, there was an ascent by many steps into the upper parts of the church, that is, the choir, and the isles on each side of it. Near every one of these doors or passages, an altar was erected; at the upper door in the south wing, there was an altar in honour of All Saints; and at the lower door there was one of St. Michael; and before this altar on the south side was buried archbishop Fleologild; and on the north side, the holy Virgin Siburgis, whom St. Dunstan highly admired for her sanctity. In the north isle, by the upper door, was the altar of St. Blaze; and by the lower door, that of St. Benedict. In this wing had been interred four archbishops, Adelm and Ceolnoth, behind the altar, and Egelnoth and Wlfelm before it. At the entrance into this wing, Rodulph and his successor William Corboil, both archbishops, were buried. (fn. 32)

 

Hence, he continues, we go up by some steps into the great tower, and before us there is a door and steps leading down into the south wing, and on the right hand a pair of folding doors, with stairs going down into the nave of the church; but without turning to any of these, let us ascend eastward, till by several more steps we come to the west end of Conrad's choir; being now at the entrance of the choir, Gervas tells us, that he neither saw the choir built by Lanfranc, nor found it described by any one; that Eadmer had made mention of it, without giving any account of it, as he had done of the old church, the reason of which appears to be, that Lanfranc's choir did not long survive its founder, being pulled down as before-mentioned, by archbishop Anselm; so that it could not stand more than twenty years; therefore the want of a particular description of it will appear no great defect in the history of this church, especially as the deficiency is here supplied by Gervas's full relation of the new choir of Conrad, built instead of it; of which, whoever desires to know the whole architecture and model observed in the fabric, the order, number, height and form of the pillars and windows, may know the whole of it from him. The roof of it, he tells us, (fn. 33) was beautified with curious paintings representing heaven; (fn. 34) in several respects it was agreeable to the present choir, the stalls were large and framed of carved wood. In the middle of it, there hung a gilded crown, on which were placed four and twenty tapers of wax. From the choir an ascent of three steps led to the presbiterium, or place for the presbiters; here, he says, it would be proper to stop a little and take notice of the high altar, which was dedicated to the name of CHRIST. It was placed between two other altars, the one of St. Dunstan, the other of St. Alphage; at the east corners of the high altar were fixed two pillars of wood, beautified with silver and gold; upon these pillars was placed a beam, adorned with gold, which reached across the church, upon it there were placed the glory, (fn. 35) the images of St. Dunstan and St. Alphage, and seven chests or coffers overlaid with gold, full of the relics of many saints. Between those pillars was a cross gilded all over, and upon the upper beam of the cross were set sixty bright crystals.

 

Beyond this, by an ascent of eight steps towards the east, behind the altar, was the archiepiscopal throne, which Gervas calls the patriarchal chair, made of one stone; in this chair, according to the custom of the church, the archbishop used to sit, upon principal festivals, in his pontifical ornaments, whilst the solemn offices of religion were celebrated, until the consecration of the host, when he came down to the high altar, and there performed the solemnity of consecration. Still further, eastward, behind the patriarchal chair, (fn. 36) was a chapel in the front of the whole church, in which was an altar, dedicated to the Holy Trinity; behind which were laid the bones of two archbishops, Odo of Canterbury, and Wilfrid of York; by this chapel on the south side near the wall of the church, was laid the body of archbishop Lanfranc, and on the north side, the body of archbishop Theobald. Here it is to be observed, that under the whole east part of the church, from the angel steeple, there was an undercrost or crypt, (fn. 37) in which were several altars, chapels and sepulchres; under the chapel of the Trinity before-mentioned, were two altars, on the south side, the altar of St. Augustine, the apostle of the English nation, by which archbishop Athelred was interred. On the north side was the altar of St. John Baptist, by which was laid the body of archbishop Eadsin; under the high altar was the chapel and altar of the blessed Virgin Mary, to whom the whole undercroft was dedicated.

 

To return now, he continues, to the place where the bresbyterium and choir meet, where on each side there was a cross isle (as was to be seen in his time) which might be called the upper south and north wings; on the east side of each of these wings were two half circular recesses or nooks in the wall, arched over after the form of porticoes. Each of them had an altar, and there was the like number of altars under them in the crost. In the north wing, the north portico had the altar of St. Martin, by which were interred the bodies of two archbishops, Wlfred on the right, and Living on the left hand; under it in the croft, was the altar of St. Mary Magdalen. The other portico in this wing, had the altar of St. Stephen, and by it were buried two archbishops, Athelard on the left hand, and Cuthbert on the right; in the croft under it, was the altar of St. Nicholas. In the south wing, the north portico had the altar of St. John the Evangelist, and by it the bodies of Æthelgar and Aluric, archbishops, were laid. In the croft under it was the altar of St. Paulinus, by which the body of archbishop Siricius was interred. In the south portico was the altar of St. Gregory, by which were laid the corps of the two archbishops Bregwin and Plegmund. In the croft under it was the altar of St. Owen, archbishop of Roan, and underneath in the croft, not far from it the altar of St. Catherine.

 

Passing from these cross isles eastward there were two towers, one on the north, the other on the south side of the church. In the tower on the north side was the altar of St. Andrew, which gave name to the tower; under it, in the croft, was the altar of the Holy Innocents; the tower on the south side had the altar of St. Peter and St. Paul, behind which the body of St. Anselm was interred, which afterwards gave name both to the altar and tower (fn. 38) (now called St. Anselm's). The wings or isles on each side of the choir had nothing in particular to be taken notice of.— Thus far Gervas, from whose description we in particular learn, where several of the bodies of the old archbishops were deposited, and probably the ashes of some of them remain in the same places to this day.

 

As this building, deservedly called the glorious choir of Conrad, was a magnificent work, so the undertaking of it at that time will appear almost beyond example, especially when the several circumstances of it are considered; but that it was carried forward at the archbishop's cost, exceeds all belief. It was in the discouraging reign of king William Rufus, a prince notorious in the records of history, for all manner of sacrilegious rapine, that archbishop Anselm was promoted to this see; when he found the lands and revenues of this church so miserably wasted and spoiled, that there was hardly enough left for his bare subsistence; who, in the first years that he sat in the archiepiscopal chair, struggled with poverty, wants and continual vexations through the king's displeasure, (fn. 39) and whose three next years were spent in banishment, during all which time he borrowed money for his present maintenance; who being called home by king Henry I. at his coming to the crown, laboured to pay the debts he had contracted during the time of his banishment, and instead of enjoying that tranquility and ease he hoped for, was, within two years afterwards, again sent into banishment upon a fresh displeasure conceived against him by the king, who then seized upon all the revenues of the archbishopric, (fn. 40) which he retained in his own hands for no less than four years.

 

Under these hard circumstances, it would have been surprizing indeed, that the archbishop should have been able to carry on so great a work, and yet we are told it, as a truth, by the testimonies of history; but this must surely be understood with the interpretation of his having been the patron, protector and encourager, rather than the builder of this work, which he entrusted to the care and management of the priors Ernulph and Conrad, and sanctioned their employing, as Lanfranc had done before, the revenues and stock of the church to this use. (fn. 41)

 

In this state as above-mentioned, without any thing material happening to it, this church continued till about the year 1130, anno 30 Henry I. when it seems to have suffered some damage by a fire; (fn. 42) but how much, there is no record left to inform us; however it could not be of any great account, for it was sufficiently repaired, and that mostly at the cost of archbishop Corboil, who then sat in the chair of this see, (fn. 43) before the 4th of May that year, on which day, being Rogation Sunday, the bishops performed the dedication of it with great splendor and magnificence, such, says Gervas, col. 1664, as had not been heard of since the dedication of the temple of Solomon; the king, the queen, David, king of Scots, all the archbishops, and the nobility of both kingdoms being present at it, when this church's former name was restored again, being henceforward commonly called Christ-church. (fn. 44)

 

Among the manuscripts of Trinity college library, in Cambridge, in a very curious triple psalter of St. Jerome, in Latin, written by the monk Eadwyn, whose picture is at the beginning of it, is a plan or drawing made by him, being an attempt towards a representation of this church and monastery, as they stood between the years 1130 and 1174; which makes it probable, that he was one of the monks of it, and the more so, as the drawing has not any kind of relation to the plalter or sacred hymns contained in the manuscript.

 

His plan, if so it may be called, for it is neither such, nor an upright, nor a prospect, and yet something of all together; but notwithstanding this rudeness of the draftsman, it shews very plain that it was intended for this church and priory, and gives us a very clear knowledge, more than we have been able to learn from any description we have besides, of what both were at the above period of time. (fn. 45)

 

Forty-four years after this dedication, on the 5th of September, anno 1174, being the 20th year of king Henry II.'s reign, a fire happened, which consumed great part of this stately edifice, namely, the whole choir, from the angel steeple to the east end of the church, together with the prior's lodgings, the chapel of the Virgin Mary, the infirmary, and some other offices belonging to the monastery; but the angel steeple, the lower cross isles, and the nave appear to have received no material injury from the flames. (fn. 46) The narrative of this accident is told by Gervas, the monk of Canterbury, so often quoted before, who was an eye witness of this calamity, as follows:

 

Three small houses in the city near the old gate of the monastery took fire by accident, a strong south wind carried the flakes of fire to the top of the church, and lodged them between the joints of the lead, driving them to the timbers under it; this kindled a fire there, which was not discerned till the melted lead gave a free passage for the flames to appear above the church, and the wind gaining by this means a further power of increasing them, drove them inwardly, insomuch that the danger became immediately past all possibility of relief. The timber of the roof being all of it on fire, fell down into the choir, where the stalls of the manks, made of large pieces of carved wood, afforded plenty of fuel to the flames, and great part of the stone work, through the vehement heat of the fire, was so weakened, as to be brought to irreparable ruin, and besides the fabric itself, the many rich ornaments in the church were devoured by the flames.

 

The choir being thus laid in ashes, the monks removed from amidst the ruins, the bodies of the two saints, whom they called patrons of the church, the archbishops Dunstan and Alphage, and deposited them by the altar of the great cross, in the nave of the church; (fn. 47) and from this time they celebrated the daily religious offices in the oratory of the blessed Virgin Mary in the nave, and continued to do so for more than five years, when the choir being re edified, they returned to it again. (fn. 48)

 

Upon this destruction of the church, the prior and convent, without any delay, consulted on the most speedy and effectual method of rebuilding it, resolving to finish it in such a manner, as should surpass all the former choirs of it, as well in beauty as size and magnificence. To effect this, they sent for the most skilful architects that could be found either in France or England. These surveyed the walls and pillars, which remained standing, but they found great part of them so weakened by the fire, that they could no ways be built upon with any safety; and it was accordingly resolved, that such of them should be taken down; a whole year was spent in doing this, and in providing materials for the new building, for which they sent abroad for the best stone that could be procured; Gervas has given a large account, (fn. 49) how far this work advanced year by year; what methods and rules of architecture were observed, and other particulars relating to the rebuilding of this church; all which the curious reader may consult at his leisure; it will be sufficient to observe here, that the new building was larger in height and length, and more beautiful in every respect, than the choir of Conrad; for the roof was considerably advanced above what it was before, and was arched over with stone; whereas before it was composed of timber and boards. The capitals of the pillars were now beautified with different sculptures of carvework; whereas, they were before plain, and six pillars more were added than there were before. The former choir had but one triforium, or inner gallery, but now there were two made round it, and one in each side isle and three in the cross isles; before, there were no marble pillars, but such were now added to it in abundance. In forwarding this great work, the monks had spent eight years, when they could proceed no further for want of money; but a fresh supply coming in from the offerings at St. Thomas's tomb, so much more than was necessary for perfecting the repair they were engaged in, as encouraged them to set about a more grand design, which was to pull down the eastern extremity of the church, with the small chapel of the Holy Trinity adjoining to it, and to erect upon a stately undercroft, a most magnificent one instead of it, equally lofty with the roof of the church, and making a part of it, which the former one did not, except by a door into it; but this new chapel, which was dedicated likewise to the Holy Trinity, was not finished till some time after the rest of the church; at the east end of this chapel another handsome one, though small, was afterwards erected at the extremity of the whole building, since called Becket's crown, on purpose for an altar and the reception of some part of his relics; (fn. 50) further mention of which will be made hereafter.

 

The eastern parts of this church, as Mr. Gostling observes, have the appearance of much greater antiquity than what is generally allowed to them; and indeed if we examine the outside walls and the cross wings on each side of the choir, it will appear, that the whole of them was not rebuilt at the time the choir was, and that great part of them was suffered to remain, though altered, added to, and adapted as far as could be, to the new building erected at that time; the traces of several circular windows and other openings, which were then stopped up, removed, or altered, still appearing on the walls both of the isles and the cross wings, through the white-wash with which they are covered; and on the south side of the south isle, the vaulting of the roof as well as the triforium, which could not be contrived so as to be adjusted to the places of the upper windows, plainly shew it. To which may be added, that the base or foot of one of the westernmost large pillars of the choir on the north side, is strengthened with a strong iron band round it, by which it should seem to have been one of those pillars which had been weakened by the fire, but was judged of sufficient firmness, with this precaution, to remain for the use of the new fabric.

 

The outside of this part of the church is a corroborating proof of what has been mentioned above, as well in the method, as in the ornaments of the building.— The outside of it towards the south, from St. Michael's chapel eastward, is adorned with a range of small pillars, about six inches diameter, and about three feet high, some with santastic shasts and capitals, others with plain ones; these support little arches, which intersect each other; and this chain or girdle of pillars is continued round the small tower, the eastern cross isle and the chapel of St. Anselm, to the buildings added in honour of the Holy Trinity, and St. Thomas Becket, where they leave off. The casing of St. Michael's chapel has none of them, but the chapel of the Virgin Mary, answering to it on the north side of the church, not being fitted to the wall, shews some of them behind it; which seems as if they had been continued before, quite round the eastern parts of the church.

 

These pillars, which rise from about the level of the pavement, within the walls above them, are remarkably plain and bare of ornaments; but the tower above mentioned and its opposite, as soon as they rise clear of the building, are enriched with stories of this colonade, one above another, up to the platform from whence their spires rise; and the remains of the two larger towers eastward, called St. Anselm's, and that answering to it on the north side of the church, called St. Andrew's are decorated much after the same manner, as high as they remain at present.

 

At the time of the before-mentioned fire, which so fatally destroyed the upper part of this church, the undercrost, with the vaulting over it, seems to have remained entire, and unhurt by it.

 

The vaulting of the undercrost, on which the floor of the choir and eastern parts of the church is raised, is supported by pillars, whose capitals are as various and fantastical as those of the smaller ones described before, and so are their shafts, some being round, others canted, twisted, or carved, so that hardly any two of them are alike, except such as are quite plain.

 

These, I suppose, may be concluded to be of the same age, and if buildings in the same stile may be conjectured to be so from thence, the antiquity of this part of the church may be judged, though historians have left us in the dark in relation to it.

 

In Leland's Collectanea, there is an account and description of a vault under the chancel of the antient church of St. Peter, in Oxford, called Grymbald's crypt, being allowed by all, to have been built by him; (fn. 51) Grymbald was one of those great and accomplished men, whom king Alfred invited into England about the year 885, to assist him in restoring Christianity, learning and the liberal arts. (fn. 52) Those who compare the vaults or undercrost of the church of Canterbury, with the description and prints given of Grymbald's crypt, (fn. 53) will easily perceive, that two buildings could hardly have been erected more strongly resembling each other, except that this at Canterbury is larger, and more pro fusely decorated with variety of fancied ornaments, the shafts of several of the pillars here being twisted, or otherwise varied, and many of the captials exactly in the same grotesque taste as those in Grymbald's crypt. (fn. 54) Hence it may be supposed, that those whom archbishop Lanfranc employed as architects and designers of his building at Canterbury, took their model of it, at least of this part of it, from that crypt, and this undercrost now remaining is the same, as was originally built by him, as far eastward, as to that part which begins under the chapel of the Holy Trinity, where it appears to be of a later date, erected at the same time as the chapel. The part built by Lanfranc continues at this time as firm and entire, as it was at the very building of it, though upwards of seven hundred years old. (fn. 55)

 

But to return to the new building; though the church was not compleatly finished till the end of the year 1184, yet it was so far advanced towards it, that, in 1180, on April 19, being Easter eve, (fn. 56) the archbishop, prior and monks entered the new choir, with a solemn procession, singing Te Deum, for their happy return to it. Three days before which they had privately, by night, carried the bodies of St. Dunstan and St. Alphage to the places prepared for them near the high altar. The body likewise of queen Edive (which after the fire had been removed from the north cross isle, where it lay before, under a stately gilded shrine) to the altar of the great cross, was taken up, carried into the vestry, and thence to the altar of St. Martin, where it was placed under the coffin of archbishop Livinge. In the month of July following the altar of the Holy Trinity was demolished, and the bodies of those archbishops, which had been laid in that part of the church, were removed to other places. Odo's body was laid under St. Dunstan's and Wilfrid's under St. Alphage's; Lanfranc's was deposited nigh the altar of St. Martin, and Theobald's at that of the blessed Virgin, in the nave of the church, (fn. 57) under a marble tomb; and soon afterwards the two archbishops, on the right and left hand of archbishop Becket in the undercrost, were taken up and placed under the altar of St. Mary there. (fn. 58)

 

After a warning so terrible, as had lately been given, it seemed most necessary to provide against the danger of fire for the time to come; the flames, which had so lately destroyed a considerable part of the church and monastery, were caused by some small houses, which had taken fire at a small distance from the church.— There still remained some other houses near it, which belonged to the abbot and convent of St. Augustine; for these the monks of Christ-church created, by an exchange, which could not be effected till the king interposed, and by his royal authority, in a manner, compelled the abbot and convent to a composition for this purpose, which was dated in the year 1177, that was three years after the late fire of this church. (fn. 59)

 

These houses were immediately pulled down, and it proved a providential and an effectual means of preserving the church from the like calamity; for in the year 1180, on May 22, this new choir, being not then compleated, though it had been used the month be fore, as has been already mentioned, there happened a fire in the city, which burnt down many houses, and the flames bent their course towards the church, which was again in great danger; but the houses near it being taken away, the fire was stopped, and the church escaped being burnt again. (fn. 60)

 

Although there is no mention of a new dedication of the church at this time, yet the change made in the name of it has been thought by some to imply a formal solemnity of this kind, as it appears to have been from henceforth usually called the church of St. Thomas the Martyr, and to have continued so for above 350 years afterwards.

 

New names to churches, it is true. have been usually attended by formal consecrations of them; and had there been any such solemnity here, undoubtedly the same would not have passed by unnoticed by every historian, the circumstance of it must have been notorious, and the magnificence equal at least to the other dedications of this church, which have been constantly mentioned by them; but here was no need of any such ceremony, for although the general voice then burst forth to honour this church with the name of St. Thomas, the universal object of praise and adoration, then stiled the glorious martyr, yet it reached no further, for the name it had received at the former dedication, notwithstanding this common appellation of it, still remained in reality, and it still retained invariably in all records and writings, the name of Christ church only, as appears by many such remaining among the archives of the dean and chapter; and though on the seal of this church, which was changed about this time; the counter side of it had a representation of Becket's martyrdom, yet on the front of it was continued that of the church, and round it an inscription with the former name of Christ church; which seal remained in force till the dissolution of the priory.

 

It may not be improper to mention here some transactions, worthy of observation, relating to this favorite saint, which passed from the time of his being murdered, to that of his translation to the splendid shrine prepared for his relics.

 

Archbishop Thomas Becket was barbarously murdered in this church on Dec. 29, 1170, being the 16th year of king Henry II. and his body was privately buried towards the east end of the undercrost. The monks tell us, that about the Easter following, miracles began to be wrought by him, first at his tomb, then in the undercrost, and in every part of the whole fabric of the church; afterwards throughout England, and lastly, throughout the rest of the world. (fn. 61) The same of these miracles procured him the honour of a formal canonization from pope Alexander III. whose bull for that purpose is dated March 13, in the year 1172. (fn. 62) This declaration of the pope was soon known in all places, and the reports of his miracles were every where sounded abroad. (fn. 63)

 

Hereupon crowds of zealots, led on by a phrenzy of devotion, hastened to kneel at his tomb. In 1177, Philip, earl of Flanders, came hither for that purpose, when king Henry met and had a conference with him at Canterbury. (fn. 64) In June 1178, king Henry returning from Normandy, visited the sepulchre of this new saint; and in July following, William, archbishop of Rhemes, came from France, with a large retinue, to perform his vows to St. Thomas of Canterbury, where the king met him and received him honourably. In the year 1179, Lewis, king of France, came into England; before which neither he nor any of his predecessors had ever set foot in this kingdom. (fn. 65) He landed at Dover, where king Henry waited his arrival, and on August 23, the two kings came to Canterbury, with a great train of nobility of both nations, and were received with due honour and great joy, by the archbishop, with his com-provincial bishops, and the prior and the whole convent. (fn. 66)

 

King Lewis came in the manner and habit of a pilgrim, and was conducted to the tomb of St. Thomas by a solemn procession; he there offered his cup of gold and a royal precious stone, (fn. 67) and gave the convent a yearly rent for ever, of a hundred muids of wine, to be paid by himself and his successors; which grant was confirmed by his royal charter, under his seal, and delivered next day to the convent; (fn. 68) after he had staid here two, (fn. 69) or as others say, three days, (fn. 70) during which the oblations of gold and silver made were so great, that the relation of them almost exceeded credibility. (fn. 71) In 1181, king Henry, in his return from Normandy, again paid his devotions at this tomb. These visits were the early fruits of the adoration of the new sainted martyr, and these royal examples of kings and great persons were followed by multitudes, who crowded to present with full hands their oblations at his tomb.— Hence the convent was enabled to carry forward the building of the new choir, and they applied all this vast income to the fabric of the church, as the present case instantly required, for which they had the leave and consent of the archbishop, confirmed by the bulls of several succeeding popes. (fn. 72)

 

¶From the liberal oblations of these royal and noble personages at the tomb of St. Thomas, the expences of rebuilding the choir appear to have been in a great measure supplied, nor did their devotion and offerings to the new saint, after it was compleated, any ways abate, but, on the contrary, they daily increased; for in the year 1184, Philip, archbishop of Cologne, and Philip, earl of Flanders, came together to pay their vows at this tomb, and were met here by king Henry, who gave them an invitation to London. (fn. 73) In 1194, John, archbishop of Lions; in the year afterwards, John, archbishop of York; and in the year 1199, king John, performed their devotions at the foot of this tomb. (fn. 74) King Richard I. likewise, on his release from captivity in Germany, landing on the 30th of March at Sandwich, proceeded from thence, as an humble stranger on foot, towards Canterbury, to return his grateful thanks to God and St. Thomas for his release. (fn. 75) All these by name, with many nobles and multitudes of others, of all sorts and descriptions, visited the saint with humble adoration and rich oblations, whilst his body lay in the undercrost. In the mean time the chapel and altar at the upper part of the east end of the church, which had been formerly consecrated to the Holy Trinity, were demolished, and again prepared with great splendor, for the reception of this saint, who being now placed there, implanted his name not only on the chapel and altar, but on the whole church, which was from thenceforth known only by that of the church of St. Thomas the martyr.

  

On July 7, anno 1220, the remains of St. Thomas were translated from his tomb to his new shrine, with the greatest solemnity and rejoicings. Pandulph, the pope's legate, the archbishops of Canterbury and Rheims, and many bishops and abbots, carried the coffin on their shoulders, and placed it on the new shrine, and the king graced these solemnities with his royal presence. (fn. 76) The archbishop of Canterbury provided forage along all the road, between London and Canterbury, for the horses of all such as should come to them, and he caused several pipes and conduits to run with wine in different parts of the city. This, with the other expences arising during the time, was so great, that he left a debt on the see, which archbishop Boniface, his fourth successor in it, was hardly enabled to discharge.

 

¶The saint being now placed in his new repository, became the vain object of adoration to the deluded people, and afterwards numbers of licences were granted to strangers by the king, to visit this shrine. (fn. 77) The titles of glorious, of saint and martyr, were among those given to him; (fn. 78) such veneration had all people for his relics, that the religious of several cathedral churches and monasteries, used all their endeavours to obtain some of them, and thought themselves happy and rich in the possession of the smallest portion of them. (fn. 79) Besides this, there were erected and dedicated to his honour, many churches, chapels, altars and hospitals in different places, both in this kingdom and abroad. (fn. 80) Thus this saint, even whilst he lay in his obscure tomb in the undercroft, brought such large and constant supplies of money, as enabled the monks to finish this beautiful choir, and the eastern parts of the church; and when he was translated to the most exalted and honourable place in it, a still larger abundance of gain filled their coffers, which continued as a plentiful supply to them, from year to year, to the time of the reformation, and the final abolition of the priory itself.

 

www.british-history.ac.uk/survey-kent/vol11/pp306-383

There is a point in our lives when we, the children, become the adults in the relationship with our parents.

 

It will come for most of us, no one tells you this will happen, and you are unprepared for it. But it comes

 

And each of us has a different relationship with our parents than everyone else, what's right for me, and my views, do not apply to you.

 

Yesterday, was the funeral of the person I have known longer than anyone else on this earth, now that my family is all gone. Margaret and Brian were married a few weeks before mine, and moved into the new build bungalow also a few weeks before my parents.

 

They also had one child, a son, and Douglas and I have been friends longer than I have been friends with anyone else, although he is a year younger than me.

 

I have my views on Margaret, but the reason I travelled back to Suffolk for her funeral, was to be there for Douggie, and give him the support he has given me through three weddings and two funerals.

 

Norfolk isn't far away, and the funeral and wake were taking place just a mile or two over the border from Suffolk, but the roads beyond Ipswich are poor, twisty and where there are accidents or roadworks, no real alternative routes.

 

I was also leaving just before six, so had to get across the Thames at Dartford and up the A12 during rush hour, so it wouldn't be easy. But at least there would be no rain.

 

I was up at five, dressed and washed, with time to drink a coffee before leaving. Loading the car with me and my camera bag, as I had plans in case I had time, to visit a church or two.

 

It was dark up the M20 to Dartford, and busy with traffic, but I made good time, and listened to a loop of old music podcasts all day, so chat and music kept me awake.

 

I got onto the M25 with no problem, and through the tunnels with only a slight slowdown, but on the other side there were queues.

 

Despite not wanting to spend money on a new railway, there is always money for road and junction improvements, even if it will just increase traffic. So it is that the M25/A12 junction is being upgraded, and with narrow lanes, speed restrictions, jams began a good four miles before the roadworks started.

 

I forced my way to the left hand lane, which became a filter lane, meaning it was much quicker than the remaining four lanes. But then came the roundabout. The roundabout under the motorway is the reason the improvements are needed, and queueing traffic blocks the junctions and causes even more backlogs.

 

Of course, traffic lights on roundabouts are never good ideas, so I was confronted with a wall of traffic, so when the light went green, I went in front of a track before it could shuffle forward and block more of the junction, then there was some clear road.

 

And ducking into the extreme left hand lane, I dodged past the queuing traffic that was blocking the exit from the A12, and onto clear road.

 

Yay.

 

The sky was clear, the sun about to rise, and it was going to be a glorious day.

 

Just north of Chelmsford, I stopped for breakfast: two sausage rolls and a coffee from Greggs, then filled up the tank and on my way north.

 

More traffic at Ipswich where the A12 meets the A14 to get over the Orwell, but then clear traffic again after ten minutes delay.

 

Soon, though, the road narrows to two lane blacktop, and all is well until you meet a slower vehicle. Like a tractor as we did soon after Whickham Market.

 

For 15 long minutes the tractor lead a growing snake of cars along the winding lanes until it pulled over and we could get past.

 

My plan was to visit the large and impressive church in Southwold. I turned off the A12 and drove along the straight road into the town, where I found multiple sets of roadworks, and few places to park for a short time, anywhere near the church.

 

My back is achy, so I wanted somewhere close to park. Anyway, I drove round the town twice, found nowhere to park, so turned the car round and headed back north, until I came to South Cove.

 

South Cove is a small village, a few farms really, but has a fine, if rustic, well-proportioned church, set in a large churchyard.

 

And the church was open, so small the wide angle lens wasn't needed, and with windows close to the floor too, no big lens needed either.

 

Next town up is Kessingland, which until the 80s had the A12 running through the centre of it, but now a bypass lays to the west and the village is quiet. I don't think I had been of the main street, so I went in search of the church, and found it on Church Street.

 

Obviously.

 

I rarely research churches before I visit, so nothing prepared me for the interior of St Edmund.

 

It seems in the last two years, they church had sourced some banners with apt slogans on, banners which were made to look like large tapered ensigns, hanging from or along the supports of the roof.

 

A man was practicing on the organ, and the notes echoed round the church. Not only does the church have banners, it has ship's wheels and other nautical stuff, although most traditionalists won't like it, I think it hangs together, and if the congregation wants it thus, who are we to argue?

 

Next stop was South Cove, which I had forgotten I had visited before, so redid all my shots. But this time did see the panel featuring St Michael behind the font, where the rood steps began.

 

A small, perfect, church, perfect for a small country parish.

 

I take my shots and leave, driving back onto the A12 and heading into Lowestoft, my main task was to drive over the new bridge which spans Lake Lothing.

 

The town had been waiting since at least 1966 for a new bridge, and the 3rd crossing was opened in September, and offers fine views as you drive across.

 

I went to see the old family home. It has been renovated and looks splendid, and not much like it was when sold four years back, it looks cared for and lived in, which is what the buyer promised us he would do.

 

So then to the crematorium, a drive north through Gunton and past Hopton where Dougie lives, then through the housing estate behind the area hospital to the car park, and then wait.

 

Margaret was 89, had a long life, but friends of the same age are few, and families are now scattered. So, one can never be sure how many will attend. The chapel was half full at least, with people coming from Kent, Wiltshire and even California to be there.

 

The celebrant spoke for twenty minutes, saying nice things as they have to do. But, avoiding, or just hinting at faults. Whatever she had done in her life to Dougie, he still loved her, and he was in bits.

 

Afterward we lined up to shake his hand or give him and Pennie a hug, and allowed me to tell him he was the brother I never had. He was always there for me, and will be there for him.

 

More tears.

 

There was a wake at the pub in Hopton, but there was no one I knew other than Dougie and Penny, so I had a drink and made my excuses. These things are really for family and close friends, so I left at quarter to three, hoping to get home before midnight.

 

In the end, I made good time, I was going round Ipswich before four, and at the M25 junction less than an hour later, and was able to easily join it and zoom round to the bridge. No queues on the southbound side, but the queue northbound went all the way back to the M20 junction, so six mines.

 

I zoomed on.

 

I got home at ten past six, happy to have done it and go home in under three and a half hours. Dinner was defrosted ragu, pasta and reheated focaccia, which we were sitting down to eat twenty minutes after getting in.

 

Phew.

 

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Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the late medieval Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.

 

Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some extraordinary legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.

 

It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.

 

At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this at the top. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of Holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.

 

Figures stand on pedestals atop the south side and east end. The most easterly is unusual, a crowned old man sitting on a throne directly on the gable end. This is a medieval image of God the Father, a rare survival. Moving westwards from here we find the Blessed Virgin in prayerful pose, Christ as the Saviour of the World holding an orb in one hand and blessing with the other, and then a collared bear with a ragged staff, a seated woodwose, another bear, this time with a collar and bell, and last of all a fox with a goose in its mouth, his jaws grasping the neck:

 

The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham. Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatries. Indeed, as late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.

 

William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.

 

Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.

 

Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.

 

Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that probably explains where the shot came from. Here are some details of that wonderful roof:

 

The otherwise splendid church guide also repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.

 

Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses. Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.

 

In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here. You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration. More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.

 

Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.

 

The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.

 

Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.

 

The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are partial sets of basically three series: the Seven Deadly Sins, the Seven Works of Mercy, and the Labours of the Seasons. There are also angels bearing symbols of the Holy Trinity and the Crown. There are other figures too, obscure and fragmentary and whose purpose is unclear, as if surviving figments of a broken dream. The quality of what remains makes you grieve for what has been lost.

 

The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, a scattering of medieval glass, mainly angels. There is more in the south aisle, including a collection of shields of the Holy Trinity:

 

But step through the central aisle to see something remarkable. The priest and choir stalls are fronted by exquisite carvings of the Apostles, the Evangelists, John the Baptist, St Stephen, Mary Queen of Heaven and Christ in Majesty. Seeing these eighteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665. There is nothing at all like them anywhere else in Suffolk.

 

Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them is Peter Ball's beautiful Madonna and Child. Separating the south aisle chapel from the sanctuary is is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. Behind the high altar, branches arranged like huge stag antlers spread dramatically. It is all just about perfect. Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.

 

This is a wonderful church to wander around in, the light and the air changing with the seasons, a suffused sense of the numinous presenting its different faces according to the time of day and time of year. Come here on a bright spring morning, or in the drowsy heat of a summer's day. Come on a cold winter afternoon as the colours fade and the smell of woodsmoke from neighbouring cottages weaves a spell above the old stone floors and woodwork. And before you leave, find the doorway in the south-west corner of the nave. It opens onto a low, narrow stairway. You can go up it. It leads up into the parvise storey of the south porch, now reappointed and dedicated as a tiny chapel, a peaceful spot to spend a few moments before continuing your journey.

 

You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one

 

Simon Knott, 2014.

 

www.suffolkchurches.co.uk/Blythburgh.htm

There is a point in our lives when we, the children, become the adults in the relationship with our parents.

 

It will come for most of us, no one tells you this will happen, and you are unprepared for it. But it comes

 

And each of us has a different relationship with our parents than everyone else, what's right for me, and my views, do not apply to you.

 

Yesterday, was the funeral of the person I have known longer than anyone else on this earth, now that my family is all gone. Margaret and Brian were married a few weeks before mine, and moved into the new build bungalow also a few weeks before my parents.

 

They also had one child, a son, and Douglas and I have been friends longer than I have been friends with anyone else, although he is a year younger than me.

 

I have my views on Margaret, but the reason I travelled back to Suffolk for her funeral, was to be there for Douggie, and give him the support he has given me through three weddings and two funerals.

 

Norfolk isn't far away, and the funeral and wake were taking place just a mile or two over the border from Suffolk, but the roads beyond Ipswich are poor, twisty and where there are accidents or roadworks, no real alternative routes.

 

I was also leaving just before six, so had to get across the Thames at Dartford and up the A12 during rush hour, so it wouldn't be easy. But at least there would be no rain.

 

I was up at five, dressed and washed, with time to drink a coffee before leaving. Loading the car with me and my camera bag, as I had plans in case I had time, to visit a church or two.

 

It was dark up the M20 to Dartford, and busy with traffic, but I made good time, and listened to a loop of old music podcasts all day, so chat and music kept me awake.

 

I got onto the M25 with no problem, and through the tunnels with only a slight slowdown, but on the other side there were queues.

 

Despite not wanting to spend money on a new railway, there is always money for road and junction improvements, even if it will just increase traffic. So it is that the M25/A12 junction is being upgraded, and with narrow lanes, speed restrictions, jams began a good four miles before the roadworks started.

 

I forced my way to the left hand lane, which became a filter lane, meaning it was much quicker than the remaining four lanes. But then came the roundabout. The roundabout under the motorway is the reason the improvements are needed, and queueing traffic blocks the junctions and causes even more backlogs.

 

Of course, traffic lights on roundabouts are never good ideas, so I was confronted with a wall of traffic, so when the light went green, I went in front of a track before it could shuffle forward and block more of the junction, then there was some clear road.

 

And ducking into the extreme left hand lane, I dodged past the queuing traffic that was blocking the exit from the A12, and onto clear road.

 

Yay.

 

The sky was clear, the sun about to rise, and it was going to be a glorious day.

 

Just north of Chelmsford, I stopped for breakfast: two sausage rolls and a coffee from Greggs, then filled up the tank and on my way north.

 

More traffic at Ipswich where the A12 meets the A14 to get over the Orwell, but then clear traffic again after ten minutes delay.

 

Soon, though, the road narrows to two lane blacktop, and all is well until you meet a slower vehicle. Like a tractor as we did soon after Whickham Market.

 

For 15 long minutes the tractor lead a growing snake of cars along the winding lanes until it pulled over and we could get past.

 

Blythburgh was always the marker when travelling back from Ipswich or beyond, that we were nearly home. he handsome church sits high, for Suffolk, overlooking the village and river which is mostly mudflats.

 

The busy A12 skirts close, but you get to the church via a narrow land, leaving the modern world far behind.

 

The church opened at nine, it was nearly half past, it was probably open before nine, and was open when I pushed the porch door.

 

Inside is an unspoilt space, grey wood that have witnessed the centuries so that their vigour has faded to almost no colour of all.

 

Its the roof people come for. Wooden beams and pairs of wooden angels. I have brought my big lens so to snap them.

 

My plan was to visit the large and impressive church in Southwold. I turned off the A12 and drove along the straight road into the town, where I found multiple sets of roadworks, and few places to park for a short time, anywhere near the church.

 

My back is achy, so I wanted somewhere close to park. Anyway, I drove round the town twice, found nowhere to park, so turned the car round and headed back north, until I came to South Cove.

 

South Cove is a small village, a few farms really, but has a fine, if rustic, well-proportioned church, set in a large churchyard.

 

And the church was open, so small the wide angle lens wasn't needed, and with windows close to the floor too, no big lens needed either.

 

Next town up is Kessingland, which until the 80s had the A12 running through the centre of it, but now a bypass lays to the west and the village is quiet. I don't think I had been of the main street, so I went in search of the church, and found it on Church Street.

 

Obviously.

 

I rarely research churches before I visit, so nothing prepared me for the interior of St Edmund.

 

It seems in the last two years, they church had sourced some banners with apt slogans on, banners which were made to look like large tapered ensigns, hanging from or along the supports of the roof.

 

A man was practicing on the organ, and the notes echoed round the church. Not only does the church have banners, it has ship's wheels and other nautical stuff, although most traditionalists won't like it, I think it hangs together, and if the congregation wants it thus, who are we to argue?

 

Next stop was South Cove, which I had forgotten I had visited before, so redid all my shots. But this time did see the panel featuring St Michael behind the font, where the rood steps began.

 

A small, perfect, church, perfect for a small country parish.

 

I take my shots and leave, driving back onto the A12 and heading into Lowestoft, my main task was to drive over the new bridge which spans Lake Lothing.

 

The town had been waiting since at least 1966 for a new bridge, and the 3rd crossing was opened in September, and offers fine views as you drive across.

 

I went to see the old family home. It has been renovated and looks splendid, and not much like it was when sold four years back, it looks cared for and lived in, which is what the buyer promised us he would do.

 

So then to the crematorium, a drive north through Gunton and past Hopton where Dougie lives, then through the housing estate behind the area hospital to the car park, and then wait.

 

Margaret was 89, had a long life, but friends of the same age are few, and families are now scattered. So, one can never be sure how many will attend. The chapel was half full at least, with people coming from Kent, Wiltshire and even California to be there.

 

The celebrant spoke for twenty minutes, saying nice things as they have to do. But, avoiding, or just hinting at faults. Whatever she had done in her life to Dougie, he still loved her, and he was in bits.

 

Afterward we lined up to shake his hand or give him and Pennie a hug, and allowed me to tell him he was the brother I never had. He was always there for me, and will be there for him.

 

More tears.

 

There was a wake at the pub in Hopton, but there was no one I knew other than Dougie and Penny, so I had a drink and made my excuses. These things are really for family and close friends, so I left at quarter to three, hoping to get home before midnight.

 

In the end, I made good time, I was going round Ipswich before four, and at the M25 junction less than an hour later, and was able to easily join it and zoom round to the bridge. No queues on the southbound side, but the queue northbound went all the way back to the M20 junction, so six mines.

 

I zoomed on.

 

I got home at ten past six, happy to have done it and go home in under three and a half hours. Dinner was defrosted ragu, pasta and reheated focaccia, which we were sitting down to eat twenty minutes after getting in.

 

Phew.

 

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Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the late medieval Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.

 

Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some extraordinary legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.

 

It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.

 

At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this at the top. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of Holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.

 

Figures stand on pedestals atop the south side and east end. The most easterly is unusual, a crowned old man sitting on a throne directly on the gable end. This is a medieval image of God the Father, a rare survival. Moving westwards from here we find the Blessed Virgin in prayerful pose, Christ as the Saviour of the World holding an orb in one hand and blessing with the other, and then a collared bear with a ragged staff, a seated woodwose, another bear, this time with a collar and bell, and last of all a fox with a goose in its mouth, his jaws grasping the neck:

 

The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham. Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatries. Indeed, as late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.

 

William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.

 

Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.

 

Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.

 

Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that probably explains where the shot came from. Here are some details of that wonderful roof:

 

The otherwise splendid church guide also repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.

 

Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses. Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.

 

In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here. You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration. More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.

 

Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.

 

The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.

 

Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.

 

The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are partial sets of basically three series: the Seven Deadly Sins, the Seven Works of Mercy, and the Labours of the Seasons. There are also angels bearing symbols of the Holy Trinity and the Crown. There are other figures too, obscure and fragmentary and whose purpose is unclear, as if surviving figments of a broken dream. The quality of what remains makes you grieve for what has been lost.

 

The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, a scattering of medieval glass, mainly angels. There is more in the south aisle, including a collection of shields of the Holy Trinity:

 

But step through the central aisle to see something remarkable. The priest and choir stalls are fronted by exquisite carvings of the Apostles, the Evangelists, John the Baptist, St Stephen, Mary Queen of Heaven and Christ in Majesty. Seeing these eighteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665. There is nothing at all like them anywhere else in Suffolk.

 

Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them is Peter Ball's beautiful Madonna and Child. Separating the south aisle chapel from the sanctuary is is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. Behind the high altar, branches arranged like huge stag antlers spread dramatically. It is all just about perfect. Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.

 

This is a wonderful church to wander around in, the light and the air changing with the seasons, a suffused sense of the numinous presenting its different faces according to the time of day and time of year. Come here on a bright spring morning, or in the drowsy heat of a summer's day. Come on a cold winter afternoon as the colours fade and the smell of woodsmoke from neighbouring cottages weaves a spell above the old stone floors and woodwork. And before you leave, find the doorway in the south-west corner of the nave. It opens onto a low, narrow stairway. You can go up it. It leads up into the parvise storey of the south porch, now reappointed and dedicated as a tiny chapel, a peaceful spot to spend a few moments before continuing your journey.

 

You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one

 

Simon Knott, 2014.

 

www.suffolkchurches.co.uk/Blythburgh.htm

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

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What is a Nazarite? This was someone in Israel who took a vow at birth to be separated from the world. Samson, who lived in the period of the Judges, was called to be a Nazarite.

Samson’s tragedy wasn’t his fornication with Delilah, though that sin was grievous enough to disqualify him from God’s service. No, Samson’s tragedy was that he no longer valued the work of the Spirit in his life. The presence of the Lord was no longer the most important thing to him. This once-mighty man of God now took the Lord’s power and blessing in his life completely for granted.

"SEDUCTION OF THE RIGHTEOUS, IT ALWAYS BEGINS WITH THIS SIN OF SPIRITUAL PRIDE.

( satan can't come in unless he has grounds to come in )

Satan’s plan was to rob Samson of that very power and strength through Delilah. Samson had started out strong, living a life separated unto God as he judged Israel. Then, for a period of twenty years, we read nothing of the Spirit moving upon Samson. There were no more exploits, no more mighty victories over Israel’s enemy. Why? He grew weary of the separated life, thinking, “I’ve been too intense, living too strictly. What’s wrong with some relaxation? Why can’t I taste a few pleasures of the world?” So he went down to the Valley of Sorek, which was Philistine territory, where he found the prostitute Delilah and spent the night with her.

Delilah, Her name means to “slack off, ease up, lose intensity.”

The next morning, Samson realized that despite his wanton actions he hadn’t lost his strength nor had the Spirit left him. Evidently, he thought, “I can have forbidden pleasures after all and still keep my anointing.” He began to love the easy life.

Of course, Samson woke up one morning in Delilah’s lap as the Philistines was closing in on him, They found him weak as a kitten. He hadn’t realized that the Spirit of the Lord had departed from him.

Think of the state of the church today, with all its worldly influences, its worldly entertainment, its brightness and frivolity, its focus on success and money. And think of the absence of divine grief over sin, the lack of self-denial and devotion to Christ. It is obvious that the Church today has lost its authority, emptied of its spiritual power a long time ago.

Thousands of Christians today sit in dead churches never realizing God’s Spirit has departed,The spirit of Delilah has succeeded in putting many in the church to sleep in her lap.

Revelation 12 chapter , There's a war going on, The bible says the devil declared war. The bible makes it very clear , He is going to send out a flood , That they may be carried away the scriptures say. He's going to send this flood of filth,lust and temptation .He's gonna come against the physical body against the mind , He's going to come against everything to carry them away the bible says that they may be carried away with the flood.

God told the prophet Haggai he promised to fill his last-days church with his glory. “Thus saith the Lord of hosts; Yet once, it is a little while, and I will shake the heavens, and the earth, and the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come: and I will fill this house with glory, saith the Lord of hosts” (Haggai 2:6-7).

Simply put, Christ is the desire of all nations, and he is coming again. But first there will be a great shaking. Everything that can be shaken, Jesus says, will be shaken. This means there will be a great separation, and whatever cannot be shaken will remain.

I believe this spiritual shaking and separation is going to be in a way like it was for Samson. Not realizing that the Spirit of the Lord has departed.

So, what will that remaining part be?

It will be a people running back to the arms of Christ—a church intensely on fire, on its knees, contrite, wide awake and looking for his coming. It will be a church that has turned away from all flirtation with sin, and is separated unto the Lord, with clean hands and a pure heart. In such a church, the Holy Spirit is free to move and work in mighty ways. Nothing hinders his anointing and flow, and the glory of God becomes clear for all to see.

 

St. Stephen's Cathedral (actually the cathedral and metropolitan church of St. Stephen and All Saints ) on Vienna's Stephansplatz ( Inner City district ) has been a cathedral church (seat of a cathedral chapter ) since 1365, a cathedral (bishop's seat) since 1469/1479 and the metropolitan church of the Archbishop of Vienna since 1723 . It is also the parish church of the cathedral parish of St. Stephan in downtown Vienna. The Roman Catholic cathedral , which the Viennese call Steffl for short, is considered a landmark of Vienna and is sometimes referred to as the Austrian national shrine . It is named after Saint Stephen , who is considered the first Christian martyr. The second patronage year is All Saints Day.

 

The structure is 109 meters long and 72 meters wide. The cathedral is one of the most important Gothic buildings in Austria . Parts of the late Romanesque previous building from 1230/40 to 1263 are still preserved and form the west facade, flanked by the two heath towers , which are around 65 meters high. St. Stephen's Cathedral has a total of four towers: at 136.4 meters, the south tower is the highest, the north tower was not completed and is only 68 meters high. In the former Austria-Hungary, no church was allowed to be built higher than the south tower of St. Stephen's Cathedral. For example, the Cathedral of the Virgin Mary Conception in Linz was built two meters lower.

 

The south tower is an architectural masterpiece of the time; Despite its remarkable height, the foundation is less than four meters deep. When it was completed, the tower was the tallest free-standing structure in Europe for over 50 years. There are a total of 13 bells in the south tower, eleven of which form the main bell of St. Stephen's Cathedral. The Pummerin , the third largest free-swinging church bell in Europe, has been located in the north tower under a Renaissance tower dome since 1957.

 

The area that was later occupied by St. Stephen's Cathedral was located east of the Roman legionary camp of Vindobona in the area of ​​the canabae legiones , the camp suburb. The camp was surrounded by buildings and streets from the first to the third century, but these were replaced by tombs and burial structures in the third and fourth centuries. Grave discoveries have been made in the area of ​​Stock-im-Eisen-Platz since 1690.

 

The beginnings of the cathedral date back to 1137, from which the Mautern exchange agreement between Margrave Leopold IV of Austria and Bishop Reginmar of Passau has been handed down. Goods and parish rights were exchanged in order to enable the bishop to build a church outside the city at the time, which would be placed under the patronage of St. Stephen , the patron of the Episcopal Church of Passau . The parish rights of the existing St. Peter's Church should fall under the responsibility of the new Viennese pastor. The other churches in Vienna at the time (in addition to the Maria am Gestade church ), the Ruprechtskirche and the Peterskirche , were named after Salzburg saints; The patronage of the church was therefore a political signal. The first church was completed in 1147 and consecrated in the same year around or just before Pentecost (June 8, 1147) by Passau Bishop Reginbert von Hagenau (patronage after the mother church Passau); the first pastor is the Passau cleric Eberger from the bishop's entourage . The church was completely oversized for the city at the time - so there could have been efforts to convert it into an episcopal church at that time. The church is dated to sunrise on December 26, 1137.

 

Lightning struck the south tower in 1149 and caused it to burn out. [8th]

 

From 1230 to 1245 , another late Romanesque building was built under Duke Frederick II the Quarrelsome of Austria, some of which is still preserved on the western facade. It consists of the two Heathen Towers and the Giant's Gate . The origin of both names is not completely clear. The name: Heathen Towers possibly comes from the stones that came from ancient Roman ruins, but possibly also from the two representations of the non-Christian fertility symbols phallus and vulva (pictures below), which crown the two blind columns in the west wall below the towers. The association with minarets comes from a later period. However, the term “pagan” could simply be a synonym for “ancient.” According to legend, the name Giant Gate goes back to a huge mammoth bone suspended above the gate or a giant who helped with its construction; In fact, the name probably goes back to the Middle High German word risen (to sink, to fall) and refers to the funnel shape of the portal. Above the gate was a ducal gallery , similar to Charlemagne's imperial chair in Aachen and the western galleries of the imperial cathedrals.

 

After a fire in 1258, construction was completed under the new sovereign Ottokar II Přemysl and re-consecrated in 1263 under pastor Gerhard. The upper floors of the heathen towers were only built afterwards. The two towers are connected by a late Gothic candle arch , which has the task of supporting the two towers against each other. This medieval renovation measure prevents settlement and shifting in the area of ​​the westwork. The candle arch is usually hidden by the organ, but was visible in 2018 as part of the organ renovation. In 1276 a fire broke out again, which damaged the choir, but did not affect the western facade and the western gallery or the adjoining rooms in the heath towers.

 

The Gothic building period began under the Habsburgs , Dukes of Austria since 1282 . Under the Dukes Albrecht I and Albrecht II of Austria, not only was the fire damage repaired, but an enlarged choir in the Gothic style was built between 1304 and 1340, which is called the Albertine Choir after them . The choir was consecrated on April 23, 1340, and the hall choir was largely completed. After 1340, as the documents on the liturgy, the rood screen and the altars show, the choir could already be used for liturgical activities.

 

The reign of Duke Rudolf IV , called "the founder", was significant for the church: on April 7, 1359 he laid the foundation stone for the south tower and the Gothic extension of the church - one source specifically speaks of the choir, for which there is evidence of a new consecration in 1365. With the intention of upgrading the main church of his residential city, Rudolf - who had claimed the title of "Arch Duke of the Palatinate" since 1358/59 - moved the collegiate monastery he had built in 1358 in the All Saints' Chapel in the Hofburg as a "cathedral chapter" to St. Stephen's Church in 1365 and lent it to it Provost gave him the title “Archchancellor of Austria” and appointed him chancellor (rector) of the new university in Vienna . Since then, the All Saints' Day patronage for the choir has been the cathedral's second patronage. The important collection of relics and the founding of the ducal crypt also go back to Rudolf IV. [10] When Rudolf died unexpectedly in 1365, he was buried in the choir. The construction of the two western nave chapels as well as the two princely portals that are obviously connected to them also go back to Rudolf.

 

Rudolf's most important construction project at St. Stephen's Cathedral was the start of construction on the southern high tower, even if little more than parts of the St. Catherine's Chapel, which was only consecrated in 1391, was completed during the seven years of his rule. [15] The question of who was responsible for the conception and planning of the Gothic building is open. It was not until 1368 that a Magister operum ad St. Stephanum (master builder of St. Stephan) named Seyfried was mentioned for the first time. A significant influence on the planning was attributed in older research to the Dukes' master builder Michael Knab , but his activity as a master builder in Vienna's cathedral can be specifically ruled out.

 

By 1407, the tower substructure had advanced to the height of the church roof, when decisive corrections were made because, as Thomas Ebendorfer reports, “master builders experienced in the art and famous in our day had deviated so much from the original plan in the construction of the said tower that everything, What had been built on it at great expense over several years was, conversely, demolished back to where the first builder left it.” This obviously refers to the former Prague cathedral builder Wenzel Parler , who was the cathedral builder in Vienna from 1403 to 1404. The tower was then completed with modifications in 1433 by Peter and Hans von Prachatitz , [10] with this tower being the tallest tower in Europe at 136 meters until the Strasbourg Cathedral tower was completed in 1439.

 

Immediately after the tower substructure, the construction of the Gothic nave, decorated with rich tracery shapes, began on its south side and was progressed to such an extent by 1430 that the last remnants of the early Gothic nave, which stood in the way of expansion, could be demolished. Under cathedral builder Mathes Helbling , the western part of the north wall was completed by 1440 (inscription on the cornice), after which work began on the construction of the cantilever pillars of the hall church . Under Hans Puchsbaum, the cathedral nave was expanded into a relay hall and the vault was also prepared, although its rich design with arched ribs was only completed under his successor Laurenz Spenning . In the Middle Ages, the only tracery gable of the exterior building was that of Emperor Friedrich III. Referring Friedrich gable was built over the southwest yoke. An inscription tablet from 1474 (now lost) marked the completion date of the church building, although without the north tower, which had just begun. Shortly before, in 1469, Vienna had been elevated to a diocese and thus St. Stephen's Cathedral had been elevated to a cathedral , so that the collegiate foundation founded by Rudolf IV also became a cathedral chapter . During this time, St. Stephen's Cathedral was also used for public speeches to the Viennese community, as was the case with Archduke Albrecht VI. shows.

 

In 1450 Frederick III. the foundation stone for the north tower (previously also incorrectly called the Albertine Tower ) and the foundation of the north tower was built under the cathedral builder Hans Puchsbaum, whereby, on imperial orders, the wine of this vintage, which was classified as inedible, was used as a binding agent. After a long interruption caused by the political tensions between the city and the emperor, it was not until 1467 that construction of the north tower actually began according to new plans under cathedral architect Laurenz Spenning. [20] Of the two alternative tower plans he presented, the first represented a revision of the existing high tower, the second a new plan that was around 20 meters higher, which was also intended to surpass the tower construction projects of the Strasbourg and Ulm Minsters . Under him the portal floor was completed by 1477, under his successor Simon Achleitner the double window floor, under Jörg Kling and Jörg Öchsl the subsequent open floor, until further construction was stopped in 1513 after almost half a century of construction activity. The decision to complete the tower was made in 1523, but was no longer implemented. Continuing to be built at the same pace, the north tower could have been completed around 1560, but the warlike circumstances of the time, which made the renovation of the fortifications necessary, prevented further construction. In 1578, a simple bell storey with a Renaissance hood was placed on the tower stump , which is called Saphoy'sche Haube after the builder Hans Saphoy .

 

From 1511 to 1515, the sculptor and master builder Anton Pilgram took over the management of the construction works , he completed the organ base and, among other things, was involved in the execution of the cathedral pulpit ; the window peep there was traditionally mistaken for his self-portrait . Under Hans Herstorffer , who worked as the cathedral builder from 1637 to 1650, the interior was given a Baroque design in 1647 ; in particular, the high altar by the sculptor Johann Jacob Pock and his brother, the painter Tobias Pock , dates from this period. During the Turkish siege in 1683, the cathedral was damaged by Turkish cannonballs. The large bell (the Pummerin ) was then cast from the besiegers' cannons. In 1713, right at the beginning of the term of office of cathedral builder Johann Carl Trumler , Emperor Charles VI. in the cathedral a vow to found a church when the plague ends. Around three years later, construction of the Karlskirche began.

 

Since the renovations in the 19th century, the imperial eagle of the Austrian Empire has been laid out in colorful tiles on the southern roof of St. Stephen's Cathedral. The breastplate of this eagle contains the monogram of Emperor Franz I. When the roof structure was rebuilt after the fire at the end of the Second World War, the Austrian federal eagle , which, however heraldically , faces the wrong direction, and the Viennese eagle were also added to the north side of the roof Coat of arms attached.

 

Destruction in the Second World War and reconstruction

St. Stephen's Cathedral survived the bombing raids during the Second World War and the fighting in the city without any major damage. However, on April 6th, a bomb penetrated the vault of the south aisle. When a white flag was hoisted from the tower on April 10, 1945, the Wehrmacht captain Gerhard Klinkicht (1915–2000) refused the order of the city commander Sepp Dietrich , to "... initially reduce the cathedral to rubble and ashes with 100 grenades “A memorial plaque on the cathedral commemorates Klinkicht’s refusal to obey orders.

 

On the night of April 12, 1945, the larch wood roof structure and the bell tower of St. Stephen's Cathedral burned down completely. While the story spread for decades afterwards that “ the Russians ” had set the cathedral on fire, and also that there had been German shelling , it is known from eyewitness reports that the fire came from surrounding buildings in which looters had set fire Dom attacked. The previous battles had created holes in the cathedral roof; The flying sparks could reach the roof structure through this and ignite it. The fighting during the Battle of Vienna prevented effective firefighting operations. In addition, the cathedral's two large water pipes were destroyed in an American bombing raid on March 12, 1945. On the night of April 12, 1945, the woman hanging in the north tower fell into the transept. The Wimpassinger cross located there burned.The burning belfry with the pummerin collapsed on the afternoon of April 12th. The bell shattered on the vault opening in the floor of the bell chamber, most of its fragments fell through the opening into the tower hall and smashed the Turks' Liberation Monument there . The Zwölferin or Prince's Bell and the Quarter Pummerin , the two bells in the southern Heidenturm, also crashed. The valuable Walcker organ from 1886 burned after embers from the roof fell into it through an opening in the vault. In the morning hours of April 13th, a 16 m high retaining wall in the roof structure collapsed, destroying several vaults in the central and south choir. The gallery with the choir organ, the imperial box and the valuable Gothic choir stalls were smashed by the rubble and ignited by the burning roof beams. The tomb of Frederick III. remained almost undamaged thanks to being walled in. In November 1947, the vaults of the southern choir that had been preserved until then collapsed.

 

The reconstruction of St. Stephen's Cathedral, which was financed, among other things, by numerous donations from the population (see St. Stephen's Groschen ), began immediately after the end of the war. The steel roof truss was completed in 1950. The ceremonial reopening took place in 1952 with the arrival of the newly cast Pummerin. A memorial plaque commemorates the donations received from all Austrian federal states:

 

“The one that calls you to this house of worship, THE BELL, was donated by the state of Upper Austria , that opens up the cathedral to you, THE GATE, the state of Styria , that carries your step, THE STONE FLOOR, the state of Lower Austria , in which you kneel in prayer, THE BENCH, the country of Vorarlberg , through which the light of heaven shines, THE WINDOWS, the country of Tyrol , which shine in peaceful brightness, THE CHANDELIERS, the country of Carinthia , where you receive the body of the Lord, THE COMMUNION BANK , the Burgenland , in front of which the soul is in devotion, THE TABERNACLE , the state of Salzburg , which protects the holiest place in the country, THE ROOF, donated the city of Vienna in association with many helpful hands.

 

century

Under cathedral priest Anton Faber, St. Stephen's Cathedral was repeatedly staged with artistic installations. In 2020, an oversized purple sweater, Erwin Wurm 's Lenten shawl , and Billi Thanner's illuminated ladder to heaven attracted media attention. In August 2021, during the COVID-19 pandemic in Austria , Cardinal Schönborn and Vienna Mayor Michael Ludwig inaugurated a vaccination line in the cathedral's Barbara Chapel, which was controversial within the church as Violation of the sacrality of the place of worship was felt.

 

On March 16, 2022, at 2:11 a.m., according to cathedral priest Toni Faber, a hacker attack started the computer-controlled festival bells. After about 20 minutes of ringing at night, he stopped the bells.

 

Exterior

West facade

The west facade contains the oldest visible elements of the cathedral and in this form dates back to the 14th and 15th centuries. [40] Older components from the 13th century (Giant Gate, Heathen Towers, West Gallery) were deliberately integrated into this Gothic western complex. In the 14th century the facade was expanded by adding the chapels behind it. Around 1420, the Gothic central window was broken into the Romanesque west wall, and around the same time the heath towers were connected by a front wall as the top façade. This is bordered by a parapet with tracery, on which gargoyles and three pinnacles with figures below that connect to the front wall are attached ( St. Lawrence , St. Stephen , Archangel Michael ). The current figures are copies from the 1870s, the originals (now in the Vienna Museum ) date from around 1430. The gate hall protrudes slightly and is separated from the central window by a narrow canopy. Otherwise, the facade is flat and only divided by vertical pilaster strips and horizontal cornices, creating five sections vertically. The porch of the giant gate has side window slits for the stairs behind it and rectangular wall niches for figures, which only vaguely follow a symmetry. The corner pilaster strips in the axes of the Heiden towers mark the edges of the previous church, below each of which there is a late Romanesque arched window with richly sculpted reveals. In these axes there are also two cornices with dentil and trefoil friezes, which correspond to the structure behind them (the three basement floors of the Heiden towers).

 

Heathen Towers

The two towers are early Gothic in their current form, the lower floors were built in the 12th century, the upper floors in the 13th century, probably after the fire in 1256. [41] The lower floors behind the facade are square, while the four upper floors are octagonal. They are distinguished from each other by all-round dentil friezes and dwarf arched cornices, which are cranked at the corner templates. On the pyramid helmets with crabs and gable crowns, which have a roof gallery decorated with tracery halfway up, there were originally glazed tiles, just like the roof of the cathedral. At the tops of the Heathen Towers there are depictions of St. Lawrence (with rust, southern Heathen Tower) and St. Stephen (northern Heathen Tower) as the tower crown.

 

South Tower

As the main tower, the south tower is 136.4 meters high and has a square floor plan , which is gradually transformed into an octagon by a sophisticated arrangement of gables. Twelve pinnacle turrets rise below the top . It is open to the public up to a height of 72 meters, where the so-called Türmerstube is located. Climbing the top of the tower is exclusively reserved for employees of the cathedral building authority. To do this, you leave the inside of the tower at a height of around 110 m. From there you can climb an iron ladder on the outside and through the finial to the top.

 

The southern high tower of St. Stephan can be considered one of the most monumental solutions completed in the Middle Ages. It does not connect with the church building (as in the Cologne Cathedral as a two-tower facade , at the Ulm Minster as the West Einturm or at the Milan Cathedral as the crossing tower ) in order to let its building mass culminate in a central tower, but rather is at its side as an additional element attached. The special position of the Vienna Tower is still evident today in the fact that its northern counterpart was only partially completed and therefore does not contribute to the overall appearance of the building, without giving the impression of being unfinished. The top of the tower is now formed by a double cross ( archbishop's cross ) carried by a double -headed eagle . Originally the spire had a crown that represented the sun and moon (representing spiritual and secular power). After the Turkish siege in 1529, citizens of Vienna demanded that these symbols be replaced in 1530 because they were too reminiscent of the Turkish symbols (star and crescent). However, an exchange did not take place until the Feast of the Exaltation of the Cross (September 14) in 1686.

 

The total duration of the almost seventy-five-year construction period of the tower, which makes changes to the plan likely in the meantime, is determined by the key dates handed down, which include the laying of the foundation stone on July 12, 1359 by Duke Rudolf IV and his wife Catherine of Luxembourg and the placement of the final finial for 1433.

 

In between there was a change in plan, which first led to the introduction of the double window storey and then its reduction. In the first concept, this was raised significantly above the height of the eaves, but was then reduced again to just above the top of the window, so that the wall decoration with pinnacle canopies that had already been carried out for the statues intended here was lost. The entire tower area above the eaves of the church building was built entirely according to Peter von Prachatitz 's concept and did not represent a return to a supposed initial plan. But even here, further plan corrections can still be seen between the individual floor sections , especially in the transition to the helmet area coincide with the traditional change of master from Peter to Hans von Prachatitz.

 

The decisive change in plan between the substructure and the open floors also affected the purpose of the tower as a symbol of community. Started by Rudolf IV and continued by his brothers, the tower was intended to serve exclusively as a commemorative monument to the founder, but when it was taken over by the city at the beginning of the 15th century, it no longer stood for particular interests , but rather for the cohesion of all groups Society under the Habsburg crown . At the same time that the southern high tower of Prague's St. Vitus Cathedral remained unfinished due to the Hussite unrest in Bohemia , a tower with ever-increasing standards was completed in Vienna. The completed tower construction made it clear through its dominant position that Vienna had now taken the place of Prague in architectural terms, but was also ready to take over its function as “the empire's main state”.

 

The south tower had a mechanical chiming clock since the beginning of the 15th century. The south tower has been without a tower clock since 1861 after it was removed without replacement during the tower restoration.

 

From 1534 onwards, a tower keeper at a height of 72 m performed the function of a fire observer. In 1551, eight deer antlers were attached to the south tower in the superstition that they would protect the cathedral from lightning. [8th]

 

1800 to present

From 1810 to 1815, under the court architect Johann Nepomuk Amann, significant repairs were made to the war damage that had occurred under Napoleon in 1809.

  

Vertical

In the years 1839–1842, the top 17 meters of the dilapidated top of the south tower, which leaned towards the north, was removed by Paul Sprenger ; the stone ornaments were attached to an iron core. However, the iron did not prove to be rust-resistant, so many stones broke due to rust cracking. From 1850 onwards, cathedral builder Leopold Ernst used stone dowels cast with cement and “replaced one error with two others”, as the cement drift also led to serious damage. Therefore, the top 40 meters were demolished again in 1861 by Leopold Ernst and rebuilt as faithfully as possible to the original from 1862 to 1864 by Friedrich von Schmidt, who was appointed cathedral builder in 1863, using medieval stone technology. Several phases of this process can be seen in watercolors by Rudolf von Alt .

 

Schmidt led the restoration of the cathedral for decades, with “improving” interventions in the spirit of the neo-Gothic and Viollet-le-Ducs being undertaken (for example in the gable area of ​​the south windows of the cathedral). On August 18, 1864, the emperor 's birthday , as part of the tower renovation, a new cross and an eagle weighing three hundredweight were placed on the completed spire. In 1870, the figures of Rudolf the founder's parents and parents-in-law from around 1365 (thus older than the tower itself), which were on the corner pillars of the south tower, were replaced by copies. The originals are in the Vienna Museum.

 

Since April 2014, the parameters of the lightning striking there have been recorded on the two lightning rods by sensors installed 20 m above the tower room and are to be scientifically evaluated via the Austria-wide ALDIS project.

 

In 2014, a portrait bust of the entrepreneur Carl Manner was installed in the tracery of the west facade of the south tower as a thank you for the decades of support of the cathedral bauhütte . For over 40 years, an employee of the Bauhütte worked at the cathedral in overalls in the company colors at the expense of the Manner company . This bust looks towards the Hernalser Manner factory.

 

The ongoing renovation work on the south tower began in 1997 when a large pinnacle threatened to collapse. This component was approximately 90 m high and weighed approximately 14 t. In the years that followed, the south facade of the cathedral (with the gables) and the west facade of the south tower were also worked on; from 2021 the east side of the tower will be worked on. Since this side is protected from the weather, there are many details from the 14th and 15th centuries on it, and an area with the dark gray paint from the Middle Ages is still there. During the course of the renovation work, steel rods are drilled into heavily stressed areas to absorb the tensile and pressing forces. They are intended to prevent the stone from cracking under the high load; the load is thereby distributed over the entire cross-section of the pillar construction.

 

North Tower

The north tower was intended to complete the external appearance of the cathedral. Construction work on this tower began in 1467 and lasted until 1511. However, it was stopped due to economic difficulties and religious turmoil - Vienna had become a Protestant city around 1520, while the Lower Austrian estates took action against the Protestants and Lutheran services were banned in town houses - and was not continued because of the approaching Turkish threat, so that the north tower remained unfinished.

 

Under Hans Saphoy von Salmansweiler († 1578 in Vienna), who was the cathedral builder of St. Stephan from 1556 to 1578, there were considerations about expanding the stone stump, but these were abandoned. The brothers Hans and Caspar Saphoy built a tower roof in the Renaissance style . It is a small octagonal bell tower, the so-called “Saphoysche” or “ Welsche Haube ”, on the top of which the double-headed eagle of the House of Austria is enthroned, which is why the north tower is also called the “Eagle Tower”. The north tower is 68.3 meters high in total.

 

Legends surrounding the unfinished north tower

There are many stories and legends that try to explain the unfinishedness of the north tower of St. Stephen's Cathedral. The best-known legend says that the builder Puchsbaum was just an assistant to the builder at the time it was built and made a pact with the devil to complete the north tower within a year. In this way, Puchsbaum would fulfill the builder's condition that he be allowed to take his daughter out. However, Puchsbaum was unable to keep his pact with the devil because - due to the naming of his daughter Maria - he was unable to utter the name of the Lord or another saint for a year.

 

Roof

The most striking thing next to the towers is the roof. It rises 37.5 meters above the nave and 25.3 meters above the choir with a length of 110 meters. It is covered with around 250,000 roof tiles, which are arranged in a zigzag pattern in the nave area and were produced in a total of ten colors by the brick kilns in Unterthemenau ( Poštorná ). Each of these tiles weighs 2.5 kg, is nailed to the rafters with two copper nails and is also embedded in mortar.

  

The roof structure of the cathedral in the area of ​​the choir/nave transition with a view towards the gallery

Above the choir on the south side is the coat of arms of the Austrian Empire with the monogram of Emperor Franz I and the year 1831 (re-covering of the roof), on the north side the coat of arms of the city of Vienna and the coat of arms of the Republic of Austria , below with the year 1950 (completion of the roofing after the destruction in WWII).

 

The roof truss is a steel structure weighing around 600 tons, which replaced the larch wood roof truss from the 15th century, which burned down completely in 1945. During its restoration, a concrete ceiling was also installed over the vaults in advance (in 1946 over the nave with the slightly raised central nave and in 1948 over the choir) in order to protect the interior of the cathedral until the roof was completed and to provide a work and storage area for to have the roof rebuilt. This reconstruction, which was carried out largely in the same shape as the original roof, was completed in November 1950.

 

The first delivery of roof tiles took place on April 6, 1949. The cathedral construction management had special transport boxes made for the deliveries, each holding around 540 pieces of tiles. These boxes were lifted by crane directly to the track system in the roof and moved there by hand as required. After a transport accident on November 7, 1949, a rumor arose that a barn roof in Poysdorf had been covered with the remains of the damaged roof tile delivery for St. Stephen's Cathedral. That wasn't right. In 2023 it was confirmed that the tiles on this roof came from the same tile factory, but did not match the dimensions and colors of the cathedral's roof tiles and that the barn roof had already been covered around 1942.

 

In the mid-summer months, in the late afternoon hours, a reflection of the roof can be seen from the vineyards around Grinzing , which is vaguely reminiscent of a female figure and is nicknamed Jausenfee

 

Giant Gate

The main portal, the so-called “Giant Gate”, is located on the west side of the cathedral between the two “Heathen Towers”. It was built between 1230 and 1250 in Romanesque style and was redesigned into a richly structured funnel portal on the occasion of a visit by Emperor Friedrich II (from the House of Staufer , † 1250). Along with the entire westwork, it is one of the oldest and most important parts of the cathedral. The origin of the name is uncertain; it either derives from the fact that a mammoth bone was placed above the gate for a long time, which was viewed as the bone of a giant, or it goes back to the Middle High German word risen (to sink, to fall), which could refer to the funnel shape of the portal. In the outer wall, several stone figures can be seen in small niches, including two lions; a griffin and a seated figure in a strange posture, probably representing a judge, but popularly referred to as the thorn extractor . The portal itself is bordered on each side by seven funnel-shaped columns decorated with winding plant patterns. On the capitals there are figures of apostles and saints, but there are also scenes that are difficult to interpret. Richly structured arches rise above the capitals and surround the tympanum field , on which Christ is depicted as Pantocrator (Christ as ruler of the world) in a mandorla, whose head is surrounded by a cross nimbus , with one of the statue's knees free. The meaning of this symbolism is unclear; it is associated with acceptance ceremonies in construction huts .

 

Singertor

To the right of Riesentor, on the southern side of the cathedral at the beginning of the nave, is the Singertor, which is considered the most important Gothic work of art in the cathedral. It gets its name from the fact that it served as an entrance gate for the choir's singers. At the same time it was also the usual entrance for the men. It was created around 1360 and is arranged in the form of a pointed arch , with figures of apostles in the vestments . The magnificent tympanum shows the life story of Saint Paul . Also significant is the depiction of the founders of the new Gothic building, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left in robes, each accompanied by coats of arms. The gate was restored in 2022, with bones from the old St. Stephen's Cemetery found under the floor, and the gates opened. In order not to disturb those praying at the Maria Pötsch Altar, the gate will only be available as a possible escape route. The Singertor room is used for information and sales purposes and remains accessible from the outside. In July 2023, a new glass gate opened up a view of the interior of the Singer Gate. This glass gate was severely damaged in an act of vandalism on August 27, 2023, but has been restored.

 

Outside, right next to the Singertor, there is a Gothic tomb that is believed to be the alleged burial place of the minstrel Neidhart .

 

Bishop's Gate

The Bishop's Gate is located symmetrically to the Singertor to the left of the Giant's Gate at the beginning of the northern side of the nave. Its name reminds us that it served as an entrance gate for the bishops, whose palace is directly opposite. It was also the entrance gate for women. It was constructed around the same time as the Singertor around 1360 and corresponds to it in terms of construction and structure. The tympanum contains depictions from the life story of St. Mary , although in contrast to the male saints in the Singertor, female saints are depicted here in the robes. Here too you can find the statues of the donors, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left, which are largely identical to those in the Singertor.

 

At a specialist conference in November 2019, it was announced that the Dombauhütte, in cooperation with the Federal Monuments Office, had removed dirt from a monumental mural in the vestibule of the Bishop's Gate. The large-format wall painting dates from the early 16th century and depicts a winged altar painted on the wall. In the middle part you can see Saint Leopold, who is flanked by Saints Katharina and Margarethe. Images of the imperial coat of arms with the double-headed eagle and the Austrian shield are interpreted as an indication of an imperial connection. The preliminary drawings of the frame were classified as of the highest quality and were seen as an indication of a work by Albrecht Dürer based on various details in the lines, hands, curls, etc. A passage in the Dürer biography by Joachim von Sandrart , according to which Emperor Maximilian is said to have ordered the artist to create a large wall drawing, is seen in a new light against the background of the discovery.

 

The Kolomani Stone is walled up in the Bishop's Gate, part of the stone on which Saint Koloman is said to have been killed. The Bishop's Gate is only accessible from the inside as the cathedral shop is located there.

 

Eagle Gate

This broad Gothic gate, which is sparsely furnished with a crowned statue of the Virgin Mary from the 17th century, is located on the north side of the nave below the north tower, east of the Bishop's Gate. It owes its name to the north tower above it, which was also called the “Eagle Tower” because a double-headed eagle was previously depicted on its dome as a symbol of the House of Austria .

 

A crucifixion picture by Joachim von Sandrart from 1653 has been installed above the exit to the Adlertor since June 2019 . This picture originally belonged to the Passion Altar behind the tomb of Emperor Frederick III. was placed in the Apostles' Choir (right aisle of the cathedral). It is 6.97 × 4.12 m. This altar was dismantled in 1872/73 and the picture was in the north transept in the 1930s. In 1940 it was loaned to the garrison church , and after this church was destroyed by bombs , it hung outside for a few weeks in 1945, damaged, before it was saved, temporarily stored and restored by the then curator of the Schottenstift Robert Mucnjak. From 1957 it was the altarpiece of the parish church in Neulerchenfeld . After this parish was dissolved in 2013, the works of art that did not belong to the parish were removed. Since the picture belongs to the cathedral chapter of St. Stephan, it was returned to them and consideration was given to loaning the picture to the parish church of St. Michael . That didn't happen. The location in the entrance to the Adlerturmhalle is considered to be the optimal place for the picture in the cathedral. In front of the picture, there has been a copy of the Wimpassinger Cross from the Romanesque period, which was burned in 1945, at this point since 1995 .

  

Asylum ring at Adlertor

The asylum ring or the Leo on the left pillar of the Eagle Gate is a very old pulley , deflection pulley or belt pulley that can still be rotated today. By touching the asylum ring, persecuted people could place themselves under the protection of the church . The term Leo refers to Duke Leopold the Glorious , who introduced this form of asylum.

 

Primglöckleintor

This is located - symmetrically to the Adlertor - on the opposite southern side of the nave below the high south tower, is laid out in a very similar way to the Adlertor and is just as sparingly equipped. Only four console figures showing the four evangelists and an angel in the vault of the vestibule have been preserved from the original furnishings. On the middle pillar of the entrance there is a figure of Mary with the baby Jesus, created around 1420. It owes its name to the fact that a bell was once rung here at the first hour, i.e. at Prim .

 

Gable on the nave

Four gables rise above the southwestern part of the nave wall . Its westernmost lies above the wall above the Singertor and is called the Friedrichsgiebel. This gable was the only one that was completed in the 15th century; the other three gables (to the east) were initially only covered with brickwork. They were only supplemented with tracery in 1853–55 under cathedral builder Leopold Ernst in accordance with the state of the art of building technology at the time . The Friedrich gable was also dismantled and rebuilt, so that differences from the other gables are difficult to recognize. However, the cement used at the time introduced sulfur compounds into the limestone, which led to cracks, plastering and blasting . The gables had to be renewed in the 1860s under Friedrich von Schmidt . Further damage later resulted from the fact that the steel roof structure, which was replaced after 1945, did not fit exactly onto the walls. Deviations that were not originally present had to be compensated for; they also led to increased weathering on the gables. The combination of different building materials, brick and stone, also caused damage to the Friedrich gable. In 2015, the Friedrich gable and the gable adjoining it were renewed; the other two eastern gables were scheduled for restoration in 2016. The work on the western half of the south facade was completed, and the black sinter layers on the eastern part of the facade were removed in 2017. This black coating was largely made of gypsum, created from a chemical reaction of sulfur compounds in the air with the building's limestone. However , this process had already slowed down in previous years due to the lower proportion of sulfur compounds in the air ( acid rain ). The work on the eastern part of the south facade and on the west side of the south tower was estimated to take another two years in 2018, which was also due to the fact that a construction elevator had to be available up to the highest scaffolding levels. The work was completed in autumn 2020, and the scaffolding was dismantled at the beginning of 2021. This means that the main view of the cathedral (south side with tower) can be seen again without scaffolding after almost 25 years.

 

With the completion of this renovation work, the original color of the southern facade was traced, which was in various shades of ocher. However, around 1500 their stones were additionally covered with an ocher-colored lime slurry with black and white painted joints, which simulated large stones. On the one hand, this coating was a design tool and, on the other hand, it protected the stones from weathering. Remains of this painting were found under the canopy roof of the Neidhart grave, but there is no thought of replacing it. Further remains of a (dark gray) mud from the early 15th century were found on the east side of the south tower.

 

Capistran pulpit

The Capistran pulpit is a small Gothic pulpit made of sandstone, which is located on the outside corner of the north choir of St. Stephen's Cathedral. It was built between 1430 and 1450, but originally stood on a small hill near today's Churhaus at the “Stephansfreithof”, the cemetery at St. Stephan, and was used for funeral orations and speeches by priests.

 

Her name is reminiscent of the Franciscan John Capistrano , a once famous preacher against a luxurious and depraved lifestyle; He warned of the threat to Christianity posed by the advance of the Ottomans , but was also an inquisitor , military leader and initiated pogroms against Jews . On June 6, 1451, Capistrano arrived in Vienna and gave 32 sermons from this pulpit, which were apparently very well received. In 1453, after the fall of Constantinople , he called for a crusade against the Ottomans in Vienna , then moved with the troops he had collected to the enclosed city of Belgrade and thus contributed significantly to the lifting of its siege and the short-term general repulsion of the Ottoman army in 1456

 

After he was canonized by Pope Alexander VIII (1689-1691) in 1690 and his veneration spread, the pulpit was renovated in 1737, attached to the outside of the cathedral and with the addition of a baroque top - the statue of the saint stands on a fallen one Turks, surmounted by angels in radiant splendor - transformed into a monument.

 

Other features

On the west side you can see the listed signs of the resistance movement O5 , which resisted National Socialism from 1938 to 1945 . Originally they were painted white; when they faded, they were replaced by the engraving.

 

On the left side of the main gate there are two metal bars embedded in the wall, these are the cloth and linen corners . These cubits were once legal measures of length and could be used by every citizen to check the dimensions of goods. In the Middle Ages, craftsmen were threatened with punishment if their products did not have the correct measurements (keyword: Bäckerschupfen ); With the help of the Ellen, the craftsmen were able to protect themselves from punishment and the consumers from possible fraud. To the left above the cubits there is a circular depression in the masonry, which, according to legend, served as a measure of the size of a loaf of bread. In reality, this is simply a sign of wear and tear on a gate fastening, as until the second half of the 19th century the main gate of the cathedral was closed with a rococo grille that could be opened to the outside and was attached to the outer wall with hooks. On the right side of the gate there is a circle of the same size, in which you can see from the metal remains in the center that a hook was attached here.

 

Axle bend

The south wall of the choir is around 70 cm longer than its north wall. The choir swings approximately 1° from the long axis of the nave towards the north. The nave and choir are aligned with different sunrise points. This is not seen as the result of a measurement error, but rather as an intention: the axis of the nave is aligned with the sunrise on St. Stephen's Day (December 26th), while the axis of the choir points to the next Sunday, January 2nd. From the relationship of the building axes and the angle of the deviation, the time of the dimensions and thus the turn of the year 1137/1138 (today's calendar and year count) can be deduced. The (today's) roof ridge does not reflect this small deviation, it is straight across both parts of the building.

 

Longhouse

The four bays in the vault of the nave are square, which is a special feature of St. Stephen's Cathedral. It is assumed that an influence of the previous Romanesque building is still at work here. However, these yokes on the outer wall were reinforced by another intermediate pillar, so they rest on five supports and have ten vault caps.

 

The nave is also not built completely regularly: it becomes about 1.1 m narrower towards the east, and its gable walls are not exactly in line with the walls below. These deviations were one of the technical challenges when building the new steel roof structure after the fire in 1945.

 

Auer and Mannersdorfer stone for St. Stephen's Cathedral

The surviving invoices from the church master's office testify to the enormous Auer and Mannersdorfer stone deliveries for St. Stephan in the years 1404, 1407, 1415–1417, 1420, 1422, 1426, 1427, 1429, 1430 and 1476. According to the calculations, the quantities of stone that were obtained from the quarries between Mannersdorf and Au am Leithagebirge are very large, for example in 1415: 732 pieces, 1416: 629 pieces, 1417: 896 pieces, 1426: 963 loads, 1427: 947 loads and 1430: 761 loads.

 

The stone purchase was carried out by the church master's office under the technical advice and control of the cathedral builder or his representative, the Parlier . In any case, the work in the quarries was under the supervision of the cathedral construction works . Some names of the “Auer Steinbrecher” are known: Michelen Unger von Au, Peter stainprecher von Au and “Mannersdorfer Steinbrecher”: Chrempel, Amman, Niklas, Sallmann, Uchsenpaur, Velib, Hannsen von Menhersdorf (Mannersdorf), Trunkel and von dem Perendorffer . The stones were brought in by horse-drawn cart. The shipments from the Leitha Mountains from Mannersdorf and Au each comprised only one block (“stuk”), for which the price for breaking was constant, but that for freight fluctuated, apparently depending on weight.

 

The complete change to Mannersdorf stone occurred with the construction of the Albertine Choir (1304–1340). Like Auerstein, Mannersdorfer Stein is a fine to medium-grain sand-lime stone. The majority of the wall blocks and all the profiles , including the figure consoles in the choir, are made of it . The conditions are particularly clear in the high tower in the large bell chamber , where the more sophisticated stones and cornerstones and all the finer profiles, window frames , tracery , etc. were reserved for the Mannersdorfer/ Auerstein from the Leitha Mountains. In the nave, cuboids in the walls, as well as the yokes adjoining the Eligius Chapel and, above all, the northern wall pillars are made of “Mannersdorfer”.

 

In contrast, for the Servant Mother of God, it was determined through investigations in the central laboratory of the Federal Monuments Office that sand-lime stone from Atzgersdorf was used for this statue.

 

In addition to the Mannersdorf sandstone, the Mannersdorf algal lime was also used on the old cathedral. There is evidence of some gargoyles , for example on the vestibule of the Singer Gate (1440–1450).

 

Durability of the stones

In 1930, Alois Kieslinger , a geologist at the Vienna University of Technology, commented critically on the question of the durability of natural stone: “The six 'old' churches of Vienna? And how much of it is old? We are currently repairing the twelfth spire [!] at St. Stephen’s.”

 

The restoration work on the cathedral is proceeding according to a long-prepared plan: a restoration cycle lasts around 35 to 40 years. Regardless of this, the building is regularly checked by the stonemasons of the cathedral building works because damage occurs again and again due to rusted iron reinforcements (rust requires more space than iron and can therefore crack the stone).

 

Interior

The church interior of the cathedral has three naves, with two different cross-sections : the nave is a pseudo-basilica , the central nave vault lies almost entirely above the side aisle vaults, so that windowless high nave walls rise above the arcades . The choir, on the other hand, has the cross section of a hall church; the central nave and side aisles are almost the same height. As usual, the main nave is aligned with the main altar, the left aisle has a Marian program, and the right aisle is dedicated to the Apostles .

 

Although the interior acquired its appearance in the Middle Ages, the original artistic and liturgical ensemble from that time is only partially present, as the building was extensively changed again during the Baroque period. The figure of grace of the so-called Servant Mother of God from the period between 1280 and 1320 is an original from that time, the design of which is based on French models. It was extensively restored in 2020 and the original version is now easier to recognize.

 

Almost 90 sculptures, mostly in groups of three, are attached to the pillars of the nave at a height of approx. 8 m. They were commissioned by private donors and are a characteristic feature of the cathedral. The sculptures on the west side were restored around 2020, and in 2021 the most important object in this context was the statue of St. Sebastian next to the organ base on the north wall of the nave. It comes from the school of Niklas Gerhaert , the sculptor of the gravestone of Frederick III. and is considered one of the cathedral's most valuable sculptures.

 

Altars

The first recorded reports about altars come from the time of the choir's consecration by Bishop Albert of Passau on April 23, 1340. The bishop not only consecrated the choir hall and anointed it at the Apostle signs, some of which are still preserved today, but also consecrated six other altars. Three were in the choir and three on the rood screen , the stone partition between the nave (also known as the lay church) and the choir (also known as the clergy church). The main altar was often called the “Vronaltar” in medieval sources because of its proximity to the sacrament house and was on the back wall of the central choir with St. Stephen as its patron. No further information about the main altar has been preserved, except that it was probably a winged altar . An invoice from 1437 shows how the sexton was paid for opening and closing the wings.

 

According to contemporary reports, the old winged altar became worm-eaten at some point and had to be removed. It was transferred to the monastery of St. Agnes on Himmelpfortgasse (hence also known as Himmelpfort Monastery ). This monastery was later abolished under the rule of Emperor Joseph II in the 18th century, at which point the trace of the winged altar was lost.

 

High altar

The cathedral's high altar is an early Baroque masterpiece made of marble and stone. Its structure is similar to a portal and is therefore a Porta-Coelis (sky gate) altar. The topic is the stoning of Saint Stephen, the cathedral's namesake. The altar is crowned by a statue of the Immaculata. It was commissioned by Prince-Bishop Philipp Friedrich Graf Breuner on March 1, 1641, because the Gothic wood-carved winged altar had already been completely eaten away by woodworms.

 

The altar was built by Johann Jacob Pock , who was a master stonemason, sculptor and architect, and by his brother Tobias Pock - who painted the altarpiece - and consecrated on May 19, 1647. The altarpiece, created on an area of ​​28 square meters on tin plates, shows the stoning of Saint Stephen outside the walls of Jerusalem. In the background you can see a crowd in which other saints are depicted, which also refers to the second patronage of the cathedral - the patronage of All Saints.

 

Side altars

There are numerous other altars on the pillars and side aisles. For the cathedral, Tobias Pock later created the altarpiece of the Peter and Paul Altar, which the stonemasons' guild built in 1677 and which has been preserved under the organ base as the second oldest baroque altar in the cathedral .

 

The most important is the Wiener Neustädter Altar from 1447 – a typical Gothic winged altar showing scenes from the life of the Blessed Virgin Mary. The Wiener Neustädter Altar only came to the cathedral in 1883; before that it was in the Neukloster Abbey in Wiener Neustadt . It is therefore not part of the original medieval furnishings of St. Stephen's Cathedral.

 

Under the late Gothic Öchsel canopy is the altar of the miraculous image of Maria Pócs or Pötsch . It is a copy of an Eastern Church icon made in today's Máriapócs (Hungary, then Pötsch ). The image was said to be a miracle of tears and, according to popular belief, it supported the imperial troops in the Turkish wars. It was brought to Vienna in 1697 on the orders of Emperor Leopold I and was originally placed on the high altar. It has been in its current location since 1945. In 2022, the two bishop figures above the altar were cleaned and restored, with the original coloring becoming recognizable again.

 

The Joseph Altar and the Women's Altar are located opposite each other at the eastern end of the nave. The Joseph Altar on the southern pillar was built in 1700. Like the women's altar on the northern side, it is surrounded by an elliptical communion bench . It was built by Matthias Stein(d)l . The saints represent the evangelists: below Matthew and Mark , above Luke and John . The altar is crowned by the depiction of the Annunciation of Mary , with the archangel Gabriel and the Holy Spirit dove . The altarpiece depicting the nurturing father Josef was donated by Ferdinand von Radek and painted on metal plates by the Viennese court painter Anton Schoonjans .

 

Tombs

The tomb of Frederick III is in the south choir. It was created by Niclas Gerhaert van Leyden from 1463 and is one of the most important sculptural works of art of the late Middle Ages. It was made from Adnet marble (an Austrian limestone), which is particularly difficult to work because of its mottled nature. The cover plate of the tomb comes from Master Niclas himself (he died in 1473). It alone weighs over 8 tons and shows a portrait-like depiction of the emperor in coronation regalia, surrounded by his coat of arms and attributes of power. After Master Niclas' death, work on the tomb continued according to his designs and was completed in 1513. The relief depictions on the sides of the tomb were made by Max Velmet and are reminiscent of the emperor's numerous monastery foundations. Michael Tichter created the balustrade with its 54 figures .

 

It was part of the cathedral builder's remit to build the tomb of Emperor Friedrich III every year. to clean in the cathedral. A letter from Matthias Winkler , master builder of St. Stephan's cathedral, dated August 26, 1734:

 

To a highly praiseworthy Imperial Court Chamber

Submissive – most obedient request. Your High Count Excellency and Grace.

The annual 6 fl .

 

Pulpit

Another masterpiece of late Gothic sculpture is the pulpit made of Breitenbrunner sand-lime brick . It was long attributed to Anton Pilgram , but today the design is more closely associated with the workshop of Niclaes Gerhaert van Leyden . The pulpit basket rises from the pulpit base like a stylized flower. On the pulpit are the portraits of the four church fathers , the handrail is populated by frogs and amphibians. In the lower part of the stairs is the window peep - the sculptural self-portrait of an unknown master. For the railing, see number symbolism .

 

Oratorio

Johann Jacob Pock's second major completed work in the cathedral was the Imperial Oratory , begun in 1644 and built on behalf of the City of Vienna. The first payment for the stonemasonry was made on April 16, 1644 with a total cost of 1,100 fl . The chief chamberlain recorded the completion of the work in the account book in March 1646. The city was satisfied with the work and presented Master Pock with a silver-gilt pitcher with an engraved crest because of his hard work .

 

From the canon sacristy you reach the emperor's prayer room via a curved staircase. The steps are made of the hardest imperial stone , from the quarry near the house (“Hausbruch”), the tenant was the imperial court sculptor Pietro Maino Maderno . The oratorio was founded by Emperor Ferdinand III. entered for the first time.

 

Chapels

The cathedral is equipped with several chapels that are important in terms of art history. On the west side of the cathedral there are four chapels that date back to the Gothic expansion under Duke Rudolf IV in the second half of the 14th century and were completed at the beginning of the 15th century. Two are on the northwest (left) and two on the southwest (right) corner of the cathedral, each arranged one above the other.

 

The Prinz Eugen Chapel and the Eligius Chapel are located on the ground floor .

On the first floor above these two chapels there are two more chapels, the St. Valentine's and St. Bartholomew's chapels.

Two important - equally symmetrically arranged - Gothic chapels are located outside the nave, each to the east of the cathedral's two main Gothic towers, the St. Catherine's and St. Barbara's chapels .

Kreuz or Prinz Eugen Chapel

 

The Kreuzkapelle with the Prinz Eugen crypt

The lower chapel, located in the northwest corner of the cathedral, is known by various names. As a Morandus chapel after the patronage, as a cross chapel after the late Gothic cross located there, as a Tirna chapel after the Tirna family who had the chapel built in the 14th century and immortalized their coat of arms three times on the outer front of the chapel, later as a Liechtenstein or Savoy chapel the families who exercised patronage there, or as the Prince Eugene Chapel, after the tomb of the probably most famous Austrian general, Prince Eugene of Savoy -Carignan (* 1663, † 1736). The place of his final resting place was not given to Emperor Charles VI. but to Princess Maria Theresia Anna Felizitas of Liechtenstein , the wife of his nephew Emanuel Thomas Duke of Savoy-Carignan, Count of Soissons . After her husband's early death in 1729, she had the burial place set up for him and other members of the House of Savoy , donated the stone slab embedded in the floor that closes the entrance to the crypt, and the baroque altar with the late Gothic cross above it, created in 1731. In 1754 she commissioned the marble epitaph for her husband and Prince Eugene on the southern side wall of the chapel. The executive artists were Joseph Wurschbauer as a sculptor and goldsmith and Gabriel Steinböck as a stonemason.

 

Eligius Chapel

The lower of the chapels on the southwest corner of the cathedral, which is to the right of the Giant Gate, has two interesting keystones from the 14th century: one shows Christ as the Man of Sorrows, the other Mary with child. There is also the only surviving Gothic winged altar, which was made for the cathedral church itself. This is the Valentine's Altar, which is dedicated to Saint Bishop Valentine and was therefore originally created for the St. Valentine's Chapel in the cathedral. There are also the “House Mother of God” (around 1330) from the abandoned Himmelpfort Monastery and various pillar figures from the 14th century. The chapel is only available to worshipers.

 

Valentine's Chapel

It is located to the left of the Giant Gate directly above the Prinz Eugen Chapel next to the northern Heidenturm and was completed around 1480. It houses the cathedral's important collection of relics , which dates back to Duke Rudolf IV. In the middle of the room is the sarcophagus with the bones of Saint Valentine. During restoration work in November 2012, consecration crosses were discovered in the chapel, as well as a number of scribbles ( graffiti ) that were attached at the same time (in the still wet plaster ) from the days before St. Nicholas Day 1479 (profestum nicolai). The consecration crosses indicate that this chapel was consecrated (or at least its preparation) in 1479; another consecration is documented for 1507. The graffiti show jesters' hats, coats of arms, parts of names and the phrase manus beanorum maculant loca sactorum ( Latin : "The hands of the Beani defile the holy places") and prove that a student initiation ritual , a deposition , took place in the chapel room at this time : The name of the person affected is Jeronymus Kisling, a son of a Viennese trading family, later a city council member and head of the Vienna Fugger factory.

 

Bartholomew's Chapel

The Bartholomew's Chapel, also called the "King's or Duke's Chapel", is a former Michael's Chapel and is located on the southern (right) side of the nave directly above the Eligius Chapel, next to the southern Heidenturm. Its most important pieces of equipment, the so-called “Habsburg windows” with medieval depictions of representatives of the Austrian ruling family, had been in the then newly built Historical Museum of the City of Vienna and the Museum of Applied Arts since 1887 . In 2011, the first of these windows was returned to the cathedral by the city administration, In 2022, the installation of the original windows in the Bartholomew Chapel continued. Special glasses were made to protect the windows and the climatic conditions are constantly monitored; The places where windows have not yet been installed or have been lost are temporarily covered with darkening foil to avoid glare from too much brightness. Worth mentioning are the two Gothic keystones, each of which shows the Archangel Michael , once with the soul scales and once as a dragon slayer .

 

St. Catherine's or baptismal chapel

The St. Catherine's or baptismal chapel, consecrated in 1395, is located on the southern side of the Apostle's nave directly next to the (high) south tower. It was probably named in honor of the wife of Duke Rudolf IV, Catherine of Luxembourg, is octagonal and has a hanging keystone . It also contains the baptismal font , which was completed in 1481. The baptismal font has an octagonal base, above which there is a fourteen-sided baptismal font, the crown is heptagonal. The Seven Sacraments , the Evangelists and scenes from the life of Christ are depicted in lively late Gothic depictions .

 

Opposite the entrance to the chapel are the remains of the Turkish monument.

 

Barbara Chapel

The Barbara Chapel, consecrated in 1447, is located on the northern side outside the nave of the cathedral on the east side of the north tower. It was originally under the patronage of St. Urbanus and has hanging keystones. A reliquary container with ashes from the Auschwitz concentration camp and another with earth from the Mauthausen concentration camp are inserted into the beams of the late Gothic cross there from around 1470, which comes from the parish church in Schönkirchen in Lower Austria . It contains a bust of the blessed martyr Sr. Maria Restituta Kafka , a victim of National Socialism , created by Alfred Hrdlicka .

 

Opposite St. Barbara's Chapel, in the tower hall, is the original of the Lord of Toothaches , a Gothic Man of Sorrows . The Gothic stone figure was originally located outside the cathedral at the front of the central choir. It has been replaced by a copy there since 1960. According to legend, students made fun of him because he looked like he had a toothache, whereupon they were struck with a toothache themselves and had to apologize.

 

Sacristies

The “Upper Sacristy” is located at the eastern end of the cathedral in the north, was expanded in the 17th century and furnished in the first quarter of the 18th century. The room is decorated with frescoes by the impor

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

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Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

There is a point in our lives when we, the children, become the adults in the relationship with our parents.

 

It will come for most of us, no one tells you this will happen, and you are unprepared for it. But it comes

 

And each of us has a different relationship with our parents than everyone else, what's right for me, and my views, do not apply to you.

 

Yesterday, was the funeral of the person I have known longer than anyone else on this earth, now that my family is all gone. Margaret and Brian were married a few weeks before mine, and moved into the new build bungalow also a few weeks before my parents.

 

They also had one child, a son, and Douglas and I have been friends longer than I have been friends with anyone else, although he is a year younger than me.

 

I have my views on Margaret, but the reason I travelled back to Suffolk for her funeral, was to be there for Douggie, and give him the support he has given me through three weddings and two funerals.

 

Norfolk isn't far away, and the funeral and wake were taking place just a mile or two over the border from Suffolk, but the roads beyond Ipswich are poor, twisty and where there are accidents or roadworks, no real alternative routes.

 

I was also leaving just before six, so had to get across the Thames at Dartford and up the A12 during rush hour, so it wouldn't be easy. But at least there would be no rain.

 

I was up at five, dressed and washed, with time to drink a coffee before leaving. Loading the car with me and my camera bag, as I had plans in case I had time, to visit a church or two.

 

It was dark up the M20 to Dartford, and busy with traffic, but I made good time, and listened to a loop of old music podcasts all day, so chat and music kept me awake.

 

I got onto the M25 with no problem, and through the tunnels with only a slight slowdown, but on the other side there were queues.

 

Despite not wanting to spend money on a new railway, there is always money for road and junction improvements, even if it will just increase traffic. So it is that the M25/A12 junction is being upgraded, and with narrow lanes, speed restrictions, jams began a good four miles before the roadworks started.

 

I forced my way to the left hand lane, which became a filter lane, meaning it was much quicker than the remaining four lanes. But then came the roundabout. The roundabout under the motorway is the reason the improvements are needed, and queueing traffic blocks the junctions and causes even more backlogs.

 

Of course, traffic lights on roundabouts are never good ideas, so I was confronted with a wall of traffic, so when the light went green, I went in front of a track before it could shuffle forward and block more of the junction, then there was some clear road.

 

And ducking into the extreme left hand lane, I dodged past the queuing traffic that was blocking the exit from the A12, and onto clear road.

 

Yay.

 

The sky was clear, the sun about to rise, and it was going to be a glorious day.

 

Just north of Chelmsford, I stopped for breakfast: two sausage rolls and a coffee from Greggs, then filled up the tank and on my way north.

 

More traffic at Ipswich where the A12 meets the A14 to get over the Orwell, but then clear traffic again after ten minutes delay.

 

Soon, though, the road narrows to two lane blacktop, and all is well until you meet a slower vehicle. Like a tractor as we did soon after Whickham Market.

 

For 15 long minutes the tractor lead a growing snake of cars along the winding lanes until it pulled over and we could get past.

 

Blythburgh was always the marker when travelling back from Ipswich or beyond, that we were nearly home. he handsome church sits high, for Suffolk, overlooking the village and river which is mostly mudflats.

 

The busy A12 skirts close, but you get to the church via a narrow land, leaving the modern world far behind.

 

The church opened at nine, it was nearly half past, it was probably open before nine, and was open when I pushed the porch door.

 

Inside is an unspoilt space, grey wood that have witnessed the centuries so that their vigour has faded to almost no colour of all.

 

Its the roof people come for. Wooden beams and pairs of wooden angels. I have brought my big lens so to snap them.

 

My plan was to visit the large and impressive church in Southwold. I turned off the A12 and drove along the straight road into the town, where I found multiple sets of roadworks, and few places to park for a short time, anywhere near the church.

 

My back is achy, so I wanted somewhere close to park. Anyway, I drove round the town twice, found nowhere to park, so turned the car round and headed back north, until I came to South Cove.

 

South Cove is a small village, a few farms really, but has a fine, if rustic, well-proportioned church, set in a large churchyard.

 

And the church was open, so small the wide angle lens wasn't needed, and with windows close to the floor too, no big lens needed either.

 

Next town up is Kessingland, which until the 80s had the A12 running through the centre of it, but now a bypass lays to the west and the village is quiet. I don't think I had been of the main street, so I went in search of the church, and found it on Church Street.

 

Obviously.

 

I rarely research churches before I visit, so nothing prepared me for the interior of St Edmund.

 

It seems in the last two years, they church had sourced some banners with apt slogans on, banners which were made to look like large tapered ensigns, hanging from or along the supports of the roof.

 

A man was practicing on the organ, and the notes echoed round the church. Not only does the church have banners, it has ship's wheels and other nautical stuff, although most traditionalists won't like it, I think it hangs together, and if the congregation wants it thus, who are we to argue?

 

Next stop was South Cove, which I had forgotten I had visited before, so redid all my shots. But this time did see the panel featuring St Michael behind the font, where the rood steps began.

 

A small, perfect, church, perfect for a small country parish.

 

I take my shots and leave, driving back onto the A12 and heading into Lowestoft, my main task was to drive over the new bridge which spans Lake Lothing.

 

The town had been waiting since at least 1966 for a new bridge, and the 3rd crossing was opened in September, and offers fine views as you drive across.

 

I went to see the old family home. It has been renovated and looks splendid, and not much like it was when sold four years back, it looks cared for and lived in, which is what the buyer promised us he would do.

 

So then to the crematorium, a drive north through Gunton and past Hopton where Dougie lives, then through the housing estate behind the area hospital to the car park, and then wait.

 

Margaret was 89, had a long life, but friends of the same age are few, and families are now scattered. So, one can never be sure how many will attend. The chapel was half full at least, with people coming from Kent, Wiltshire and even California to be there.

 

The celebrant spoke for twenty minutes, saying nice things as they have to do. But, avoiding, or just hinting at faults. Whatever she had done in her life to Dougie, he still loved her, and he was in bits.

 

Afterward we lined up to shake his hand or give him and Pennie a hug, and allowed me to tell him he was the brother I never had. He was always there for me, and will be there for him.

 

More tears.

 

There was a wake at the pub in Hopton, but there was no one I knew other than Dougie and Penny, so I had a drink and made my excuses. These things are really for family and close friends, so I left at quarter to three, hoping to get home before midnight.

 

In the end, I made good time, I was going round Ipswich before four, and at the M25 junction less than an hour later, and was able to easily join it and zoom round to the bridge. No queues on the southbound side, but the queue northbound went all the way back to the M20 junction, so six mines.

 

I zoomed on.

 

I got home at ten past six, happy to have done it and go home in under three and a half hours. Dinner was defrosted ragu, pasta and reheated focaccia, which we were sitting down to eat twenty minutes after getting in.

 

Phew.

 

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

 

Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the late medieval Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.

 

Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some extraordinary legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.

 

It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.

 

At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this at the top. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of Holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.

 

Figures stand on pedestals atop the south side and east end. The most easterly is unusual, a crowned old man sitting on a throne directly on the gable end. This is a medieval image of God the Father, a rare survival. Moving westwards from here we find the Blessed Virgin in prayerful pose, Christ as the Saviour of the World holding an orb in one hand and blessing with the other, and then a collared bear with a ragged staff, a seated woodwose, another bear, this time with a collar and bell, and last of all a fox with a goose in its mouth, his jaws grasping the neck:

 

The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham. Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatries. Indeed, as late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.

 

William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.

 

Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.

 

Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.

 

Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that probably explains where the shot came from. Here are some details of that wonderful roof:

 

The otherwise splendid church guide also repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.

 

Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses. Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.

 

In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here. You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration. More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.

 

Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.

 

The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.

 

Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.

 

The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are partial sets of basically three series: the Seven Deadly Sins, the Seven Works of Mercy, and the Labours of the Seasons. There are also angels bearing symbols of the Holy Trinity and the Crown. There are other figures too, obscure and fragmentary and whose purpose is unclear, as if surviving figments of a broken dream. The quality of what remains makes you grieve for what has been lost.

 

The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, a scattering of medieval glass, mainly angels. There is more in the south aisle, including a collection of shields of the Holy Trinity:

 

But step through the central aisle to see something remarkable. The priest and choir stalls are fronted by exquisite carvings of the Apostles, the Evangelists, John the Baptist, St Stephen, Mary Queen of Heaven and Christ in Majesty. Seeing these eighteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665. There is nothing at all like them anywhere else in Suffolk.

 

Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them is Peter Ball's beautiful Madonna and Child. Separating the south aisle chapel from the sanctuary is is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. Behind the high altar, branches arranged like huge stag antlers spread dramatically. It is all just about perfect. Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.

 

This is a wonderful church to wander around in, the light and the air changing with the seasons, a suffused sense of the numinous presenting its different faces according to the time of day and time of year. Come here on a bright spring morning, or in the drowsy heat of a summer's day. Come on a cold winter afternoon as the colours fade and the smell of woodsmoke from neighbouring cottages weaves a spell above the old stone floors and woodwork. And before you leave, find the doorway in the south-west corner of the nave. It opens onto a low, narrow stairway. You can go up it. It leads up into the parvise storey of the south porch, now reappointed and dedicated as a tiny chapel, a peaceful spot to spend a few moments before continuing your journey.

 

You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one

 

Simon Knott, 2014.

 

www.suffolkchurches.co.uk/Blythburgh.htm

I have been planning this day for some time, a meeting with my old boss, giving him and his wife a tour round Canterbury.

 

Just needed good weather.

 

And this was the view out of the bathroom window that greeted us at twenty past five, a keen breeze throwing steady rain at the back of the house.

 

But did clear within an hour, and so by the time I was dropped off at Dover Priory, the sun was shining.

 

Twelve quid for a return ticket, which isn't bad at rush hour I guess.

 

I say rush hour, it was twenty to seven, does that count as morning or still middle of the night?

 

Just three others in my carriage, including one gentleman who spent the whole journey rolling fags and sending out rasping coughs probably due to smoking roll ups.

 

I get off, and try to use lifts to exit the station. Getting to the bridge was fine, but the lift back down was out of service. Just as well as I wasn't in a wheelchair, I guess.

 

Out into the city, across the footbridge over the ring road and taking the path across where St Mary in Castro used to stand, then along into the city.

 

But the café I was going to have breakfast in, is now a sandwich bar and not open!

 

Instead I find a small coffee bar, have a grilled vegetable and cheese sandwich and a large coffee, and take a seat at the back the shop to eat, drink and be merry.

 

Then to the Buttercross to wait for nine, so to be first into the Cathedral so I could snap some more of the crypt. For the first time since before the pestilance, groups of people were meeting here for guided tours round the cathedral and city.

 

The crypt is a public space, but set aside for private prayer, so photography isn't really allowed, but if you're the first person in the building, then you disturb no one?

 

That's my rationing, anyway.

 

As it happened, there was a funeral later, and so preparations were under way, so I could only take a few shots, and no one said anything to me, though as I exited stage left, walkie talkies burst into life as I suspect the phantom snapper made good his escape.

 

So, why was here in Canterbury? I was here to meet my old boss, the one who first employed me in the wind industry, and so made our life on the cliffs in the Ugly House possible. Philip is now retired, and he and his wife were down for some culture, and I offered to take them on a tour of the city.

 

Obviously, this was before the injuries to my knee and ankle, but it was getting better, not 100%, but good enough.

 

My plan was to go through the chronological development of the city, starting with the arrival in AD 597 of St Augustine and the founding of his Ministry in a large field outside the city walls.

 

This became St Augustine's Abbey, which as well at extensive cloisters and other buildings, had two other churches, one being the first, St Pancras. St Pancras is now a ruin, but the east wall of the Chancel still stands, and the walls show the plan of the building.

 

They were due to arrive at half ten, so at ten I limped over the ring road, or under it, and to the car park beside the Abbey ruins, now an English Heritage run site.

 

In the end they pulled up at ten, so after shaking hands, we walked over the road to the entrance. Philip, his wife, Carole and their terrier, Toby, all went into the site.

 

We spent an hour wandering around, them looking at the ruins, me looking at plants growing from between the flints and bricks. The threat of rain looked serious as dark clouds started gathering, so we made our way back to the entrance centre, and then asked about our next target: St Martin, which lies just up the hill.

 

Recent evidence shows that Queen Bertha had a private chapel near to the site, dedicated to St Martin, It was a small building, possibly a converted Roman mausoleum, and St Pancras, rather than having been constructed long after AD597 was the first building constructed on the site. And soon after its completion, being already too small for the congregation, a larger church, Ss. Peter and Paul, very close by.

 

St Martin was due to open at eleven, we had ten minutes, so set off beside the main road and walked to the church.

 

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History of the cathedral

THE ORIGIN of a Christian church on the scite of the present cathedral, is supposed to have taken place as early as the Roman empire in Britain, for the use of the antient faithful and believing soldiers of their garrison here; and that Augustine found such a one standing here, adjoining to king Ethelbert's palace, which was included in the king's gift to him.

 

This supposition is founded on the records of the priory of Christ-church, (fn. 1) concurring with the common opinion of almost all our historians, who tell us of a church in Canterbury, which Augustine found standing in the east part of the city, which he had of king Ethelbert's gift, which after his consecration at Arles, in France, he commended by special dedication to the patronage of our blessed Saviour. (fn. 2)

 

According to others, the foundations only of an old church formerly built by the believing Romans, were left here, on which Augustine erected that, which he afterwards dedicated to out Saviour; (fn. 3) and indeed it is not probable that king Ethelbert should have suffered the unsightly ruins of a Christian church, which, being a Pagan, must have been very obnoxious to him, so close to his palace, and supposing these ruins had been here, would he not have suffered them to be repaired, rather than have obliged his Christian queen to travel daily to such a distance as St. Martin's church, or St. Pancrace's chapel, for the performance of her devotions.

 

Some indeed have conjectured that the church found by St. Augustine, in the east part of the city, was that of St.Martin, truly so situated; and urge in favor of it, that there have not been at any time any remains of British or Roman bricks discovered scattered in or about this church of our Saviour, those infallible, as Mr. Somner stiles them, signs of antiquity, and so generally found in buildings, which have been erected on, or close to the spot where more antient ones have stood. But to proceed, king Ethelbert's donation to Augustine was made in the year 596, who immediately afterwards went over to France, and was consecrated a bishop at Arles, and after his return, as soon as he had sufficiently finished a church here, whether built out of ruins or anew, it matters not, he exercised his episcopal function in the dedication of it, says the register of Christ-church, to the honor of Christ our Saviour; whence it afterwards obtained the name of Christ-church. (fn. 4)

 

From the time of Augustine for the space of upwards of three hundred years, there is not found in any printed or manuscript chronicle, the least mention of the fabric of this church, so that it is probable nothing befell it worthy of being recorded; however it should be mentioned, that during that period the revenues of it were much increased, for in the leiger books of it there are registered more than fifty donations of manors, lands, &c. so large and bountiful, as became the munificence of kings and nobles to confer. (fn. 5)

 

It is supposed, especially as we find no mention made of any thing to the contrary, that the fabric of this church for two hundred years after Augustine's time, met with no considerable molestations; but afterwards, the frequent invasions of the Danes involved both the civil and ecclesiastical state of this country in continual troubles and dangers; in the confusion of which, this church appears to have run into a state of decay; for when Odo was promoted to the archbishopric, in the year 938, the roof of it was in a ruinous condition; age had impaired it, and neglect had made it extremely dangerous; the walls of it were of an uneven height, according as it had been more or less decayed, and the roof of the church seemed ready to fall down on the heads of those underneath. All this the archbishop undertook to repair, and then covered the whole church with lead; to finish which, it took three years, as Osbern tells us, in the life of Odo; (fn. 6) and further, that there was not to be found a church of so large a size, capable of containing so great a multitude of people, and thus, perhaps, it continued without any material change happening to it, till the year 1011; a dismal and fatal year to this church and city; a time of unspeakable confusion and calamities; for in the month of September that year, the Danes, after a siege of twenty days, entered this city by force, burnt the houses, made a lamentable slaughter of the inhabitants, rifled this church, and then set it on fire, insomuch, that the lead with which archbishop Odo had covered it, being melted, ran down on those who were underneath. The sull story of this calamity is given by Osbern, in the life of archbishop Odo, an abridgement of which the reader will find below. (fn. 7)

 

The church now lay in ruins, without a roof, the bare walls only standing, and in this desolate condition it remained as long as the fury of the Danes prevailed, who after they had burnt the church, carried away archbishop Alphage with them, kept him in prison seven months, and then put him to death, in the year 1012, the year after which Living, or Livingus, succeeded him as archbishop, though it was rather in his calamities than in his seat of dignity, for he too was chained up by the Danes in a loathsome dungeon for seven months, before he was set free, but he so sensibly felt the deplorable state of this country, which he foresaw was every day growing worse and worse, that by a voluntary exile, he withdrew himself out of the nation, to find some solitary retirement, where he might bewail those desolations of his country, to which he was not able to bring any relief, but by his continual prayers. (fn. 8) He just outlived this storm, returned into England, and before he died saw peace and quientness restored to this land by king Canute, who gaining to himself the sole sovereignty over the nation, made it his first business to repair the injuries which had been done to the churches and monasteries in this kingdom, by his father's and his own wars. (fn. 9)

 

As for this church, archbishop Ægelnoth, who presided over it from the year 1020 to the year 1038, began and finished the repair, or rather the rebuilding of it, assisted in it by the royal munificence of the king, (fn. 10) who in 1023 presented his crown of gold to this church, and restored to it the port of Sandwich, with its liberties. (fn. 11) Notwithstanding this, in less than forty years afterwards, when Lanfranc soon after the Norman conquest came to the see, he found this church reduced almost to nothing by fire, and dilapidations; for Eadmer says, it had been consumed by a third conflagration, prior to the year of his advancement to it, in which fire almost all the antient records of the privileges of it had perished. (fn. 12)

 

The same writer has given us a description of this old church, as it was before Lanfranc came to the see; by which we learn, that at the east end there was an altar adjoining to the wall of the church, of rough unhewn stone, cemented with mortar, erected by archbishop Odo, for a repository of the body of Wilfrid, archbishop of York, which Odo had translated from Rippon hither, giving it here the highest place; at a convenient distance from this, westward, there was another altar, dedicated to Christ our Saviour, at which divine service was daily celebrated. In this altar was inclosed the head of St. Swithin, with many other relics, which archbishop Alphage brought with him from Winchester. Passing from this altar westward, many steps led down to the choir and nave, which were both even, or upon the same level. At the bottom of the steps, there was a passage into the undercroft, under all the east part of the church. (fn. 13) At the east end of which, was an altar, in which was inclosed, according to old tradition, the head of St. Furseus. From hence by a winding passage, at the west end of it, was the tomb of St. Dunstan, (fn. 14) but separated from the undercroft by a strong stone wall; over the tomb was erected a monument, pyramid wife, and at the head of it an altar, (fn. 15) for the mattin service. Between these steps, or passage into the undercroft and the nave, was the choir, (fn. 16) which was separated from the nave by a fair and decent partition, to keep off the crowds of people that usually were in the body of the church, so that the singing of the chanters in the choir might not be disturbed. About the middle of the length of the nave, were two towers or steeples, built without the walls; one on the south, and the other on the north side. In the former was the altar of St. Gregory, where was an entrance into the church by the south door, and where law controversies and pleas concerning secular matters were exercised. (fn. 17) In the latter, or north tower, was a passage for the monks into the church, from the monastery; here were the cloysters, where the novices were instructed in their religious rules and offices, and where the monks conversed together. In this tower was the altar of St. Martin. At the west end of the church was a chapel, dedicated to the blessed Virgin Mary, to which there was an ascent by steps, and at the east end of it an altar, dedicated to her, in which was inclosed the head of St. Astroburta the Virgin; and at the western part of it was the archbishop's pontifical chair, made of large stones, compacted together with mortar; a fair piece of work, and placed at a convenient distance from the altar, close to the wall of the church. (fn. 18)

 

To return now to archbishop Lanfranc, who was sent for from Normandy in 1073, being the fourth year of the Conqueror's reign, to fill this see, a time, when a man of a noble spirit, equal to the laborious task he was to undertake, was wanting especially for this church; and that he was such, the several great works which were performed by him, were incontestable proofs, as well as of his great and generous mind. At the first sight of the ruinous condition of this church, says the historian, the archbishop was struck with astonishment, and almost despaired of seeing that and the monastery re edified; but his care and perseverance raised both in all its parts anew, and that in a novel and more magnificent kind and form of structure, than had been hardly in any place before made use of in this kingdom, which made it a precedent and pattern to succeeding structures of this kind; (fn. 19) and new monasteries and churches were built after the example of it; for it should be observed, that before the coming of the Normans most of the churches and monasteries in this kingdom were of wood; (all the monasteries in my realm, says king Edgar, in his charter to the abbey of Malmesbury, dated anno 974, to the outward sight are nothing but worm-eaten and rotten timber and boards) but after the Norman conquest, such timber fabrics grew out of use, and gave place to stone buildings raised upon arches; a form of structure introduced into general use by that nation, and in these parts surnished with stone from Caen, in Normandy. (fn. 20) After this fashion archbishop Lanfranc rebuilt the whole church from the foundation, with the palace and monastery, the wall which encompassed the court, and all the offices belonging to the monastery within the wall, finishing the whole nearly within the compass of seven years; (fn. 21) besides which, he furnished the church with ornaments and rich vestments; after which, the whole being perfected, he altered the name of it, by a dedication of it to the Holy Trinity; whereas, before it was called the church of our Saviour, or Christ-church, and from the above time it bore (as by Domesday book appears) the name of the church of the Holy Trinity; this new church being built on the same spot on which the antient one stood, though on a far different model.

 

After Lanfranc's death, archbishop Anselm succeeded in the year 1093, to the see of Canterbury, and must be esteemed a principal benefactor to this church; for though his time was perplexed with a continued series of troubles, of which both banishment and poverty made no small part, which in a great measure prevented him from bestowing that cost on his church, which he would otherwise have done, yet it was through his patronage and protection, and through his care and persuasions, that the fabric of it, begun and perfected by his predecessor, became enlarged and rose to still greater splendor. (fn. 22)

 

In order to carry this forward, upon the vacancy of the priory, he constituted Ernulph and Conrad, the first in 1104, the latter in 1108, priors of this church; to whose care, being men of generous and noble minds, and of singular skill in these matters, he, during his troubles, not only committed the management of this work, but of all his other concerns during his absence.

 

Probably archbishop Anselm, on being recalled from banishment on king Henry's accession to the throne, had pulled down that part of the church built by Lanfranc, from the great tower in the middle of it to the east end, intending to rebuild it upon a still larger and more magnificent plan; when being borne down by the king's displeasure, he intrusted prior Ernulph with the work, who raised up the building with such splendor, says Malmesbury, that the like was not to be seen in all England; (fn. 23) but the short time Ernulph continued in this office did not permit him to see his undertaking finished. (fn. 24) This was left to his successor Conrad, who, as the obituary of Christ church informs us, by his great industry, magnificently perfected the choir, which his predecessor had left unfinished, (fn. 25) adorning it with curious pictures, and enriching it with many precious ornaments. (fn. 26)

 

This great undertaking was not entirely compleated at the death of archbishop Anselm, which happened in 1109, anno 9 Henry I. nor indeed for the space of five years afterwards, during which the see of Canterbury continued vacant; when being finished, in honour of its builder, and on account of its more than ordinary beauty, it gained the name of the glorious choir of Conrad. (fn. 27)

 

After the see of Canterbury had continued thus vacant for five years, Ralph, or as some call him, Rodulph, bishop of Rochester, was translated to it in the year 1114, at whose coming to it, the church was dedicated anew to the Holy Trinity, the name which had been before given to it by Lanfranc. (fn. 28) The only particular description we have of this church when thus finished, is from Gervas, the monk of this monastery, and that proves imperfect, as to the choir of Lanfranc, which had been taken down soon after his death; (fn. 29) the following is his account of the nave, or western part of it below the choir, being that which had been erected by archbishop Lanfranc, as has been before mentioned. From him we learn, that the west end, where the chapel of the Virgin Mary stood before, was now adorned with two stately towers, on the top of which were gilded pinnacles. The nave or body was supported by eight pair of pillars. At the east end of the nave, on the north side, was an oratory, dedicated in honor to the blessed Virgin, in lieu, I suppose, of the chapel, that had in the former church been dedicated to her at the west end. Between the nave and the choir there was built a great tower or steeple, as it were in the centre of the whole fabric; (fn. 30) under this tower was erected the altar of the Holy Cross; over a partition, which separated this tower from the nave, a beam was laid across from one side to the other of the church; upon the middle of this beam was fixed a great cross, between the images of the Virgin Mary and St. John, and between two cherubims. The pinnacle on the top of this tower, was a gilded cherub, and hence it was called the angel steeple; a name it is frequently called by at this day. (fn. 31)

 

This great tower had on each side a cross isle, called the north and south wings, which were uniform, of the same model and dimensions; each of them had a strong pillar in the middle for a support to the roof, and each of them had two doors or passages, by which an entrance was open to the east parts of the church. At one of these doors there was a descent by a few steps into the undercroft; at the other, there was an ascent by many steps into the upper parts of the church, that is, the choir, and the isles on each side of it. Near every one of these doors or passages, an altar was erected; at the upper door in the south wing, there was an altar in honour of All Saints; and at the lower door there was one of St. Michael; and before this altar on the south side was buried archbishop Fleologild; and on the north side, the holy Virgin Siburgis, whom St. Dunstan highly admired for her sanctity. In the north isle, by the upper door, was the altar of St. Blaze; and by the lower door, that of St. Benedict. In this wing had been interred four archbishops, Adelm and Ceolnoth, behind the altar, and Egelnoth and Wlfelm before it. At the entrance into this wing, Rodulph and his successor William Corboil, both archbishops, were buried. (fn. 32)

 

Hence, he continues, we go up by some steps into the great tower, and before us there is a door and steps leading down into the south wing, and on the right hand a pair of folding doors, with stairs going down into the nave of the church; but without turning to any of these, let us ascend eastward, till by several more steps we come to the west end of Conrad's choir; being now at the entrance of the choir, Gervas tells us, that he neither saw the choir built by Lanfranc, nor found it described by any one; that Eadmer had made mention of it, without giving any account of it, as he had done of the old church, the reason of which appears to be, that Lanfranc's choir did not long survive its founder, being pulled down as before-mentioned, by archbishop Anselm; so that it could not stand more than twenty years; therefore the want of a particular description of it will appear no great defect in the history of this church, especially as the deficiency is here supplied by Gervas's full relation of the new choir of Conrad, built instead of it; of which, whoever desires to know the whole architecture and model observed in the fabric, the order, number, height and form of the pillars and windows, may know the whole of it from him. The roof of it, he tells us, (fn. 33) was beautified with curious paintings representing heaven; (fn. 34) in several respects it was agreeable to the present choir, the stalls were large and framed of carved wood. In the middle of it, there hung a gilded crown, on which were placed four and twenty tapers of wax. From the choir an ascent of three steps led to the presbiterium, or place for the presbiters; here, he says, it would be proper to stop a little and take notice of the high altar, which was dedicated to the name of CHRIST. It was placed between two other altars, the one of St. Dunstan, the other of St. Alphage; at the east corners of the high altar were fixed two pillars of wood, beautified with silver and gold; upon these pillars was placed a beam, adorned with gold, which reached across the church, upon it there were placed the glory, (fn. 35) the images of St. Dunstan and St. Alphage, and seven chests or coffers overlaid with gold, full of the relics of many saints. Between those pillars was a cross gilded all over, and upon the upper beam of the cross were set sixty bright crystals.

 

Beyond this, by an ascent of eight steps towards the east, behind the altar, was the archiepiscopal throne, which Gervas calls the patriarchal chair, made of one stone; in this chair, according to the custom of the church, the archbishop used to sit, upon principal festivals, in his pontifical ornaments, whilst the solemn offices of religion were celebrated, until the consecration of the host, when he came down to the high altar, and there performed the solemnity of consecration. Still further, eastward, behind the patriarchal chair, (fn. 36) was a chapel in the front of the whole church, in which was an altar, dedicated to the Holy Trinity; behind which were laid the bones of two archbishops, Odo of Canterbury, and Wilfrid of York; by this chapel on the south side near the wall of the church, was laid the body of archbishop Lanfranc, and on the north side, the body of archbishop Theobald. Here it is to be observed, that under the whole east part of the church, from the angel steeple, there was an undercrost or crypt, (fn. 37) in which were several altars, chapels and sepulchres; under the chapel of the Trinity before-mentioned, were two altars, on the south side, the altar of St. Augustine, the apostle of the English nation, by which archbishop Athelred was interred. On the north side was the altar of St. John Baptist, by which was laid the body of archbishop Eadsin; under the high altar was the chapel and altar of the blessed Virgin Mary, to whom the whole undercroft was dedicated.

 

To return now, he continues, to the place where the bresbyterium and choir meet, where on each side there was a cross isle (as was to be seen in his time) which might be called the upper south and north wings; on the east side of each of these wings were two half circular recesses or nooks in the wall, arched over after the form of porticoes. Each of them had an altar, and there was the like number of altars under them in the crost. In the north wing, the north portico had the altar of St. Martin, by which were interred the bodies of two archbishops, Wlfred on the right, and Living on the left hand; under it in the croft, was the altar of St. Mary Magdalen. The other portico in this wing, had the altar of St. Stephen, and by it were buried two archbishops, Athelard on the left hand, and Cuthbert on the right; in the croft under it, was the altar of St. Nicholas. In the south wing, the north portico had the altar of St. John the Evangelist, and by it the bodies of Æthelgar and Aluric, archbishops, were laid. In the croft under it was the altar of St. Paulinus, by which the body of archbishop Siricius was interred. In the south portico was the altar of St. Gregory, by which were laid the corps of the two archbishops Bregwin and Plegmund. In the croft under it was the altar of St. Owen, archbishop of Roan, and underneath in the croft, not far from it the altar of St. Catherine.

 

Passing from these cross isles eastward there were two towers, one on the north, the other on the south side of the church. In the tower on the north side was the altar of St. Andrew, which gave name to the tower; under it, in the croft, was the altar of the Holy Innocents; the tower on the south side had the altar of St. Peter and St. Paul, behind which the body of St. Anselm was interred, which afterwards gave name both to the altar and tower (fn. 38) (now called St. Anselm's). The wings or isles on each side of the choir had nothing in particular to be taken notice of.— Thus far Gervas, from whose description we in particular learn, where several of the bodies of the old archbishops were deposited, and probably the ashes of some of them remain in the same places to this day.

 

As this building, deservedly called the glorious choir of Conrad, was a magnificent work, so the undertaking of it at that time will appear almost beyond example, especially when the several circumstances of it are considered; but that it was carried forward at the archbishop's cost, exceeds all belief. It was in the discouraging reign of king William Rufus, a prince notorious in the records of history, for all manner of sacrilegious rapine, that archbishop Anselm was promoted to this see; when he found the lands and revenues of this church so miserably wasted and spoiled, that there was hardly enough left for his bare subsistence; who, in the first years that he sat in the archiepiscopal chair, struggled with poverty, wants and continual vexations through the king's displeasure, (fn. 39) and whose three next years were spent in banishment, during all which time he borrowed money for his present maintenance; who being called home by king Henry I. at his coming to the crown, laboured to pay the debts he had contracted during the time of his banishment, and instead of enjoying that tranquility and ease he hoped for, was, within two years afterwards, again sent into banishment upon a fresh displeasure conceived against him by the king, who then seized upon all the revenues of the archbishopric, (fn. 40) which he retained in his own hands for no less than four years.

 

Under these hard circumstances, it would have been surprizing indeed, that the archbishop should have been able to carry on so great a work, and yet we are told it, as a truth, by the testimonies of history; but this must surely be understood with the interpretation of his having been the patron, protector and encourager, rather than the builder of this work, which he entrusted to the care and management of the priors Ernulph and Conrad, and sanctioned their employing, as Lanfranc had done before, the revenues and stock of the church to this use. (fn. 41)

 

In this state as above-mentioned, without any thing material happening to it, this church continued till about the year 1130, anno 30 Henry I. when it seems to have suffered some damage by a fire; (fn. 42) but how much, there is no record left to inform us; however it could not be of any great account, for it was sufficiently repaired, and that mostly at the cost of archbishop Corboil, who then sat in the chair of this see, (fn. 43) before the 4th of May that year, on which day, being Rogation Sunday, the bishops performed the dedication of it with great splendor and magnificence, such, says Gervas, col. 1664, as had not been heard of since the dedication of the temple of Solomon; the king, the queen, David, king of Scots, all the archbishops, and the nobility of both kingdoms being present at it, when this church's former name was restored again, being henceforward commonly called Christ-church. (fn. 44)

 

Among the manuscripts of Trinity college library, in Cambridge, in a very curious triple psalter of St. Jerome, in Latin, written by the monk Eadwyn, whose picture is at the beginning of it, is a plan or drawing made by him, being an attempt towards a representation of this church and monastery, as they stood between the years 1130 and 1174; which makes it probable, that he was one of the monks of it, and the more so, as the drawing has not any kind of relation to the plalter or sacred hymns contained in the manuscript.

 

His plan, if so it may be called, for it is neither such, nor an upright, nor a prospect, and yet something of all together; but notwithstanding this rudeness of the draftsman, it shews very plain that it was intended for this church and priory, and gives us a very clear knowledge, more than we have been able to learn from any description we have besides, of what both were at the above period of time. (fn. 45)

 

Forty-four years after this dedication, on the 5th of September, anno 1174, being the 20th year of king Henry II.'s reign, a fire happened, which consumed great part of this stately edifice, namely, the whole choir, from the angel steeple to the east end of the church, together with the prior's lodgings, the chapel of the Virgin Mary, the infirmary, and some other offices belonging to the monastery; but the angel steeple, the lower cross isles, and the nave appear to have received no material injury from the flames. (fn. 46) The narrative of this accident is told by Gervas, the monk of Canterbury, so often quoted before, who was an eye witness of this calamity, as follows:

 

Three small houses in the city near the old gate of the monastery took fire by accident, a strong south wind carried the flakes of fire to the top of the church, and lodged them between the joints of the lead, driving them to the timbers under it; this kindled a fire there, which was not discerned till the melted lead gave a free passage for the flames to appear above the church, and the wind gaining by this means a further power of increasing them, drove them inwardly, insomuch that the danger became immediately past all possibility of relief. The timber of the roof being all of it on fire, fell down into the choir, where the stalls of the manks, made of large pieces of carved wood, afforded plenty of fuel to the flames, and great part of the stone work, through the vehement heat of the fire, was so weakened, as to be brought to irreparable ruin, and besides the fabric itself, the many rich ornaments in the church were devoured by the flames.

 

The choir being thus laid in ashes, the monks removed from amidst the ruins, the bodies of the two saints, whom they called patrons of the church, the archbishops Dunstan and Alphage, and deposited them by the altar of the great cross, in the nave of the church; (fn. 47) and from this time they celebrated the daily religious offices in the oratory of the blessed Virgin Mary in the nave, and continued to do so for more than five years, when the choir being re edified, they returned to it again. (fn. 48)

 

Upon this destruction of the church, the prior and convent, without any delay, consulted on the most speedy and effectual method of rebuilding it, resolving to finish it in such a manner, as should surpass all the former choirs of it, as well in beauty as size and magnificence. To effect this, they sent for the most skilful architects that could be found either in France or England. These surveyed the walls and pillars, which remained standing, but they found great part of them so weakened by the fire, that they could no ways be built upon with any safety; and it was accordingly resolved, that such of them should be taken down; a whole year was spent in doing this, and in providing materials for the new building, for which they sent abroad for the best stone that could be procured; Gervas has given a large account, (fn. 49) how far this work advanced year by year; what methods and rules of architecture were observed, and other particulars relating to the rebuilding of this church; all which the curious reader may consult at his leisure; it will be sufficient to observe here, that the new building was larger in height and length, and more beautiful in every respect, than the choir of Conrad; for the roof was considerably advanced above what it was before, and was arched over with stone; whereas before it was composed of timber and boards. The capitals of the pillars were now beautified with different sculptures of carvework; whereas, they were before plain, and six pillars more were added than there were before. The former choir had but one triforium, or inner gallery, but now there were two made round it, and one in each side isle and three in the cross isles; before, there were no marble pillars, but such were now added to it in abundance. In forwarding this great work, the monks had spent eight years, when they could proceed no further for want of money; but a fresh supply coming in from the offerings at St. Thomas's tomb, so much more than was necessary for perfecting the repair they were engaged in, as encouraged them to set about a more grand design, which was to pull down the eastern extremity of the church, with the small chapel of the Holy Trinity adjoining to it, and to erect upon a stately undercroft, a most magnificent one instead of it, equally lofty with the roof of the church, and making a part of it, which the former one did not, except by a door into it; but this new chapel, which was dedicated likewise to the Holy Trinity, was not finished till some time after the rest of the church; at the east end of this chapel another handsome one, though small, was afterwards erected at the extremity of the whole building, since called Becket's crown, on purpose for an altar and the reception of some part of his relics; (fn. 50) further mention of which will be made hereafter.

 

The eastern parts of this church, as Mr. Gostling observes, have the appearance of much greater antiquity than what is generally allowed to them; and indeed if we examine the outside walls and the cross wings on each side of the choir, it will appear, that the whole of them was not rebuilt at the time the choir was, and that great part of them was suffered to remain, though altered, added to, and adapted as far as could be, to the new building erected at that time; the traces of several circular windows and other openings, which were then stopped up, removed, or altered, still appearing on the walls both of the isles and the cross wings, through the white-wash with which they are covered; and on the south side of the south isle, the vaulting of the roof as well as the triforium, which could not be contrived so as to be adjusted to the places of the upper windows, plainly shew it. To which may be added, that the base or foot of one of the westernmost large pillars of the choir on the north side, is strengthened with a strong iron band round it, by which it should seem to have been one of those pillars which had been weakened by the fire, but was judged of sufficient firmness, with this precaution, to remain for the use of the new fabric.

 

The outside of this part of the church is a corroborating proof of what has been mentioned above, as well in the method, as in the ornaments of the building.— The outside of it towards the south, from St. Michael's chapel eastward, is adorned with a range of small pillars, about six inches diameter, and about three feet high, some with santastic shasts and capitals, others with plain ones; these support little arches, which intersect each other; and this chain or girdle of pillars is continued round the small tower, the eastern cross isle and the chapel of St. Anselm, to the buildings added in honour of the Holy Trinity, and St. Thomas Becket, where they leave off. The casing of St. Michael's chapel has none of them, but the chapel of the Virgin Mary, answering to it on the north side of the church, not being fitted to the wall, shews some of them behind it; which seems as if they had been continued before, quite round the eastern parts of the church.

 

These pillars, which rise from about the level of the pavement, within the walls above them, are remarkably plain and bare of ornaments; but the tower above mentioned and its opposite, as soon as they rise clear of the building, are enriched with stories of this colonade, one above another, up to the platform from whence their spires rise; and the remains of the two larger towers eastward, called St. Anselm's, and that answering to it on the north side of the church, called St. Andrew's are decorated much after the same manner, as high as they remain at present.

 

At the time of the before-mentioned fire, which so fatally destroyed the upper part of this church, the undercrost, with the vaulting over it, seems to have remained entire, and unhurt by it.

 

The vaulting of the undercrost, on which the floor of the choir and eastern parts of the church is raised, is supported by pillars, whose capitals are as various and fantastical as those of the smaller ones described before, and so are their shafts, some being round, others canted, twisted, or carved, so that hardly any two of them are alike, except such as are quite plain.

 

These, I suppose, may be concluded to be of the same age, and if buildings in the same stile may be conjectured to be so from thence, the antiquity of this part of the church may be judged, though historians have left us in the dark in relation to it.

 

In Leland's Collectanea, there is an account and description of a vault under the chancel of the antient church of St. Peter, in Oxford, called Grymbald's crypt, being allowed by all, to have been built by him; (fn. 51) Grymbald was one of those great and accomplished men, whom king Alfred invited into England about the year 885, to assist him in restoring Christianity, learning and the liberal arts. (fn. 52) Those who compare the vaults or undercrost of the church of Canterbury, with the description and prints given of Grymbald's crypt, (fn. 53) will easily perceive, that two buildings could hardly have been erected more strongly resembling each other, except that this at Canterbury is larger, and more pro fusely decorated with variety of fancied ornaments, the shafts of several of the pillars here being twisted, or otherwise varied, and many of the captials exactly in the same grotesque taste as those in Grymbald's crypt. (fn. 54) Hence it may be supposed, that those whom archbishop Lanfranc employed as architects and designers of his building at Canterbury, took their model of it, at least of this part of it, from that crypt, and this undercrost now remaining is the same, as was originally built by him, as far eastward, as to that part which begins under the chapel of the Holy Trinity, where it appears to be of a later date, erected at the same time as the chapel. The part built by Lanfranc continues at this time as firm and entire, as it was at the very building of it, though upwards of seven hundred years old. (fn. 55)

 

But to return to the new building; though the church was not compleatly finished till the end of the year 1184, yet it was so far advanced towards it, that, in 1180, on April 19, being Easter eve, (fn. 56) the archbishop, prior and monks entered the new choir, with a solemn procession, singing Te Deum, for their happy return to it. Three days before which they had privately, by night, carried the bodies of St. Dunstan and St. Alphage to the places prepared for them near the high altar. The body likewise of queen Edive (which after the fire had been removed from the north cross isle, where it lay before, under a stately gilded shrine) to the altar of the great cross, was taken up, carried into the vestry, and thence to the altar of St. Martin, where it was placed under the coffin of archbishop Livinge. In the month of July following the altar of the Holy Trinity was demolished, and the bodies of those archbishops, which had been laid in that part of the church, were removed to other places. Odo's body was laid under St. Dunstan's and Wilfrid's under St. Alphage's; Lanfranc's was deposited nigh the altar of St. Martin, and Theobald's at that of the blessed Virgin, in the nave of the church, (fn. 57) under a marble tomb; and soon afterwards the two archbishops, on the right and left hand of archbishop Becket in the undercrost, were taken up and placed under the altar of St. Mary there. (fn. 58)

 

After a warning so terrible, as had lately been given, it seemed most necessary to provide against the danger of fire for the time to come; the flames, which had so lately destroyed a considerable part of the church and monastery, were caused by some small houses, which had taken fire at a small distance from the church.— There still remained some other houses near it, which belonged to the abbot and convent of St. Augustine; for these the monks of Christ-church created, by an exchange, which could not be effected till the king interposed, and by his royal authority, in a manner, compelled the abbot and convent to a composition for this purpose, which was dated in the year 1177, that was three years after the late fire of this church. (fn. 59)

 

These houses were immediately pulled down, and it proved a providential and an effectual means of preserving the church from the like calamity; for in the year 1180, on May 22, this new choir, being not then compleated, though it had been used the month be fore, as has been already mentioned, there happened a fire in the city, which burnt down many houses, and the flames bent their course towards the church, which was again in great danger; but the houses near it being taken away, the fire was stopped, and the church escaped being burnt again. (fn. 60)

 

Although there is no mention of a new dedication of the church at this time, yet the change made in the name of it has been thought by some to imply a formal solemnity of this kind, as it appears to have been from henceforth usually called the church of St. Thomas the Martyr, and to have continued so for above 350 years afterwards.

 

New names to churches, it is true. have been usually attended by formal consecrations of them; and had there been any such solemnity here, undoubtedly the same would not have passed by unnoticed by every historian, the circumstance of it must have been notorious, and the magnificence equal at least to the other dedications of this church, which have been constantly mentioned by them; but here was no need of any such ceremony, for although the general voice then burst forth to honour this church with the name of St. Thomas, the universal object of praise and adoration, then stiled the glorious martyr, yet it reached no further, for the name it had received at the former dedication, notwithstanding this common appellation of it, still remained in reality, and it still retained invariably in all records and writings, the name of Christ church only, as appears by many such remaining among the archives of the dean and chapter; and though on the seal of this church, which was changed about this time; the counter side of it had a representation of Becket's martyrdom, yet on the front of it was continued that of the church, and round it an inscription with the former name of Christ church; which seal remained in force till the dissolution of the priory.

 

It may not be improper to mention here some transactions, worthy of observation, relating to this favorite saint, which passed from the time of his being murdered, to that of his translation to the splendid shrine prepared for his relics.

 

Archbishop Thomas Becket was barbarously murdered in this church on Dec. 29, 1170, being the 16th year of king Henry II. and his body was privately buried towards the east end of the undercrost. The monks tell us, that about the Easter following, miracles began to be wrought by him, first at his tomb, then in the undercrost, and in every part of the whole fabric of the church; afterwards throughout England, and lastly, throughout the rest of the world. (fn. 61) The same of these miracles procured him the honour of a formal canonization from pope Alexander III. whose bull for that purpose is dated March 13, in the year 1172. (fn. 62) This declaration of the pope was soon known in all places, and the reports of his miracles were every where sounded abroad. (fn. 63)

 

Hereupon crowds of zealots, led on by a phrenzy of devotion, hastened to kneel at his tomb. In 1177, Philip, earl of Flanders, came hither for that purpose, when king Henry met and had a conference with him at Canterbury. (fn. 64) In June 1178, king Henry returning from Normandy, visited the sepulchre of this new saint; and in July following, William, archbishop of Rhemes, came from France, with a large retinue, to perform his vows to St. Thomas of Canterbury, where the king met him and received him honourably. In the year 1179, Lewis, king of France, came into England; before which neither he nor any of his predecessors had ever set foot in this kingdom. (fn. 65) He landed at Dover, where king Henry waited his arrival, and on August 23, the two kings came to Canterbury, with a great train of nobility of both nations, and were received with due honour and great joy, by the archbishop, with his com-provincial bishops, and the prior and the whole convent. (fn. 66)

 

King Lewis came in the manner and habit of a pilgrim, and was conducted to the tomb of St. Thomas by a solemn procession; he there offered his cup of gold and a royal precious stone, (fn. 67) and gave the convent a yearly rent for ever, of a hundred muids of wine, to be paid by himself and his successors; which grant was confirmed by his royal charter, under his seal, and delivered next day to the convent; (fn. 68) after he had staid here two, (fn. 69) or as others say, three days, (fn. 70) during which the oblations of gold and silver made were so great, that the relation of them almost exceeded credibility. (fn. 71) In 1181, king Henry, in his return from Normandy, again paid his devotions at this tomb. These visits were the early fruits of the adoration of the new sainted martyr, and these royal examples of kings and great persons were followed by multitudes, who crowded to present with full hands their oblations at his tomb.— Hence the convent was enabled to carry forward the building of the new choir, and they applied all this vast income to the fabric of the church, as the present case instantly required, for which they had the leave and consent of the archbishop, confirmed by the bulls of several succeeding popes. (fn. 72)

 

¶From the liberal oblations of these royal and noble personages at the tomb of St. Thomas, the expences of rebuilding the choir appear to have been in a great measure supplied, nor did their devotion and offerings to the new saint, after it was compleated, any ways abate, but, on the contrary, they daily increased; for in the year 1184, Philip, archbishop of Cologne, and Philip, earl of Flanders, came together to pay their vows at this tomb, and were met here by king Henry, who gave them an invitation to London. (fn. 73) In 1194, John, archbishop of Lions; in the year afterwards, John, archbishop of York; and in the year 1199, king John, performed their devotions at the foot of this tomb. (fn. 74) King Richard I. likewise, on his release from captivity in Germany, landing on the 30th of March at Sandwich, proceeded from thence, as an humble stranger on foot, towards Canterbury, to return his grateful thanks to God and St. Thomas for his release. (fn. 75) All these by name, with many nobles and multitudes of others, of all sorts and descriptions, visited the saint with humble adoration and rich oblations, whilst his body lay in the undercrost. In the mean time the chapel and altar at the upper part of the east end of the church, which had been formerly consecrated to the Holy Trinity, were demolished, and again prepared with great splendor, for the reception of this saint, who being now placed there, implanted his name not only on the chapel and altar, but on the whole church, which was from thenceforth known only by that of the church of St. Thomas the martyr.

  

On July 7, anno 1220, the remains of St. Thomas were translated from his tomb to his new shrine, with the greatest solemnity and rejoicings. Pandulph, the pope's legate, the archbishops of Canterbury and Rheims, and many bishops and abbots, carried the coffin on their shoulders, and placed it on the new shrine, and the king graced these solemnities with his royal presence. (fn. 76) The archbishop of Canterbury provided forage along all the road, between London and Canterbury, for the horses of all such as should come to them, and he caused several pipes and conduits to run with wine in different parts of the city. This, with the other expences arising during the time, was so great, that he left a debt on the see, which archbishop Boniface, his fourth successor in it, was hardly enabled to discharge.

 

¶The saint being now placed in his new repository, became the vain object of adoration to the deluded people, and afterwards numbers of licences were granted to strangers by the king, to visit this shrine. (fn. 77) The titles of glorious, of saint and martyr, were among those given to him; (fn. 78) such veneration had all people for his relics, that the religious of several cathedral churches and monasteries, used all their endeavours to obtain some of them, and thought themselves happy and rich in the possession of the smallest portion of them. (fn. 79) Besides this, there were erected and dedicated to his honour, many churches, chapels, altars and hospitals in different places, both in this kingdom and abroad. (fn. 80) Thus this saint, even whilst he lay in his obscure tomb in the undercroft, brought such large and constant supplies of money, as enabled the monks to finish this beautiful choir, and the eastern parts of the church; and when he was translated to the most exalted and honourable place in it, a still larger abundance of gain filled their coffers, which continued as a plentiful supply to them, from year to year, to the time of the reformation, and the final abolition of the priory itself.

 

www.british-history.ac.uk/survey-kent/vol11/pp306-383

This is a still life by Rachel Ruysch, what year it was painted is unknown but she did most of her work in the very early 1700's. I found this on the wed gallery of art. Rachel was a still life painter. She uses bright reds, white and yellow in this painting. Baroque art is very characteristic of having very emotional, dramatic themes, with diagonal movement, rich colors and a dramatic contrast between light and dark (chiaroscuro). Here she paints a dead tree trunk with brightly colored flowers springing from it of all kinds (roses, lilies and bindweed). Though the painting is dark there are reptiles and bugs that are fighting one another and destroying the plants themselves. the unopened lilies can relate back to the symbol of the conception of the Virgin Mary. This painting must be understood with a christian outlook and their virtues. The light and dark, the dead tree trunk and the living bright flowers, symbolizing the christian doctrine of salvation and the fruit of the holy spirit. I chose this painting because i love still life and the colors are theme are interesting.

24 For this reason a man shall leave his father and his mother, and be joined to his wife; and they shall become one flesh.(Genesis 2:24)

 

8 and the two will become one flesh.’ So they are no longer two, but one flesh. (Mark 10:8)

 

So they are no longer two, but one flesh. Therefore what God has joined together, let no one separate." (Matthew 19:6)

 

22 Wives, submit yourselves to your own husbands as you do to the Lord. 23 For the husband is the head of the wife as Christ is the head of the church, his body, of which he is the Savior. 24 Now as the church submits to Christ, so also wives should submit to their husbands in everything.

 

25 Husbands, love your wives, just as Christ loved the church and gave himself up for her 26 to make her holy, cleansing her by the washing with water through the word, 27 and to present her to himself as a radiant church, without spot or wrinkle or any other blemish, but holy and blameless. 28 In this same way, husbands ought to love their wives as their own bodies. He who loves his wife loves himself. 29 After all, no one ever hated their own body, but they feed and care for their body, just as Christ does the church— 30 for we are members of his body. 31 “For this reason a man will leave his father and mother and be united to his wife, and the two will become one flesh.”32 This is a profound mystery—but I am

talking about Christ and the church. 33 However, each one of you also must love his wife as he loves himself, and the wife must respect her husband. (Ephesians 5:22-33)

 

Adam and Eve where created Spiritually alive as well as physically. But when they decided to believed the lie of satan. Which was, “You shall become as gods”, they died as God said they would. They didn’t die a physical death, they died a Spiritual death. What is death, you might, ask? Death is the absence of Life. And the Life of God departed from them on that day.

 

We were all born, not created as Adam and Eve, were. Born in the image of Adam, spiritually dead, and devoid of Spiritual Life. Jesus came that we might have Life through Faith in his name. Once we come to Faith in Jesus Christ, what we lost in Adam, that being the Holy Spirit of God, comes to Live in us. Bringing Spiritually Life to the spiritually dead. Jesus comes to indwell and we receive everlasting Life in Him. So we are under new ownership, and control. We are now controlled by the Love of God, and receive the mind of Christ as a free gift. Now we can finally function as man was intended to function, as a complete human being.

 

In Him we HAVE Life, we HAVE the FORGIVENESS of sins, and we HAVE a clear Conscience before God, and stand PERFECT in his sight. And he also gives us EVERYTHING we need for Life and Godliness. Which is, Christ in YOU, the only hope of glory.

 

This then is the Christian Life you’ve heard so much about, but never really understood, because the people telling you about it didn’t understand it themselves. We can’t live the CHRISTIAN LIFE, because we aren’t CHRIST. Only Christ can Live His Life. And he does that, in and through his children. How amazing and awesome is that? All of this is by faith, because without faith it is impossible to please God. So as we received him, so we walk in him, by Faith.

 

Now we can take a vacation in Christ, while HE does in and through us, what we could never do, in the energy of our own flesh. Live a perfect and Holy Life, before our God, so he is doing that, in and through us. Is that good news or what? We take a vacation in Jesus where we cease from all our religious labor, trying to generate our own righteousness through good works, which is an exercise in futility. We STOP pretending to be that phantom Christian, that supposedly does everything just right and walks about hovering a few inches above the ground. And just be who we are, children of the Most High God, made perfect in HIS SIGHT. Which is why we are not to judge one another by outward appearances.

 

Paul says in Galatians 2: 19. For through the law I died to the law so that I might live for God. 20. I have been crucified with Christ and I no longer live, but Christ lives in me. The life I live in the body, I live by faith in the Son of God, who loved me and gave himself for me. 21. I do not set aside the GRACE of God, for if righteousness could be gained through the law, Christ died for nothing!”

 

How did we receive Christ? By Faith, and as we received him, so walk ye in him. The Christian life isn’t about us, what we are doing nor not doing. We aren’t human doings, we are human beings, so be who you are, a child of the Living God, and allow him to Live his life in and through you. Don’t allow satan or the world to determine who you are, or what you are, or what YOU’RE supposed to be doing, or look like. Don’t allow man to put any head trips on you. Walk by faith in what Jesus HAS and is doing, in and you. He it is that will complete the work he began in you and WILL carry it on to COMPLETION. Whose going to complete that work? Jesus WILL, so give him time to do that, and he WILL.

 

Now enjoy the Life you’ve been given, as a free gift from the one who loves best, and gave himself for you. Amen.

 

------------------------ JESUS ✝️ SAVES -------------------------

 

Grace and Peace to you from God our Father in the Lord Jesus Christ, FOREVER! Through Faith in Jesus!

 

10 The thief comes only to STEAL and KILL and DESTROY; I have come that they may have LIFE, and have it to the FULL. (John 10:10)

 

Jesus came to bring spiritual LIFE to the spiritually dead and set the captives FREE! FREE from RELIGION, ERROR and outright LIES, so they might serve THE LIVING GOD! In SPIRIT and in TRUTH!

 

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THE FIRST GROUP OF CHRISTIANS

 

Revelation 7:9-17, "After this I beheld, and, lo, a great multitude, which no man could number, of all nations, and kindreds, and people, and tongues, stood before the throne, and before the Lamb, clothed with white robes, and palms in their hands; And cried with a loud voice, saying, Salvation to our God which sitteth upon the throne, and unto the Lamb. And all the angels stood round about the throne, and about the elders and the four beasts, and fell before the throne on their faces, and worshipped God, Saying, Amen: Blessing, and glory, and wisdom, and thanksgiving, and honour, and power, and might, be unto our God for ever and ever. Amen. And one of the elders answered, saying unto me, What are these which are arrayed in white robes? and whence came they? And I said unto him, Sir, thou knowest. And he said to me, These are they which came out of great tribulation, and have washed their robes, and made them white in the blood of the Lamb. Therefore are they before the throne of God, and serve him day and night in his temple: and he that sitteth on the throne shall dwell among them. They shall hunger no more, neither thirst any more; neither shall the sun light on them, nor any heat. For the Lamb which is in the midst of the throne shall feed them, and shall lead them unto living fountains of waters: and God shall wipe away all tears from their eyes."

 

The book of Revelation mentions three groups of Christians being seen in different locations at different times. Consider the following verses:

 

Revelation 7:9, "After this I beheld, and, lo, a great multitude, which no man could number, of all nations, and kindreds, and people, and tongues, stood before the throne, and before the Lamb, clothed with white robes, and palms in their hands;"

 

Revelation 14:1, "And I looked, and, lo, a Lamb stood on the mount Sion, and with him an hundred forty and four thousand, having his Father's name written in their foreheads."

 

Revelation 15:2, "And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the harps of God."

 

The first group of Christians are seen standing before the throne and before the lamb. These are all Christians dead and alive on the earth minus the 144,000 Jews who were set apart for the Lord to redeem at the 31/2 year mark of the great tribulation. This is by far the largest group of Christians and they are taken when the seventh seal is opened. These Christians come out of the world at the time of the great tribulation see Dan. 12:1. Now, at the time I enter a room, I turn on the light. I don't wait until I'm halfway across the room before I turn it on do I?

 

The second group of Christians mentioned in the book of Revelation are standing on the heavenly Mt. Zion with Jesus. These are the 144,000 Jews who went through the first 31/2 years of the great tribulation. Remember that they were given a special dispensation of the Holy Spirit so that when the Trumpet Warnings were blown they would not be affected. They are "redeemed" or "ransomed" from the earth. The Greek meaning for these two words is to set aside and come back for it later. Much the same way we place an article on layaway and come back for it later. Jesus set the 144,000 aside and came back for them in the same way that He came for the first group.

 

The third group of Christians are seen standing next to the glassy sea mixed with fire. Fire indicates persecution and intense suffering. These are all of those people who came to Jesus during the first 31/2 years of the great tribulation. They are also those who came off victorious from the Beast from the Sea and from his statue and the number corresponding to his name. Remember, not accepting the mark does not carry the death sentence. Only refusing to worship the Image will carry the death sentence. The enemy uses this tactic to separate out all Christians. The following verses indicate that these Christians will be murdered.

 

Revelation 14:9-13, "And the third angel followed them, saying with a loud voice, If any man worship the beast and his image, and receive his mark in his forehead, or in his hand, The same shall drink of the wine of the wrath of God, which is poured out without mixture into the cup of his indignation; and he shall be tormented with fire and brimstone in the presence of the holy angels, and in the presence of the Lamb: And the smoke of their torment ascendeth up for ever and ever: and they have no rest day nor night, who worship the beast and his image, and whosoever receiveth the mark of his name. Here is the patience of the saints: here are they that keep the commandments of God, and the faith of Jesus. And I heard a voice from heaven saying unto me, Write, Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them."

 

The fact that their works follow them indicates that after they are murdered, there will be no more Christian presence on the earth. The work of Christians in this world is to teach everyone we can all of the things that Jesus taught us. All of the work that God had been doing until this point in reconciling man to himself is over. Now and only now can the Bowl Plagues mixed with the wrath of God be poured out.

 

So in short, when someone tells me that they are pre-trib, I can agree with them. I too am pre-trib and believe that the vast majority of Christians will be in heaven prior to the great tribulation. When someone tells me that they are mid-trib. I can agree with them as well. There will be a Christian presence on the earth for the first three and a half years of the great tribulation. When someone tells me that Christians will suffer and die at the hands of the Beast from the Sea, I will agree with that too. Those people who don't receive the mark will be Christians. They will be separated out and forced to bow down to the image of the Beast from the Sea in order to show their allegience to this one world totalitarian government. When they refuse to bow as Daniel did they will be murdered.

 

The Bible is not conflicted. It speaks of all these things happening. This is why there is so much controversy over the subject of the rapture. This is also why I believe that we need to stop trying to interpret the Bible according to what we think and just accept it as it is written. — at www.apocalypsetheunveiling.com.

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

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Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

ORDERING INFORMATION

Looking for a glossy/matte copy of this photo? Please call 602-354-2140 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.

 

Copyright 2006-2010 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.

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

‘Art for Peace Exhibition’ in Baghdad: Expressions of Peace, Reconciliation and Hope

 

Baghdad, 3 March 2017 - The beauty of Iraq truly stems from the roots of the country’s rich, historical culture. Despite the fact that Iraq is currently embroiled in a battle to weed out the terrorist group Daesh from its soil and the fact that Baghdad has to endure the brunt of frequent bombings and terrorist attacks, Iraq boasts a rather vibrant, elegant, expressive, artistic and peaceful cultural scene. It is this part of Iraq that brings together people from all walks of life - irrespective of age, creed, colour, race, or gender - in the spirit of oneness, an energetic spirit that binds one another to appreciate the peace, joy, comfort and neutrality that art brings to one’s imagination. The Art for Peace Exhibition in Baghdad, organised by the United Nations Mission for Iraq (UNAMI), in partnership with the National Reconciliation Committee of the Prime Minister’s office, could not have made this notion any clearer.

 

Held on Friday 03 March 2017 in the courtyard of the Baghdadi Cultural Centre located in the heart of Al-Mutannabi Street - one of the oldest and best known streets in Baghdad and affectionately referred to as the historical literary jewel in the city - over 70 paintings, caricatures, and photographs by Iraqi artists were on display. While each artist used a different medium of expression, the unifying factor was that each admirable simple piece of work expressed hope for peace among all the people in Iraq, and the yearning of peace and reconciliation for the future to build a free and flourishing world for generations to come. The Iraqi painters, photographers and caricaturists who participated in this first-ever Art for Peace project were commissioned to produce works that portrayed their messages for peaceful coexistence and harmony, reconciliation and hope.

The event itself is a stark illustration of the resilience of Iraqis who are enduring a devastating conflict with the terrorist Daesh group which is in its last throes in Mosul, and a terrorist bombing campaign that is deliberately targeting civilians in Baghdad and elsewhere. It shows that despite the ongoing conflict in Iraq, art remains the language that brings people together in peace and reconciliation. It also serves to counter the destruction by Daesh of historic sites and work of art work in the areas they controlled.

 

At the exhibition, the Deputy Special Representative of the United Nations Secretary-General for Iraq (DSRSG) for Political and Electoral Affairs, Mr. György Busztin, reiterated the importance of art in disseminating messages of peace, reconciliation, tolerance and coexistence. “Such endeavours by talented Iraqi artists, illustrators, painters and photographers transcends ethnic and sectarian differences and constitute the bedrock for an inclusive national reconciliation that will usher in the stability and prosperity for all Iraqis”.

 

Raed Hassan, a young Iraqi caricaturist spends his time drawing images that are graphic and emotional but which carry explicit messages. He easily narrates how “having a peaceful Iraq is all that he wants, especially for the future of his children”. Mr. Hassan pointed to one of his images – one in which there is a long queue of people, albeit mostly men, who seem to be in despair and a prominent syringe jutting into the leader’s head, inscribed with the words “Peace”. Mr. Hassan is very attached to this piece of work and in probing him for a reason, he simply states: “Study the caricature carefully and see the simplicity of it all – all we need in Iraq is for everyone to inject the idea of peace in their minds, to be rid of all the evil and harmful notions, and to thus clean our minds and hearts so that ‘peace’ can filter into every vein and bone in our bodies”.

 

“What could be more powerful than this?” he asks.

As the winter clouds gave way to a clear blue sunny sky, the colours on the oil paintings on display were easily entwined in the warmth of the sun’s rays. Mohammed Musayir stood patiently next to his paintings, many of which portrayed his thoughts on reconciliation among all Iraqis. The one painting that stood out depicted tolerance of faith, with Mohammed saying that “faith has no face – which is why the lady in my painting has no face. She could represent Islam by the Abaya she adorns, or she could tell the story of Christianity with the Holy Cross laid across her face. In the background, I have the places of worship for both faiths – open and inviting for all who choose to unite and live in peace, dignity and harmony”.

 

As Mr. Musayer shares his hopes for peaceful coexistence in Iraq, his thoughts are a reminder that engaging in dialogue, creating awareness and promoting tolerance and acceptance among peoples of different faiths, beliefs and cultures are key stepping stones towards building a hopeful and peaceful society in Iraq and across the globe.

 

After Baghdad, the Art for Peace travelling exhibition will be on display throughout March and April 2017 in the following Iraqi governorates: Babil, Karbala, Thi-Qar, Missan, Basrah, Diyala, Salah Al-din and Erbil.

 

Source and photos: UNAMI PIO

Parishioners, former pastors celebrate St. Benedict at 25

 

By Joyce Coronel | Oct. 28, 2010 | The Catholic Sun

Photos by J.D. Long-García

 

In a Church with more than 2,000 years worth of history behind it, a 25th anniversary may seem like a small thing to some.

 

For current and former parishioners at St. Benedict Parish in Ahwatukee, it was no small affair. At an Oct. 27, midweek Mass with Auxiliary Bishop Eduardo A. Nevares presiding, more than 100 of them came together with their pastor and former pastors to thank God for the life of the parish.

 

Fr. Gary Regula, pastor of St. Benedict for the last four years, welcomed the crowd and told those gathered the Mass would be concelebrated by some of the former pastors.

 

“They are faces that you’ve known, maybe faces that have grown a little older, but they still have the same desire to serve,” Fr. Regula said. “Welcome back.”

 

He also pointed to the future.

 

“We give thanks to God for the many gifts that have been bestowed upon us, for the many blessings we are called to share with one another,” Fr. Regula said. “And we ask God’s blessings on us so that we go out and continue to live this wonderful celebration.”

 

Bishop Nevares reflected on what the anniversary meant to the community.

 

“Twenty-five years as a parish family and as any family — a few ups and a few downs, but here we are for the glory of God,” he said. “Still being united, still continuing to listen to the word of God and continuing to be fed by His body and blood, soul and divinity in the holy Eucharist.”

 

The celebration, Bishop Nevares said, was not just an acknowledgement that they had reached the 25-year marker, but that they were part of a Church that traces its history all the way back to the original 12 Apostles.

 

“Just to think about that,” Bishop Nevares said. “We here are the disciples of the Lord today, just as they were 2,000 years ago, for Jesus Christ is the same yesterday today and forever.”

 

In an interview with The Catholic Sun, Fr. Pat Robinson, who was installed on Palm Sunday in 1993 when the parish was in crisis following a sexual abuse scandal, spoke of how the community had stuck together through thick and thin.

 

“It was a tough time but we hung together,” Fr. Robinson said. “The first days we kind of staggered, but we stayed on our feet and pulled together.”

 

Jay and Marcia Iole agreed and said hearing Fr. Robinson’s familiar booming voice stirred up fond memories. “You brought us back, just like a song,” Jay said.

 

“This parish is a great place to be,” Marcia added.

 

Dr. Mike Templeton, sporting his Boy Scout uniform — he’s assistant Scout master of the parish’s troop 118 — is another longtime parishioner. He said it was the community spirit he loved about St. Benedict.

 

“It’s not the priest, it’s not the building, it’s the people within the parish that make the parish,” he said. “And we have the best bunch of people here that are giving, caring and welcoming. It’s amazing.”

 

Fr. Dennis O’Rourke, who was pastor until 2006, recalled St. Benedict relocation from a neighborhood in Chandler to its present-day site just inside the western border of Phoenix in 2004. He remembered all the work that went into to building the new church.

 

“It’s great to be back and see so many familiar faces,” Fr. O’Rourke said.

 

More: www.catholicsun.org

 

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5 MAR 13

 

I traveled to Africa via the zoo today. I said yesterday that I was really excited for today and isn't it such a wonderful feeling when life lives up to your expectations! The weather was a perfect 70 degrees with a wonderful cool breeze, not a cloud in the sky and the zoo was free (did I just rhyme that...seriously...what...mad skills)!

 

The zoo got some really bad press because for the longest time, the day directly after most Holidays, admission was free all day. Everyone knew this, and thus everyone went to the zoo on those days. Unfortunately the zoo sits directly in the heart of the Medical center which was a logistical nightmare. You can look out the south entrance of the zoo and there is Ben Taub, aka, the gun shot hospital, and then right next door to that is Herman, aka, the heart attack hospital, so you can see why trying to shove an ambulance through the traffic nightmare could be a problem, so they basically said, we'll do free days, but only on the second Tuesday of every month, and not during the summer, from 2-6 only. Of course everyone is in school or work during this time, so there isn't much traffic. I was meaning to go in January, forgot, February, forgot, but this time, I put up a giant you better not forget sign.

 

I arrived 20 till and the line was snaked around the lot, but the parking was still plentiful. Most of the school groups were leaving so that freed up lots of space. I went by my lonesome because I really wanted to focus on taking shots in these difficult conditions. You are really screwed at a zoo. More on that later. Anyway, standing in line behind me were these two black people. I didn't want to turn around and look but with no one to talk to, I basically stood in line and listened to their entire conversation as the people in front of me were I think from South America; their Spanish sounded different then the more traditional Spanish I'm used too, so I couldn't really translate it all that well. Anyway, the mouths on these people...it was N-word this, N-word that which always frustrates me b/c why would you want to call you or someone of your same race that, idiots! Anyway, they got into this conversation about the one guys son, and the other ladies niece and the terrible twos. The lady said, she didn't really think they were a thing until she went to her nieces birthday party who was turning three. She said she tried to give her money as a present, but the child apparently rolled her eyes and screamed I want cake, not your money. Then the conversation shifted to baby names and how the guy said that his boy had him rolling when they were talking about what black people name their kids. He said his friend said it was always something black people want but can't get, like diamond, Mercedes, Jordan (s). He said his friend really had him laughing when he said, "water bill paid." Then for some reason as the line finally started to move, the lady started saying how she always wanted to be an underwear model for Victoria's Secret but she would never do it because its really "Victor's secret." She said somewhere on the internet, she read that Victoria is really a victor and they really only hire transgender models to wear the underwear, hence their really skinny bodies and huge boobs, and she would never want to be or look like that. Um...okay. By that time, the line broke into 8, and they went one way, and I went the other. It turns out they were a couple. I thought they were just friends and a bit older, but they were holding hands and looked to be barely in their 20s if that.

 

So on to the adventure. The zoo is 55 acres. You read that right, 55 which I definitely walked at least twice in my adventures! There was a lot to explore. On the map they actually have a dotted line zone in case you are there to get your exercise in, with a marked mile long trail. I headed straight for my spirit animal (ended up going the wrong way twice...I know...I had a map but I didn't really look at it! and had to double and triple back)...anywho, they had a feeding right at 2, of my beloved giraffes. They just named the newest baby after former Rocket Yao Ming. They were lovely and out and about and there wasn't a big crowd. It was kind of lame because you had to pay to get the opportunity to feed the giraffes which I declined. I mean, its cool and all, but they just fed them lettuce from a platform which didn't seem all that exciting in relation to just watching them interact with one another.

 

Okay, so my goal was to really tackle shooting images of animals in the wild, yet confined to the parameters of a zoo. This presents a massive amount of problems. Let me explain.

 

1. Fences/gates/glass/obstructions are everywhere. The above is some amazingly tight cropping because there is a huge fence above, and to the right of this creature, and if you can believe it, I AM shooting through a chain link fence! I think I did pretty well on this one, but that joy was a bit per-mature because that didn't translate to a lot of the other exhibits. Those obstructions take away from the sort of naturalness of a shot. There were these great steer type creatures with HUGE horns, but right in front was a huge gate and they were resting and didn't move, so all the shots are fence, fence, gate, fence. Glass is often dirty with prints and paws inside and out and don't forget the background...its hard to make something look real when there is a giant sign right behind it, or a wooden fence that doesn't exist in nature.

 

2. People. Crowds are an annoyance beyond belief. For one, I'm not an a-hole. I've been to the zoo several times in my life. I'm not going to stand and block an entire exhibit when some little 4 year old comes along and wants to see the tiger for the first time, so often times I will generously step aside or more often times, I just set up in the back and shoot over people's shoulders. So there I am at the lemur zone, far in the back behind a crowd 3 rows thick and right when the one lemur smacks another one for trying to steal his food, guy walks right into my shot. I'd stood there and walked around for 15 minutes trying to get at something more interesting then the one just eating a leaf with his back turned to me, and then for all my patience, and all my not getting in the way ruined. This happened 3 different times. What do you do, shove the little kids aside so you can get up front??

 

3. Lighting...holy #$%@! man! I practically have arthritis from having to manipulate the settings to get the right light. We're talking 2 pm light which is strong to begin with, then you have exhibits half in and out of shade and the animals who like to stay half in and out of it as well, and then trees and all kinds of exhibit bits either blocking or funneling the light. For this shot above, I spent nearly 30 minutes, and coming back twice, just trying to get it because this is a huge cliff facing the sun. Half of the exhibit is in complete shadow and the other half in sun facing the sun. So the creature moves, you've got to change those settings.

 

4. The animals...are not your friends. With the exception of maybe 3 of them, they don't make it easy for you to get a shot. They do what they do and don't care that you need the picture, so you have to wait and wait and be patient and the action is for like a second. There and you missed it. I shot on manual for most of this trip and again, it was changing those setting as fast as I could and trying to pre-focus sometimes on a specific spot or tracking the animal with the lens.

 

5. Distance. Everything is in a cage or behind a fence some ways off except for the petting zoo section, so as much as I'd love to climb in with the bears, its not happening. So you just hope your lens can handle wherever these creatures are high, low.

 

So it was quite a lot of work. I'll put some more photos up soon, but I definitely took on this fight. Its partially why I didn't want anyone with me. It's hard enough to get all these things right by yourself, let alone with someone else who most likely wouldn't be as interested or as concentrated on what they are doing. I've tried buddy shooting, but it really cheapened the experience for me, because if you see something that catches your eye, that other person kind of trots over and starts shooting and then its like, okay this thing I found is not really as special because there's a practical replica of the thing on someone else's stream. It cheapens it. There can't be two "the first car's" you know.

 

After my adventure, I decided to take the long way home. I wanted to count how many lights were between the zoo and my house and turns out there are 24. Woah! When I did touch down, unfortuantely I had a really bad blood sugar spike. My hands were literally shaking. I had a light breakfast which I told myself considering I'm going to be out for so long and walking around, I should have had a bigger one, but I packed my usual emergency snacks, this time some water and a pack of baby carrots which I ate at the zoo, but I guess it wasn't enough. After a good meal and 45 minutes, I was somewhat back to myself, but I felt really tired. I hate these things because its like someone has cut off the lights in my body and it saps my energy completely. I ended up laid out on the couch with a major headache, so I took it easy for the rest of the afternoon. When I did sort of come back too, I got a chance to crack open this now fantastic photography book about early Houston. Extremely fascinating to see the city grow up through this book. There were some stunning buildings and I'm like, I know this is like 100 years later, but where are these buildings and how come I've never heard of them...but it turns out a major fire in the early 20's took out something like 48 blocks of the city. Can you imagine!!! Schools, churches, banks, and especially these gorgeous theaters, all gone just like that because a 38 mi/hr wind just kept fanning the flames and basically took the city down to its knees.

 

In other news...I might have spoke too soon on the no donation bit because Guess who reached her fundraising goal today! Meeeeeeeeeeeeee! Last night, I got 9 donations.I was excited to reach my goal. Still...though...I sent this out to 75 people...and only a 9 person response. You know what...I'm going to let it go. I made my goal. We're going to be doing some good, and that's all I can ask for. Wiiiiisssshhhhhhhaaaaaaaa (that's the sound of me letting it go) LOL.

 

OKAY this IS a really really long blog now, but I'm going to keep going, k. Thanks.

 

Bought some seed the other day and some potting soil. I didn't want to get a cart, so I picked up this 1.5 cu ft. of soil back and was hauling it by hand all the way fro one end of the garden center to the register only to hear, sorry, the register is broken, you have to take it inside to the register....it was a WTF moment for sure. The guy didn't even offer to attempt to get me a cart even after seeing my struggle with this now loads heavy bag because ironically I'd just done a 48 minute kettle bell and dumbell workout for arms, so they were on fire!!! So I walked the 8 blocks to the register on the opposite side of the store. Originally I thought the sale sign said teh soil was $5, but on the receipt it read $3 and some change. So I was super happy. I went to the 99 cents store and got 48 drinking cup sized peat pots for $3. Home Depot wanted $7 for the same amount but half the size. There is literally nothing the 99 cent store doesn't have. They even just started selling tomato cages and the same plastic and wire garden fencing Home Depot has for triple that. (Sings) I'm gonna pop some tags, only got twenty dollars in my pocket I-I-I'm huntin',lookin for a come up, this is f____g awesome (Nailed it, LOL!) So I get home and put this soil in the garage for the next days seed potting only to find out FOR ALL OF THAT trouble, I bought the wrong soil. AHHHHHHHHHHHHHHHHHHHHHH! So I had to put it back in my trunk, haul is back, beg a lady in the parking lot for her cart, return it, and ended up buying the right soil which was double the price of the garden soil. FAIL.