Arthur LeClair was Murdered Dec. 22, in 1907 in Neche, North Dakota and was a distant family member of mine. He was murdered by his best friend. It made headlines in the surrounding towns. A very interesting story to read with a "SURPRISE ENDING"!

 

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The Pink Paper

Bathgate, Pembina Co, North Dakota

December 25, 1907

 

HORRIBLE MURDER

ARTHUR LECLAIR OF NECHE

KILLED WITH A HATCHET

 

Suspect arrested at Bathgate on Monday

Coroner’s inquest to be held today.

 

On Monday morning this city was greatly stirred up over a phone message to the effect that Arthur LeClair, well known to our young people, had been murdered the previous evening at Neche.

Inquiry at the chronotype office brought the following information. Arthur had been about town on Sunday evening until about 11:15 p.m. when he started home along.

That was the last seen as he did not go home, that night, his father became some what worried over his absence. He called the residence of Robert Faulker, a neighbor, and the two started to look for him. They thought he might have gone to the ice rink on the river near the Great Northern Railroad crossing and perhaps had fallen in some way and injured himself. When within a few hundred feet of the dam they came across a pool of blood but were not especially alarmed, thinking it, that of some animal. They followed the bloody trail and shortly came on a small axe or hatchet covered with blood and as they approached the dam they saw Arthur’s hat at the head of it. By this time they were fully aroused to the seriousness of the situation. There was blood down the apron of the dam and a small opening consequent on the flow of water but the body could not be seen. Mr. Faulker went to his residence near by and secured an axe and enlarged the opening a few feet when they saw the body of Arthur under the water and the remains were quickly recovered and taken to the residence of his parents. His face was not disfigured but there was a large gash in the back of his head through which his blood flowed.

The Lampman family and others of Neche people heard screams the previous evening about the hour Arthur must have started for home but thought it was probably some late roysters from across the line and paid no particular attention to it. At this hour of going to press nothing definite seems to have developed regarding the murderer or the cause of the crime.

As is usual in such cases the air is full of rumors, the most authentic of which connects the name of a Negro transient with the crime. The Negro is said to have been seen in Arthur’s company on Sunday and later in the day was evidently under the influence of liquor. He was in Neche until Monday morning when he left afoot in a southerly direction and stopped at the Vospers, Hicks, Messacres and other places and reach Bathgate shortly after noon. Marshall O’Harra received notice that the Negro was probably in this place and was wanted as a suspect. O’Harra soon rounded him up and he was taken back to Neche by officers. So far as we are able to learn the evidence against the suspect is purely circumstantial. The inquest will probably develop farther facts.

Arthur LeClair resided at Neche since his birth, with his parents and was 21 years of age. He has been engaged for some time past as fireman on the Neche and Walhalla branches of the Great Northern Railroad. He was at home to spend the holidays. The Neche people are aroused and will see that the matter is sifted to the bottom and the murderer brought to justice. It was evidently the most cold blooded and shocking murders ever committed in this county and no expense should be spared on the part of the county officials to make the investigation most thorough.

Coroner Bour of St. Thomas has been notified but not in time to get to the scene of the crime on Monday.

  

The Pink Paper

Bathgate, Pembina Co, North Dakota

January 1, 1907

 

The funeral of Arthur LeClair took place on Thursday. The body was taken from the LeClair home to the R. C. church, where a very brief and simple service was said by Rev Fr. Fobes. The casket was covered with floral tributes, and the hearse was followed by a large delegation of the Brotherhood of Locomotive Fireman, of which Arthur was a member, with whom marched a number of other friends of the dead boy, forming quite a procession. Interment was made in the Catholic cemetery here.

  

The Pink Paper

****Jan. 1, 1907****

 

Mr. Eli Roy, father of Mrs. Fred LeClair, and Mrs. J. Roy, sister-in-law of same, of St. Jean, Manitoba, arrived on Tuesday, calied by the death of Arthur LeClair.

 

The Pink Paper

Jan. 8, 1908

 

NECHE MURDER

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WAS ONE OF THE MOST LAMENTABLE

CRIMES EVER COMMITTED IN

PEMBINA COUNTY

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James O’Brien, of Neche made a complete confession of the murder of Arthur LeClair, the Great Northern Fireman, Sunday. The 16 year old slayer gave up the details of his crime to J. C. Crawford a Pinkerton detective, who had been working on the case.The confession came after he had been confronted with his bloody clothing, hatchet with which the crime had been committed a bloody scarf and other evidences of his guilt. When the news was broken to the father of O’Brien, for years a resident of Neche and Customs Officer there, he broke down completely. Fred LeClair the father of the murdered boy called on him in an endeavor to console him.

Detective Crawford, 18 years in the business, had quite a time getting the murderer to confess. He worked various schemes and was finally successful, after picturing to the boy, the certainty of his conviction, and calling his attention to the great expense with which his father would be burdened, in case he fought the case in District Court.

 

The following is the complete confession of young O’Brien: To J.C. Crawford Pinkerton Detective.

 

On Sunday December 22, 1907, LeClair and I went to Gretna twice and drank each time. Coming back the second time both of us were quarreling as to who was the Best Man and LeClair said he could lick three O’Brien’s and I got mad. When we left Cook’s shop, I made an excuse to go out to the closet and I got a hatchet and we started for the rink. When we got down there he made some remarks about fighting me and he put one foot behind me and threw me over. I got up and he hit me and I hit him with a hatchet and after I saw what I had done, I hit him again and took his pocketbook and threw it in the river. I got the hatchet from behind the house where the ice is kept. I threw the body over the bank and followed the body down the bank, I think I had hold of him by the collar and dropped him right at the head of the dam, in the river. James O’Brien-

Witness (to Confession)

J.H. Anderson

J.C. Fielding

George Roadhouse

 

I James O’Brien, do voluntarily make a statement in my own handwriting and of my own free will before witness, J.C. Fielding and Geo. Roadhouse, that the contents and page no. 2 is a true statement of how I, James O’Brien, killed Arthur LeClair on Sunday, December 22, 1907. I have written this statement for the purpose of telling the truth on my part and have not shield anyone, as there was nobody implicated but myself.

_James O’Brien

Dated Sunday, December 22, 1907

Witness- Geo. Roadhouse

-J.C. Fielding

An effort was made yesterday to locate the money claimed by O’Brien to have been thrown in the Pembina River. Ice was broken but the money was not found. It is thought probable that O’Brien had not told the truth about the quarrel with LeClair and the disposition of the money. LeClair was not of a quarrelsome disposition and it is the general opinion, that he was killed in Cold Blood.

 

Although the above confession has been since shown by the boy murderer himself to have been in part a lie, it contains at least one horrible truth-James O’Brien foully murdered his friend. Whether he committed the crime as he relates it or whether he stepped behind LeClair and dealt the blow that felled him to the ground-interrupting perhaps a friendly conversation to do this deep most dark and damnable-will perhaps never be known except to him who has forever quitted god’s good sunshine for the light of a felon’s cell, who has forever breathed his last of the sweet air of liberty.

To return to the proceedings of the Saturday session of the coroner’s inquest. James O’Brien was the principal witness. He did not waver as he told states attorney Brynjolfson lie for lie; he did not change color when his gray haired father was forced to undergo the ordeal of accounting for his son’s movements the night of the murder; he did not blush for shame when his sorrow stricken mother was called upon to tell of the hatchet with which he had slain his chum; he did not even shudder when confronted with his own garments in which he knew was dried the blood of Arthur LeClair yet the meshes of the law were already about the boy, and he felt them tighten when he was place under arrest by sheriff Roadhouse Saturday evening. He must have realized that his guilt was known when he was taken to Pembina and place in a cell, in the county jail, but never, do we think, has he realized the enormity of his crime. He sang and whistled in his cell, and managing to lift the window, called to his acquaintances and held converse with them.

Pinkerton detective Crawford was admitted to O’Brien cell on Sunday afternoon, he told the boy that his guilt was known and that the proofs were positive He told him that one or two fates surely awaited him-hanging or life imprisonment. He told him that his crime was of a nature that merited hanging, and that the law had so inexorably provided. O’Brien still maintained his innocence. The detective told him that if the case came to trail and the prisoner entered a pea of not guilty, his guilt would surely be proven to the jury, and the Judge would undoubtedly be obligated, in view of the conclusive evidence submitted, to give him to the gallows. He told the boy that if he plead not guilty his father would, beggar himself in his defense, and all to no end-the result would be the same- a verdict of guilt. Still the boy protested that he had nothing to do with the murder of Arthur LeClair. Then the Pinkerton man told Jimmie that there were others suspected of complicity, and that a confession from him would not only cause sympathy as could be extended a murderer for himself, but would accelerate the ends of justice, while on the contrary if he, the prisoner, remained silent he could expect no mercy if found guilty, and a stigma of doubt would forever attach to the names of some perhaps innocent people. Already, the detective urges, the prisoner’s parents had suffered the pangs and pains of heartbreak, and by maintaining his innocence to the end, they would be further humiliated and their shame and sorrow held up to the gaze of all men, O’Brien was still obdurate. Then, after the detective had presented all these arguments in every light-and sympathy for the unfortunate boy perhaps made him eloquent-Jimmie at last burst into tears, and laying his head on Mr. Crawford knee’s confessed that he “did it alone.” Both the prisoner and the detective were now weeping. The confession followed which the boy-murderer has since himself proven to be a lie with the exception of the one all important fact-his hand, and his alone, dealt the blows that drove the life from the body of Arthur LeClair.

States-attorney Brynjolfson was called at once. O’Brien wrote with a lead pencil the confession which appears foregoing, in the presence of the witnesses whose names are there unto, subscribed. On Monday morning detective Crawford drove to Neche with the confession in his pocket, and proceeded to publish it to the townspeople. Everyone-even the family of the murderer-experience a feeling of great relief. Everyone had been morally certain-as certain as men can be before a trail by judge and jury-that James O’Brien had been the main actor in the hideous drama enacted on the night of December 22, but the demeanor of the murderer and the peculiar character of the trail made by dragging the body from the river bank to the hole below the dam-which indicated to those whose good judgment was recognized and respected that two had dragged the corpse, one at the head and one at the feet-led may to a belief that O’Brien had at least one accomplice. When it was learned that no one else had been in any way concerned in the commission of the crime everyone breathed freer, and to some the knowledge came as a relief from doubt and suspense.

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After the inquest the prisoner made a request that he be allowed to see his parents before he was taken back to jail. The request was granted. In the intervening time, before his father could come to see him, he managed to communicate with one of the town boys to the effect that he would “find something, if he look under the rocks at the dam”. The officers were at once apprised of this statement, and a thorough search was made of the place mentions, which revealed nothing but three lead pencils found hidden under a stone. When the prisoner was allowed to see his father the latter on his knees begged his son to tell what had been done with the money. “I burned it,” was the reply. The search for the money by cutting ice below the dam was now discontinued. Shortly the prisoner left his parents, he told the detective that if he would allow, the place where the money was hidden would be revealed. The officer went with the boy to his father barn, and in the loft from under a handful of twine on a beam the boy took seventy dollars six five and four ten dollar bills. This O’Brien vowed was all the money he had taken from LeClair, the pocketbook he said he had burned in the kitchen stove. Sheriff Roadhouse took his prisoner back to Pembina Tuesday evening. Since then he has further amended his original confession by admitting that he had no quarrel with LeClair. This marks every vestige of the original confession as untruth, with the exception of the bare fact of the murder.

Detective Crawford on Wednesday secured a sworn affidavit from a seventeen year old boy who was a eye witness to the murder. The boy was going home from Giadue’s rink that night about 11:15, and when coming up the road that runs along the river bank he saw figures ahead of him, and by their conversation recognized them as Arthur LeClair and James O’Brien. He was at this time standing about 60 feet from the spot where the murder occurred. As the boy relates it in his affidavit a conversation like this ensued between O’Brien; O’Brien-”Come on, Goose, let’s go down to the rink.” LeClair-”No, I'm sick; I’m going home and to bed.” O’Brien-”If you’re sick, lets walk to the woods-walk off your jag.” LeClair-”No, “I’m going home to bed.” O’Brien-”What you afraid of the wolves?” LeClair-Not afraid of anything, but I’m going home to bed.” The boy who had over heard this conversation saw the murder done. He ran home in terror, told his father what he had heard and seen, and begged him not to tell for fear “they might do something to him for it .” The affidavit was given on condition that the boy’s name would not be disclosed. It proves that there was nothing like a quarrel or a scuffle just before the murder. The thing was done in cold blood-a murder most foul.

O’Brien was given a preliminary hearing at Pembina Thursday. He plead guilty and was bound over to the session of the District court for sentence. It is believed he will receive a sentence of life imprisonment. The character of his crime would indicate that he can receive nothing less than this-If indeed, he escapes the hangman.

  

The Pink Paper

Jan. 15, 1908

 

CRIMINAL CALENDER

 

James O’Brien, aged 16 years, was sentenced at Pembina to life imprisonment for the murder of Arthur LeClair the Great Northern Fireman at Neche on Dec. 22th.

 

O’BRIEN PLEADED GUILTY

 

An appeal for clemency was made by John F. Conmy, attorney for the prisoner. Attorney Conmy pointed to the youth of the prisoner and the fact that he had become intoxicated as a result of saloons being kept open illegally at Gretna (Canada) on Sunday. As attorney Conmy pleaded for him O’Brien broke down and wept.

Judge W. J. Kneeshaw spoke for about 15 minutes to the prisoner and his remarks were intended as much for the great crowd assembled in the court room. He pictured O’Brien as one who had given away to his baser feelings and who was not about to pay the penalty. Bad habit, disregard for the law and the rights of others finally ended in the murder of a friend for a paltry sum of money.

A foul murder has been committed in Neche, by a boy of tender years, only sixteen years of age. He comes of a good family but had previous to committing this crime built up an unsavory reputation. We do not know why. Whether improper administration of the parent is responsible for the acts of a boy so young can not always be determined. But waywardness and evil tendencies manifest themselves in a character at premature age and then is the time to apply or administer the remedy. Keep track of the boy and try and see that he does not frequent places of questionable demeanor that fill the atmosphere with the fumes of moral perversion. See to it that he selects Good and Virtuous companions and guide him along the pathway of youth in such manner that no one can point a finger of scorn at you for delinquency in parental duties. The church, the Sunday school, the home and the Public school have that boy in their care and his future is molded by the influences and environments of youth. “As the twig is bent, the tree is inclined”, if you deem yourself a good father or mother keep your eye on your boy.

 

O’Brien father was present in the court room with the boy. The old man is over come with sorrow and the disgrace the boy had brought upon him.

O’Brien was taken to the penitentiary Saturday evening.

Before passing sentence Judge Kneeshaw said;

“You are accused of murder in the first degree for the murder of Arthur LeClair, aforethought, with premeditated design to effect the death of Arthur LeClair; then and there assaulted and beat him with a hatchet from which he died. Have you any reason why the court should not sentence you?”

 

PLEA FOR O’BRIEN

 

J. P. Conmy, counsel for the defendant, in reply said:

“At this time, before sentence is pronounced, we wish to say a few words. We know just the position in which the court is placed in this case according to the law. However, we throw our self upon the mercy of the court and ask for clemency. Consider the character of the accused. He is not a hardened and unfeeling criminal. We do not mean that there should be no punishment for crime, on account of the tender age-but we do feel that in this case where a boy has confessed. In such a case, your honor, we believe that there is due clemency from this court. However, now that matters have been placed before you in their true light, that the accused stands before you readily, bear in mind the youthfulness of the lad-life is sweet to him-and the heartrending of his parents. Extend to him all the clemency in your power. This confession was not given to obtain the mercy of the court. It was given by James O’Brien with the purpose of removing the doubt, if there was any, from others and to prevent any further torture to his parents. On the circumstances surrounding the crime let me dwell. Let me introduce to you the surrounding which have assailed the life of the accused, the bars, and saloons of Grenta, the one necessary qualification being the price. How easy to pass from one station to the other. Think of the temptations which surrounded your life, of the temptations of any boy at the age of 16. How easy then it was to fall into temptations, which robbed him of his senses from unlawful administration of others. While we ask clemency we know the position in which the court is placed. His confession was made to free all others on whom the shadow of doubt might rest.”

 

COURT TO THE ACCUSED

 

Judge Kneeshaw said to James O’Brien:

“The law of this state when a defendant pleads guilty to a charge of murder provides that if he pleads guilty to murder in the second degree it then devolves into murder and the court may then examine witnesses in order to inquire into the enormity of the crime, or he may call in a jury to pass on the punishment, or he may refuse to pass on the plea and submit the case to a jury. In this case I have decided to receive the plea of guilty in the first degree and I will say that by so doing I have been placed in a very trying position. You, James O’Brien, I have known since you were a baby, and I have known your father and mother for 30 years. They are some of the old settlers in the county, and when I say old settlers of the Red River valley I mean they consist of the best people that ever lived. I have known your father when I was a young man, and learned to like him as a brother, and it is indeed, a trying thing for me to pass sentence upon you. I have no doubt that the bars of Gretna are largely responsible for the death of LeClair. No person can realize that a boy your age could ever commit a crime as been developed in this case. No more dastardly deed has ever been committed in this county.

JUDICIAL MURDER

 

“The penalty provided for such crime is death or imprisonment for life. In this case I will say and I feel proud to be able to say that I consciously do not believe that capital punishment is justifiable. Hanging is nothing but judicial murder. There is no excuse for a state to take a man out in cold blood and hang him by the neck. Most people of the present day believe hanging is a relic of barbarism. Now, Jimmie, you can see what whisky, and bad company have brought upon you. You can realize that in cold blood, you killed your chum and brought him before God and his maker. You can see what trouble rests upon your parents and all on account of whisky and bad company. I have noticed that during the proceedings you have shed many tears. I am glad of that. I believe that when a boy is able to shed tears and show that he is penitent that there is some hope that he may repent. This is indeed not only to you and boys of this country of the bad effects of whisky and I hope that everyone in my hearing will take this home with them. Now, Jimmie, I will have to sentence you. I hope that god’s holy spirit may be with you and help you and guide you in your future life. I think I have expressed to you all I can on this line.

“The sentence of the court is that you James O’Brien, shall be confined in the state penitentiary in the county of Burleigh, state of North Dakota, at hard labor for the rest of your natural life, commencing at 12 o’clock noon today.”

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Epilogue:

 

When World War I broke out the army needed bodies and promised any one in prison who would serve in the army, and survived, would be offered a pardon when the war ended. As luck would have it O’Brien served throughout the war without a scratch. After the war he returned to Neche. However, the local people would have nothing to do with him and shunned him. After a short time he left and was never seen or heard from again.

 

Angels of Mercy

Sisters in Healthcare in Western Pennsylvania

 

For many they were the most visible face of the Catholic Church; teaching children, nursing the sick, and providing for the poor. The first Sisters in Western Pennsylvania came for these very reasons and through their service started hospitals, care homes and nursing schools; influencing the nature of the healthcare industry in numerous ways.

 

These women became proficient, respected nurses, business leaders, social welfare activists, educators, and administrators. Of the many women's religious orders that came to this region, 16 worked in the healthcare field. Some have been here for more than a century while others served only a few years; but all have had impact for beyond what their early pioneer Sisters could have imagined.

 

Senator John Heinz History Center

 

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

‘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

EARTH SOL MILKY WAY HOME GALAXY LOCAL GROUP VIRGO SUPERCLUSTER IMAGINATION STATION CELESTIAL CITADEL USA SUNFLOWER TOWER TREE OF LIFE SECRET STAR RAINBOW BRIDGE WIZARD SPIRAL STAIRWAY AIR SPIRIT WATER SILVER LUCID DREAM ASTRAL TAROT HEALING MANDALA COSMIC FANTASY TURTLE WORLD LIBRARY LABYRINTH TEMPLE CREATION BLUE HOLY FORTRESS SAPPHIRE AMETHYST SKY CASTLE RIVER INN MAGIC THEATER MEMORY PALACE MULTIVERSE FRACTAL CITY INTERDIMENSIONAL NEW ANCIENT LOVE UNDERSTANDING CONSCIOUSNESS PEACE EMERALD BUTTERFLY REALM ❤️ ✨⭐ 💙 ⭐ ✨ 💚 💟 💜 💛 🐈 🐢 🐉 GEOMETRIC ORDER SACRED MOUNTAIN ISLAND MULTIDIMENSIONAL AURA PROTECTION BORDERLANDS PARTON HENDRIX SPIRALGALAXY ENERGYFIRE CIRCLE LAKSHMI SHAPESHIFTINGKNOWLEDGE BOBDYLAN WISDOM LEGEND TURTLETHE USASUNFLOWER RAWAYSTATION REALITY MAGICTRANSFORMATION LIBRARYSTATION CITYOFLIGHT TIME RESTORATION GROUNDS GUARDIANDRAGON TURTLEPEOPLE DOLLYTREASURY TRANSCENDENCE SHIVA HORSES DREAMS MIND OCEANUNDERWORLD CRYSTAL STEEL EYE TREEOFLIFE LIGHT MEMORYCASTLE IMAGINATIONLIBRARY RAINBOWTOWER DRAGON FAITH ELIXIR SPACE VISION SAGITTARIUS SOLAR DIAMOND EXPLORATION MYSTERY ILLUMINATIONRADIANCE PEOPLE TRANSPORTATION LOVELIGHT MEADOW COMPASSION SARASWATI CAMP LAYERED AQUARIUM KATE PICTURES AVALON WATERHEALING STORE DYLAN HAPPY WINDOW ELYSIUM SACREDGEOMETRY BEING ATLANTIS FIRE GATLINBURG AQUARIUS ASTROLOGY REFLECTION REFUGECITY RHYTHM JOURNEYSEXPLORATION WIZARDOFTHERAINBOW MEMORYLABYRINTH FORTRESSNEXUS CASTLEOFIMAGINATION SONGTOTHESIREN FOREST NATURE NETWORK MOUNTAINTOWER CASTLEIMAGINATION BRIGHT GUARDIAN ILLUMINATION MAP VOYAGES PRESENT IMAGE MANDALAGEOMETRIC HEALTH DOLLY PURPLE GOLD SHAKTI RETURNSCIENCE LANDSEASHIP PULSE RAINBOWDRAGON ASTRALPALACE OCEAN MULTI HOLYMOUNTAIN SHAPESHIFTING GOLDENSILVER HISTORY SEAOFSTARS LOVELY PICTURESOFYOU SONG LUCIDITYHOUSE ANGEL NEXUS PSYCHEDELIC WINDGUARDIAN GOLDENDRAGON NIRVANA FAERY WEAVEWORLD DIPLOMACYPOLITICS FLOWEROFLIFE HEAVENLY CONSTELLATION PSYCHE SEA ELEMENTAL ENERGY INTEGRATION PAST WISDOMPOWER STELLAR WORLDFORTRESS ASTRALFORTRESS SYSTEM SANCTUARY WIND MUSIC COSMOS BARRIERNEGOTIATION SPIRITMOTH EMERALDAMETHYST MALL RESURRECTION SOLARSYSTEM HAVEN PORTAL RADIANCE SHIP CHILDRENOFTHESUN OMNIVERSE FUTURE THE RADHA RAINBOWWIZARD SPINNINGSONG WORLDS PERCEPTION GOVINDA DREAMSEYE LUCIDITY CITADELSANCTUARY 🐉THE HOUSE GATLINBURGTN THERHYTHMSECTION POWER TARA MEDICINE SOUL JIMI DIMENSION BETWEEN BOWIE HEAVEN DREAMWEAVER RECORD MUSHROOM YOU LEARNING MEMORYPALACE ANDROMEDAN PROTECTIONAURA CURE I CAT REFUGE HOMEGALAXY GATEWAY ANDROMEDA ALIEN CIRCULAR LIBRARIANCONSTELLATION CROSSROADS GALAXYSPIRAL KABBALAH LOVESONG GARDENTREE KINDNESS BOB LUMINOUS WIZARDSILVER WHENDOVESCRY STAIRWAYHEAVENLY GATEWAYSAPPHIRE WATERFALL ICE LAND MATTER MAGICMIRROR STARS ELFLANDKINDNESS POLITICS DAVID STOMPING ISLANDSANCTUARY MILKYWAY INFINITY AWE THEATERFRACTAL RAINBOWBRIDGE PRESERVATION SURREAL ISLANDSPLANETARY HEART UNIVERSE YOUEARTH MAZE SHIRT FLOWERS SCIENCE SMOKY ORDERSACRED FLOWER KABBALAHALCHEMY WARDEN SEASCAPE BUSH TREASURY WAYSTATION BAND JIMIHENDRIX TRANSCENTALPRAGMATISM BALANCE RA STAIRWAYTOHEAVEN MAGICAL CENTER MAGICALBUTTERFLY W ELFLAND GOLDEN TRANSFORMATION GREEN RELIGION IMAGINATIONSTATION LIBRARIAN GARDEN CONTINENT DIAMONDDRAGON ALCHEMY S LAKECOSMIC DIAMONDEYES STARSHIP ISLANDS INTERPLAY NEGOTIATION DISCOVERY TEMPLECIRCULAR CENTRAL HOLYSPIRIT DIPLOMACY LATTICE ELEMENTALBALANCE RESURRECTIONRESTORATION SONGOFTHESTARS KATEBUSH LAKE DOORWAY PROTECTIONOFLIFE RELIGIONTRANSPORTATION SPINNING BARRIER STORYTELLING KNOWLEDGE SECTION MOTH SMOKYMOUNTAINS JOURNEYS DISCOVERYVOYAGES INDULCEJUBILO AURAOFPROTECTION GODDESS BANDSHIRTS INTERCONNECTION ASTROLOGYAQUARIUS AMETHYSTLEGEND TRANSMUTATION BIRD CONSCIOUSNESSREALM DAVIDBOWIE PLANETARY SHIRTS MOEBIUS MOUNTAINS LOCALGROUP STARCASTLE OMNIVERSEPURPLE LUCIDTAROT TN RETURN WINDFLOWERS INTERDIMENSIONALANCIENT TREESECRET SILVERDRAGON CAMPGARDEN MAGI MALLAQUARIUM WHATINTHEWORLDAURA UNDERWORLD CRYSTALUNIVERSE MASKSOFGOD FAERYSEASCAPE ENTRANCE "WELL IT'S NOTHING VERY SPECIAL. TRY TO BE NICE AVOID EATING FAT READ A GOOD BOOK EVERY NOW AND THEN GET SOME WALKING IN LIVE TOGETHER HARMONY WITH ALL CREEDS NATIONS." -- MONTY PYTHON'S MEANING DIAMOND DRAGON GUARDIAN TOWER CASTLE STATION CITADEL FORTRESS ASTRAL PALACE MEMORY LABYRINTH NEXUS GATEWAY MULTIVERSAL UNIVERSAL CONSCIOUSNESS DOORWAYS WINDOWS IN TIME AND SPACE COSMIC DREAM ISLAND NETWORK PLANETARY NEBULAE GALACTIC INTER RADIO RADIO ELECTRIC BLUE SAPPHIRE AMETHYST EMERALD GOLD SILVER AURA PROTECTION PRESERVATION CONSERVATION RESTORATION RESURRECTION PLANETOLOGY RUBY RED CERULEAN AZURE TURQUOISE CHARTREUSE CRYSTAL ASTROLOGY MYTHOLOGY ARCHETYPAL CONNECTION SPIRIT FIRE EARTH WATER AIR TEMPLE BALANCE PEACE GARDEN SKY MOUNTAIN BRIDGE MAGICAL MYSTERY TOUR HOUSE INN

RHYTHM SECTION SYMMETRICAL ANGELIC LUMINOUS PSYCHEDELIC ULTRA MOEBIUS 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 EVERYTHING IN ITS RIGHT PLACE PYRAMID SONG KARMA POLICE LEAVING MEANING SOME NEW THINGS 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 OMKARA LINE MAGICAL MYSTERY TOUR MOTHER OF PEARL

 

DREAM #MEMORY #PROTECTION #LIBRARY #SPIRAL #STATION #STAIRWAY #DOORWAY #STAIRWAY #STANDING #HEAVEN #RADIO #FUTURE #LIBRARIANS #KNOWLEDGE #LIBRARY #GATEWAY #ANCIENT #DRAGON #PEACE #EMERALD #ASTROLOGY #LIFE #RADIO #TEMPLE #GATEWAY #TRAIN #WISDOM #NETWORKS #BRIDGE #SWIRL #LIBRARIANS #IMAGINATION #LIBRARY #RESURRECTION #TAROT #COSMIC #ISLAND #DREAM #LIBRARY #ELEMENTAL #SPIRAL #RESTORATION #COLLEGE #STATION #ANCIENT #FUTURE #ACROSS #HEALING #RAINBOW #TOWER #SPIRAL #NEXUS #MYTHOLOGICAL #INVISIBLE #QUEEN #TOWER #DRAGON #GUARDIAN #RADIO #NEXUS #LEADING #NEXUS #THE #WATER #SAPPHIRE #ILLUMINATING #AIR #COSMIC #PRIEST #RAINBOW #FORTRESS #ASTRAL #PSYCHEDELIC #COSMIC #BROADCASTING #AURA #CASTLE #TRAIN #UNIVERSAL #PSYCHEDELIC #PRINCESS #CITADEL #STATION #FIRE #IMAGINATION #NEXUS #LIBRARY #ISLAND #RAINBOW #COSMIC #COSMOS:

 

SPACE #GUARDIANS

TREE #KNOWLEDGE #LIGHT #SILVER #GATEWAY #SPIRAL #KING #INTERGALACTIC #SPIRIT #DRAGON #LIBRARIANS #ASSISTED #ISLAND #TEMPLE #MOUNTAIN #TEMPLE #BLUE #MULTIVERSAL #LIBRARY #OF #STAIRWAY #REFLECTION #AS #NETWORK #FUTURE #ISLAND #DIAMOND #HOLY #NEBULAE #MAJESTIC #IMAGINATION #VASTHOLD #TREE #AVATAR #DRAGON #LIBRARY #CASTLE #NEBULAE #PALACE #ANCIENT #LOVE #STATIONS #GATEWAY #STAIRWAY #CASTLE #TOWER #GUARDIANS #SKY #STATION #STATION #INTERGALACTIC #NETWORK #IN #FANTASY #CASTLE #PSYCHEDELIC #TRAIN #NEBULAE #ANCIENT #LIFE:

INTERGALACTIC #MAGIC #SANCTUARY #AMETHYST #LIBRARY #RAINBOWS #SECRET #EARTH #TEMPLE #STATION #TOWER #FUTURE

ALCHEMY #OF #THE #HEART / #SMILE / #TYGER / #LONDON / #SARA / #YOU #KNOW #EVERYTHING / #LOVE #OF #LIFE / #1000 #YEARS / #DREAM #DREAM / #PLEASE #REMEMBER #ME / #HUMS / #LEAVING #MEANING / #CATHEDRALS #OF #HEAVEN / #SOME #NEW #THINGS / #LET #THE #BELLS #RING / #SUPERNATURALLY / #SPELL / #CARRY #ME / #BRING #IT #ON / #COME #INTO #MY #SLEEP / #EASY #MONEY / #CONFLICT / #OMMADAWN / #PUNKADIDDLE / #TUBULAR #BELLS / #TAURUS / #FIVE #MILES #OUT / #TO #BE #FREE / #IN #HIGH #PLACES / #SHIVA / #INCANTATIONS / #YOU'RE #GONNA #MAKE #ME #LONESOME #WHEN #YOU #GO / #RIDE #ON #THE #RAY / #SCUBA #SCUBA / #UNDERWATER #SUNLIGHT / #MOJAVE #PLAN / #DISCONNECT #THE #DOTS / #YOUR #MAGIC #IS #WORKING / #CLIMB #THE #LADDER / #SPIKE #THE #SENSES / #OK #PAL / #SPLENDOR / #YEAR #ONE #ONE #UFO / #FOUNTAINS / #STEVE #MCQUEEN / #ECHOES #OF #MINE / #OUTRO / #GO! / #TIME #WIND / #MIDNIGHT #CITY / #AFTER #THE #GOLD #RUSH / #WALKING #DOWN #THE #LINE / #UP #TO #ME / #SEVEN #DAYS / #SERIES #OF #DREAMS / #TANGLED #UP #IN #BLUE / #ISIS / #EVERY #GRAIN #OF #SAND / #JOKERMAN / #SONG #TO #THE #SIREN / #SONG #OF #THE #STARS / #CHILDREN #OF #THE #SUN / #SONG #OF #THE #SUN / #RED #MONEY / #NEW #CAREER #IN #A #NEW #TOWN / #STATION #TO #STATION / #SPEED #OF #LIFE / #WHAT #IN #THE #WORLD / #SOUND #AND #VISION / #BE #MY #WIFE / #OUR #HOUSE / #CARRY #ON / #TIME #AFTER #TIME / #EVERYBODY #I #LOVE #YOU / #FASHION / #REBEL #REBEL / #LOVING #THE #ALIEN / #SCARY #MONSTERS / #LOOK #BACK #IN #ANGER / #MODERN #LOVE / #UNDERGROUND / #AS #THE #WORLD #FALLS #DOWN / #NEVER #LET #ME #DOWN / #WITHIN #YOU / #THIS #IS #NOT #AMERICA / #TIME #WILL #CRAWL / #MIRAGE / #THE #WEEPING #SONG / #GOD #IS #IN #THE #HOUSE / #UP! / #YOU #APPEARING / #HIGHWAY #OF #ENDLESS #DREAMS / #INDIAN #SUMMER / #AMERICA #IS #WAITING / #TAKING #TIGER #MOUNTAIN / #MIRACLE #OF #LOVE / #IDENTITY / #WHEN #SHE #BREATHES / #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 #EVERYTHING #IN #ITS #RIGHT #PLACE #PYRAMID #SONG #KARMA #POLICE #LEAVING #MEANING #SOME #NEW #THINGS #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 #OMKARA #LINE #MAGICAL #MYSTERY #TOUR #MOTHER #OF #PEARL

 

IN REALMS UNSEEN, WHERE RAINBOWS GLEAM,

A CASTLE STANDS,

 

A VIBRANT DREAM.

ANGELIC BEINGS, LUMINOUS BRIGHT,

IN PSYCHEDELIC HUES, IGNITE.

 

MOEBIUS TWISTS, A GATEWAY CALLS,

TO COSMIC OCEANS, STARRY HALLS.

A LIBRARY VAST, WITH KNOWLEDGE DEEP,

DREAM WORLD TREE, WHERE SECRETS SLEEP.

 

A GLASS SPIDER SPINS, A LABYRINTHINE MAZE,

A NEVERENDING TALE, THROUGH ENDLESS DAYS.

LOVE'S ALIEN DREAM, IN MIDNIGHT'S LIGHT,

PYRAMID SONGS, IN SHADOWS' FLIGHT.

 

KARMA'S WHEELS TURN, MEANINGS UNFOLD,

SUN AND RAINBOW, STORIES TOLD.

RIDERS THROUGH ROCKS, A TYGER'S GRACE,

UNDERWATER SUNLIGHT, TIME'S EMBRACE.

 

SILVER CROSSES, POWER UNTOLD,

DRAGON'S HEART, A STORY BOLD.

MAGICAL MYSTERY TOUR, THE JOURNEY'S END,

MOTHER OF PEARL, A TIMELESS FRIEND.

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LEGENDTREE PASTEL CROSSROADSINN 🌈 LABYRINTHLIBRARY GODDESSOFCOMPASSION ️ WATERSPIRIT ‍♂️ IMAGINARY MAGICMEADOW STAROCEAN OCEANLIFE WATERTEMPLE MAGICMANDALA SKYBLUE ❄️ PROTECTIONLIFE 💮 🌠 😻 🌚 🌛 🌝 🌜 NEVERENDING STORY BANDITS BRAZIL CLOCKWORK ORANGE SHINING BARRY LYNDON ✨❤️⭐💜💛💙💚💟🐉🌈🌠😻 ACDC AEROSMITH ALICEINCHAINS ALLMANBROTHERS BEASTIEBOYS BEATLES BLACKSABBATH JOHNNYCASH THECROW THECURE DEFLEPPARD DEFTONES THEDOORS EAGLES FLEETWOODMAC FOOFIGHTERS GENESIS GHOST GRATEFULDEAD GREENDAY GUNSNROSES IRONMAIDEN JOYDIVISION JUDASPRIEST MICHAELJACKSON KISS KORN LEDZEPPELIN LYNYRDSKYNYRD BOBMARLEY METALLICA MISFITS THESMITHS MORRISSEY MOTLEYCRUE MOTORHEAD NINEINCHNAILS KURTCOBAIN OZZYOSBOURNE PANTERA PEARLJAM TOMPETTY PINKFLOYD ELVISPRESLEY PRIMUS PRINCE QUEEN RADIOHEAD RAGEAGAINSTHEMACHINE RAMONES ROLLINGSTONES REDHOTCHILIPEPPERS RUSH SISTERSOFMERCY SLIPKNOT SMASHINGPUMPKINS SOUNDGARDEN BRUCESPRINGSTEEN STONETEMPLEPILOTS SUBLIME SYSTEMOFADOWN TOOL TYPEONEGATIVE U2 VANHALEN STEVIERAYVAUGHAN VENOM 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www.holyspiritspeaks.org/on-quieting-your-heart-before-go...

 

Pondering the words of God and praying over the words of God at the same time as eating and drinking the actual words of God—this is the first step to being at peace before God. If you can be truly at peace before God, then the enlightenment and illumination of the Holy Spirit will be with you.

All spiritual life is achieved by relying on being quiet before God. In praying you must be quiet before God before you can be moved by the Holy Spirit. By being quiet before God when you eat and drink God’s words you can be enlightened and illuminated and be able to achieve truly understanding God’s words. In your usual meditation and fellowship, and when you are drawing close to God with your heart, only when you are quiet before God can you have genuine closeness to God, genuine understanding of God’s love and God’s work, and true thoughtfulness toward God’s intentions. The more you are usually able to be quiet before God the more you can be illuminated, and the more you are able to understand your own corrupt disposition, what you lack, what you should enter, what function you should serve, and where you have defects. All these are achieved by relying on being quiet before God. If you truly reach some depth in being quiet before God, you can touch some mysteries in the spirit, touch on what God at present wants to do on you, touch on deeper understanding of God’s words, and touch on the essence of God’s words, on the substance of God’s words, on the being of God’s words, and you can see the path of practice more thoroughly and more accurately. If you cannot be quiet in your spirit to a certain depth, you will just be somewhat moved by the Holy Spirit, inside you will feel strength, and some enjoyment and peace, but you will not touch anything deeper. I have said before, if one does not use all their strength, it will be difficult for them to hear My voice or see My face. This refers to achieving depth in being quiet before God, not to external effort. A person who can truly be quiet before God is able to free themselves from all worldly ties and can achieve being occupied by God. All people who are unable to be quiet before God are assuredly dissolute and unrestrained. All who are able to be quiet before God are people who are pious before God, people who yearn for God. It is only people who are quiet before God who pay attention to life, pay attention to fellowship in spirit, who thirst for God’s words, and who pursue the truth. All those who pay no attention to being quiet before God, who do not practice being quiet before God are vain people who are completely attached to the world, who are without life; even if they say they believe in God they are just paying lip-service. Those God ultimately perfects and completes are people who can be quiet before God. Therefore, people who are quiet before God are people graced with great blessings. People who during the day take little time to eat and drink God’s words, who are completely preoccupied with external affairs, and do not pay attention to life entry are all hypocrites with no prospect of developing in the future. It is those who can be quiet before God and genuinely commune with God who are God’s people.

 

from "On Quieting Your Heart Before God"

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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

 

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Its beginning to feel a little like Spring.

 

Even if the temperature didn't get above 4 degrees today, the sun did shine, and there was little breeze. And on our travels through the Kent countryside, spring flowers were everywhere to be seen.

 

We got up at half six when the water heater fired up, fed the cats, gave Scully her jab and made coffee.

 

Then to Whitfield for some hunting and gathering. Jools needing a cider restock and then the rest of the stuff we get through each week.

 

At least shopping so early means missing most of the crazies, and we see the same faces each week, though not well enough to speak, maybe the nod of a head.

 

Back home for breakfast of fruit and tea, put the shopping away and ignore the meows for more food.

 

And off out for some gentle churchcrawling. Our first target is perhaps the last substantial Norman church in east Kent I had yet to visit: Great Chart.

 

Great Chart is now a suburb of Ashford, which is spreading westwards towards the Romney Marsh. This means navigating the series of manic roundabouts onto the A28, past Waitrose and out of town, turning off on about the tenth roundabout, and through the village, no new builds here.

 

And on top of the hill is the church, which Google maps assured me would be open at ten. It was twenty five to eleven, so safe as milk?

 

No. It was locked, with no details of keyholders. So I took some exterior shots and we walked back to the car.

 

I had a back up. We were going here anyway, just Jools didn't know.

 

On the other side of Ashford, out in the countryside, and just below the treeline of Kings Wood, at the end of a dead end lane next to a manor house, is Boughton Aluph.

 

I knew it would be locked, but also knew there was details of a keyholder. So, once we arrived, I called the number, was given directions, and off we set to Boughton Leas.

 

Up a six footer up the down, right at a junction, then right at the first cottage, and the old lady was waiting.

 

We reversed out, turned round and went back to the church, parking in the entrance to a field.

 

Beds jammed with Winter Aconites abounded, but i only had eyes for the church, up the steep path and through the old swing gate.

 

There is no path to the Priest's door, just a track of flattened grass. I went down the stops, inserted the key and turned, the door moved, then opened.

 

Inside is a large a airy space, well lit through windows with little stained glass. Entry is via the vestry in the north chapel, so I walk out into the Chancel, ad look back at the large Nave, filled with chairs.

 

The walls are sparsely adorned, with the memorials that are there as listed by Hasted below. Amazing to think of details recorded 220 years ago are still there and recognisable by his description.

 

The church has a new organ, which I am told sounds splendid in the summer when there are regular concerts as part of Stour Valley Music group.

 

Beside the organ I see the wall painting of The Trinity, though it is hard to see it all other than via an oblique view as the organ is in the way.

 

Ancient glass fills the upper traceries of the east window, most in good condition. At the west in, shards and remnants make more of an abstract display.

 

After half an hour I was done, so leave a donation and exit the church, locking the door behind me.

 

We took the key back, then was the question: shall we have lunch out?

 

We shall.

 

But where.

 

I mention the New Flying Horse in Wye, which is three miles away across the Stour and railway. So off we go. At the level crossing we see the new barriers, which replaced the manual gates a couple of years back, then up through the village, past the mad parking near the market, and along a back street to the pub.

 

It was five minutes past opening time.

 

They had a table, and at least three menus. We both chose steakburgers, and so waited and people-watched until the food arrived.

 

It was nothing extraordinary, but that's not what you want in a burger: just cheese, bacon and pickles. And lots of crispy fries.

 

We pay, and leave. Jools had accidentally ordered a pint of cider, so I drove back, back over Wye Down, to Stone Street then to Bridge and onto the A2.

 

Traffic was very light, we got back at two, just in time to watch the end of the lunchtime games and make a brew before taking my place beside Scully on the sofa.

 

Where I then fell asleep for half an hour.

 

Norwich only drew at Hull, a team we put to the sword in the warm autumn sunshine back in September.

 

Bacon butties for supper, then settle down to watch Palace v Everton, and it was the Toffees who win again under their old new manager, David Moyes.

 

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A connoisseur's church built in the thirteenth century by a man called Adulphus to replace a Saxon church. About a hundred years later the church was substantially enlarged under Sir Thomas Aldon, a courtier of Edward III. Stained glass shields of the King and associated Kentish families still survive as part of the fantastic East window where the upper lights actually follow the curve of both the external arch and the arch of the three main lights below. How fine it must have looked when completely glazed in stained glass. The south porch has a rare fireplace - showing that it may have been adapted to cater for pilgrims on their way to the shrine of Becket at Canterbury Cathedral. Of the same date is the fine screen and possibly the floor tiles. In the north transept is a good example of late fifteenth century wall painting. It depicts the Trinity and is set in a series of decorative frames. Regrettably the dove - central to the story as representative of the Holy Spirit - has long disappeared.

 

www.kentchurches.info/church.asp?p=Boughton+Aluph

 

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BOUGHTON ALUPH

IS the next parish westward from that of Wye. It is frequently spelt Bocton, and is written in Domesday, Boltune, and has the addition of Aluph to it from one of its antient owners, Alulphus de Bocton, as well as to distinguish it from the other parishes of the same name in this county, and in a will, proved anno 1416, in the Prerogative-office, Canterbury, I find it mentioned by the name of the parish of Boughton Aluph, otherwise called Boughton in the Bushe. There are four boroughs in it, Goatlands, Wilmington, Dane, and Hebbinge.

 

THE PARISH lies about twelve miles distant both from Canterbury and Faversham, and about four from Ashford, the high road from Canterbury to the latter goes along the foot of the hills, near the eastern boundary of the parish, where the soil is chalky; close on the east side of the road is Buckwell-house, great part of which has been some time since pulled down, but there is sufficient remaining, with the offices and walls about it, to shew it was once a seat of some note, and at no great distance on the hill, high above the road, is the church and court-lodge. Above this, still further westward, is much open, rough ground, called the Warren, on a chalky soil, reaching beyond the high Faversham road, the new inclosure in Eastwell park adjoining to it, being within this parish; within the northern boundary of it there is a parcel of woodland, about one hundred acres lying in Kingswood, just above Socombe down; it was formerly part of Barton manor, and was sold off from it by Mr. Breton a few years before he sold that manor to Sir Robert Furnese, bart, by whose daughter Catherine it went in marriage to the earl of Guildford, whose grandson George-Augustus, earl of Guildford, is now possessed of it. By the pales of Eastwell park, at a small distance from the mansion of it, the last mentioned road descends below the hill to low ground, and mostly a gravelly soil; on it is the village, situated round a green, called Boughton lees, the west side only of which is in this parish. At the southern boundary of the parish, on the Ashford road, is the borough and hamlet of Wilmington, the antient mansion of which stood close to the road, it has been long since pulled down. It stood within a moat, which is still very entire, its area containing half an acre of ground; many old foundations have been dug up round about it within memory.

 

There is a fair held on the lees on Midsummer day for toys and pedlary.

 

IN THE TIME of the Saxons this place was in the possession of earl Godwin, who was succeeded in it by his eldest son earl Harold, afterwards king of England, on whose death in the fatal battle of Hastings, William the Conqueror having obtained the crown, seized on all the late king's estates, and gave this of Boughton to Eustance, earl of Bologne, who had followed him over hither, as a reward for his services; and he possessed it in the 15th year of that reign, at the time the survey of Domesday was taken, in which it is thus entered, under the title of Terra Comitis Eustachii, i. e. the land of earl Eustace.

 

In the lath of Wivarlet, in Wihundred, the earl holds Boltune. Earl Goduin held it, and it was taxed at seven sulings, then and now. The arable land is thirty-three carucartes. In demesne there are three, and sixty-seven villeins, with five borders having thirty carucates. There is a church, and seventeen servants, and two mills of seven shillings and two-pence, and twenty-six acres of meadow. Wood for the pannage of two hundred hogs. In the time of king Edward the Confessor it was worth twenty pounds, and afterwards thirty pounds, now forty pounds.

 

Of the earl of Bologne this manor was held by a family who assumed their name from it. Alulphus de Boughton held it in the reign of king John, as appears by the Testa de Nevil, of the honor of Bologne. Stephen de Bocton died possessed of this manor in the 14th year of Edward I. holding it in capite by knight's service; together with its member, Hethenden, in Kent, and Orset, in Essex, both escheats of that honor. Soon after which it passed into the family of Burghersh, and Robert de Burghersh, constable of Dover castle, died possessed of this manor of Bocton Olaus in the 34th year of that reign, whose son Stephen, in the 1st year of Edward II obtained a charter of free-warren in all his demesne lands within it. To him succeeded Bartholomew, lord Bughersh, constable of Dover Castle, lord warden, and chamberlain of the king's household. In the 12th, and in the 16th years of Edward III. he had the charter of free-warren renewed for all his lands. (fn. 1) His son Bartholomew, lord Burghersh, about the 43d year of king Edward III. passed away this manor by sale, with much other land in this county and in Warwickshire, to Sir Walter de Paveley, K.G. who spelt his name both Paveley and Pavalli, and bore for his arms, Azure, a cross story, or, as they are now on the roof of Canterbury cloisters. After the death of whose grandson Walter, in the 4th year of king Richard II. it was found by inquisition, that this manor, with the advowson of the church of Bocton Aluph, descended by the entail of it to Thomas de Aldon, as his next heir, who became accordingly possessed of it, and afterwards alienated it to Sir Thomas Trivet, whose widow Elizabeth died possessed of it in the 12th year of king Henry VI. and was succeeded by Elizabeth, then wife of Edward Nevill, lord Bergavenny, fourth son of Ralph, earl of Westmoreland; as her next heir, and the entitled her husband above-mentioned to the possession of it. After her death he remarried Catherine, daughter of Sir Robert Howard, and died anno 19 Edward IV. being then possessed as tenant by the courtesy of England, of this manor among others of the inheritance of Elizabeth his first wife. His eldest son Sir George Nevill, lord Bergavenny; seems to have sold this manor to Sir Thomas Kempe, of Ollantigh, whose youngest son Thomas, bishop of London, died possessed of it in the 4th year of king Henry VII. leaving his nephew Sir Thomas Kempe his next heir, whose descendant Sir Thomas Kempe, of Ollantigh, about the latter and of queen Elizabeth's reign, alienated it to Finch, of Eastwell, in whose successors, earls of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who, by will in 1769, devised this manor to George Finch Hatton, esq. of Eastwell, the present owner of it.

 

SEATON is a small manor in this parish, which was held by knight's service in grand sergeantry, to provide one man, called a vautrer, to lead three greyhounds when the king should go into Gascony, until he had worn out a pair of shoes of the price of four-pence, bought at the king's cost; (fn. 2) by which service John de Criol, younger son of Bertram, held it at his death in the 48th year of king Henry III. whose grand-daughter Joane becoming heir to her brother's inheritance, who died s. p. she carried this manor in marriage to Sir Richard de Rokesle, who was found to hold it by the like service, in the 11th year of king Edward II. His eldest daughter and coheir Agnes married Thomas de Poynings, and entitled him to the possession of it. In whose descendants it continued till Alianore, daughter of Richard de Poynings, marrying Henry, lord Percy, eldest son of Henry, earl of Northamberland, he, in her right, became entitled to this manor among her other great inheritance in this county and elsewhere; and in his descendants this manor continued down to Henry, VIII. earl of Northamberland, (fn. 3) who, in the 23d year of Henry VIII. conveyed it to feoffees, who soon afterwards passed it away by sale to Sir Christopher Hales, afterwards knighted, and the king's attorney-general, whose lands were disgavelled by the act of the 31st year of Henry VIII. He died possessed of it in the 33d year of that reign, holding it of the king, as of his castle of Dover, by knight's service. He left three daughters his coheirs, who joined in the sale of it to Sir Thomas Moyle, of Eastwell, and chancellor of the king's court of augmentation, whose daughter and coheir Catherine, carried it in marriage to Sir Thomas Finch, of Eastwell, (fn. 4) in whose descendants, earls of Winchelsea, this manor continued down to Daniel, earl of Winchelsea and Nottingham, who dying in 1769, without male issue, gave it, together with his other estates in this county, to his nephew George Finch Hatton, esq. now of Eastwell, the present proprietor of it.

 

BARTON is a manor here, the mansion of which stood on the west side of the Ashford road, in the borough of Socombe, almost opposite to Buckwell, but it has been pulled down some years, and there is now only a barn on the scite of it. It was once part of the possessions of the family of Leyborne, of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of king Henry III. and in this name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which, she was usually stiled the Infanta of Kent, who, though she had three husbands, all of whom she survived, yet she died s. p. in the 41st year of king Edward III. (fn. 5) Upon which this manor, among the rest of her estates, escheated to the crown, there being no one found who could make claim to her estates, by direct or even by collateral alliance. After which this manor continued in the crown, till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, at Westminister, which he had in his 22d year completed and made collegiate, and had the year before granted to the dean and canons of this manor, among others, in mortmain. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, who soon afterwards granted this manor to Sir Thomas Moyle, of Eastwell, and he parted with it to his brother Walter Moyle, esq. who afterwards resided at Buckwell, in this parish; and in his descendants, resident at Buckwell, this manor continued, till John Moyle, esq. of Buckwell, leaving Mary his sole daughter and heir, she carried it in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of it in 1708, and his son, Moyle Breton, esq. of Kennington, about the year 1730, sold this manor to Thomas May, afterwards Knight, esq. of Godmersham, whose son Tho. Knight, esq. of Godmersham, dying in 1794, s.p. gave it by will to his widow Mrs. Catherine Knight, but she has since resigned it to Edward Austen, esq. of Godmersham park, who is the present owner of it.

 

BUCKWELL, which was once accounted a manor, is situated at a small distance from Barton last-mentioned, though on the opposite side of the road. It was, in the reign of the Conqueror, part of those estates which were given to William de Arsick, for his assistance in the desence of Dover castle, and made up, with them, the barony of Arsick, being held of it, as one knight's fee, by barony, as of the castle of Dover, to which it owed ward and service. Of him and his heirs this manor was again held by the family of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of Henry III. and was succeeded in it by William his son; but when it passed from this name, I have not found; but soon afterwards, the manor of Buckwell, and the mansion of it, seem to have been Separated, and in the possession of different owners; for the manor itself became the property of Robert de Burghersh, constable of Dover castle, and likewise lord warden, whose descendant Bartholomew, lord Burghersh, about the 43d year of king Edward III. conveyed it, with other land in this parish and elsewhere, to Sir Walter de Paveley, one of whose descendants passed it away to Sir Robert Belknap, chief justice of the common pleas, who in the 11th year of that reign was attainted, and banished to Ireland, and though he was afterwards permitted to return in the 20th year of it, yet his attainder still continued, and his lands remained forfeited as before, (fn. 6) and this manor remained in the crown till that king vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in Westminster, in the possession of the dean and canons, of which it remained till the suppression of that college in the 1st year of king Edward VI. when it came into the hands of the crown, whence it was granted to John Moyle, whose ancestors, resident at the mansion of Buckwell, had likewise been leffees of this manor under the deans and canons for some generations.

 

Mention has been made above, that the mansion of Buckwell had, before the reign of king Edward I. been separated from the manor itself; accordingly I find, that in the 8th year of king Edward III. William de la Hay died possessed of it, and that soon afterwards it became the property of a family who assumed their name from it, being usually called Bekewell. Henry de Bekewell appears by the escheat-rolls to have died possessed of it in the 10th year of that reign, as did his descendant, of the same name, in the 17th year of king Richard II. After this family was extinct here, this seat became the property of Wode, and remained so till the 34th year of Henry VI. and then Robert Wode passed it away by sale to Walter Moyle, ancestor of John Moyle, esq. of this place, who had the grant of the manor of Buckwell from king Edward VI. as be fore-mentioned. The Moyles were descended from Thomas Moyle, of Bodmin, in Cornwall, whose grandson Sir Walter, third son of Henry, was of Eastwell, and purchaser of this estate, as before-mentioned. His eldest son John had several sons, of whom John was father of Ralph Moyle, who died at Eastwell in 1582. Walter was of Buckwell, and ancestor of the Moyles of this place; and Thomas, who was knighted, and was of Eastwell, left two daughters his coheirs, married to Finch and Kempe. They bore for their arms, Gules, a mule passant, within a bordure, argent. There are many memorials of them in both the chancels of this church. (fn. 7) In the descendants of John Moyle, resident at Buckwell, this manor and seat continued till Mary, sole daughter and heir of John Moyle, esq. carried both of them in marriage to Robert Breton, esq. of the Elmes, near Dover, whose son Moyle Breton, esq. of Kennington, about the year 1730, being enabled so to do by an act passed for this purpose, sold them, with other adjoining estates, to Thomas May, afterwards Knight, esq. of Godmersham, and his only son and heir Thomas Knight, esq. of that place, on his death, s. p. in 1794, gave them by will to his widow, Mrs. Catherine Knight, who likewise resigned them to Edward Austen, esq. of Godmersham, the present owner of them.

 

Wilmington, called likewise antiently Wilmingdon, is a manor which lies at the southern part of this parish, on the Ashford road likewise. It gives name to the borough in which it stands, and to the hamlet of houses which stand round about it. Robert de Wilmington held this manor in the reign of Henry III. in grand sergeantry, of the honor of Bolegne, by the service of being the earl's cook, it being then valued at two marcs. His descendant Bertram de Wilmington, died possessed of it in the 12th year of Edward II. when it was found by inquisition, that he held it of the king in capite, by the service of finding for the king one pot-hook for his meat, whenever he should come within the manor of Boughton Aluph. (fn. 8) His descendant, of the same name, died possessed of it in the 6th year of king Henry V. After which it came into the possession of John Mowbray, duke of Norfolk, who was possessed of it in the 2d year of Edward IV. On his death the great inheritance of the Mowbrays came to the descendants of his two sisters and coheirs, and in the division of it John, lord Howard, in right of his mother Margaret, the eldest of them, became entitled to this manor. He was one of the most illustrious noblemen of his time, and having continued faithful to the house of York, he remained no less stedfast to the interest of king Richard III. who created him duke of Norsolk, earl marshal and lord admiral of England. But he did not enjoy these honors long; for he was next year slain in the battle of Bosworth, fighting on the king's behalf, and in the 1st year of Henry VII. he was attainted in parliament, and this manor, among his other possessions, became confiscated to the crown; (fn. 9) whence it was afterwards granted to Moyle, in which name it continued till the beginning of Edward VI.'s reign, when by Catherine, daughter and coheir of Sir Thomas Moyle, of Eastwell, it went in marriage to Sir Thomas Finch, of that parish, who died in 1563, and she remarrying with Nicholas St. Leger, esq. of Beamstone, in Westwell, entitled him to it for her life. She died in 1586, on which it came to her son Sir Moyle Finch, bart. in whose descendants, earl of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who at his death in 1769, devised it to his nephew George Finch Hatton, esq. now of Eastwell, the present owner of it.

 

But Part Of The Demesne Lands of this manor were sold off, about the year 1713, to the Rev. Hilkiah Bedford, publisher of the bereditary Right of the Crown of England asserted, whose eldest son William Bedford M.D. whose daughter Elizabeth marrying Mr. Claxton, of Shirley, in Surry, has entitled him to the possession of it.

 

ANOTHER PART of this estate, now called Little Wilmington, in the reign of king Henry VI. was in the possession of Richard Sandys, who alienated it to John Barough, who resided at it, and died possessed of it in the 1st year of king Edward IV. One of his descendants, Richard Barrowe, resided here in the reigns of king Elizabeth and James I. and died in the 6th year of the latter, leaving three sons, Robert, Richard, and William, to which last he devised his house and lands in Borden, and from him descended the Barrows of that parish. To Robert Barrow, his eldest son, he devised this estate of Little Wilmington, and in his descendants it continued, till it was at length sold to Knott, and from that name again to Dr. William Egerton, prebendary of Canterbury, who died possessed of it in 1728, leaving two daughters his coheirs, and his widow surviving, upon whose death it came to Jemima, widow of Edward Bridges, esq. of Wotton, one of the above-mentioned coheirs, and William Hammond, esq. of St. Albans, the eldest son of William Hammond, esq. of that place, by Charlotte the other coheir; and upon a division made, this estate was allotted to Mrs. Bridges above-mentioned, now of Canterbury, and she is the present possessor of it.

 

MARDOL MANOR is the last place to be mentioned in this parish, lying on the south side of it. This manor was antiently the patrimony of the Corbies in which it continued till Robert Corbie, in the reign of king Richard II. leaving an only daughter and heir Joane, she carried it, among the rest of her inheritance, to Sir Nicholas Wotton, whose descendant Thomas Wotton, esq. in the reign of queen Elizabeth, passed it away by sale to Sprott, from which name, in the reign of king Charles I. it was alienated to Thomas Finch, earl of Winchelsea, in whose descendants it continued down to Daniel, earl of Winchelsea and Nottingham, who in 1769, gave it by will, with the rest of his estates in this county, to his nephew George Finch Hatton, esq. now the present owner of it.

 

Charities.

MR. JOHN BOUGHTON, vicar, left to this parish by will, in 1642, 30s. per annum to such poor as had great charge of children, aged and incapable to work, to be distributed on the Thursday in Whitsun-week; and to the churchwardens and overseers, 10s. per annum, for a sermon to be preached on that day, to be paid out of house and land on Boughton lees.

 

MR. THOMAS KEEPS left by will in 1780, 20s. per annum to the use of the poor, out of a field in Great Chart, rented at 6l. per annum, the remainder of the rent being left to five other parishes.

 

MR. WILLIAM CROW left by will in 1770, to this parish, the sum of 90l. to be put into the public funds, the amount of the profits of it to be yearly distributed by the owners of Eastwell-place, among such honest and well disposed poor aged men and women, especially widows, as they should consider real objects of charity; but not to persons receiving alms, in relief of the parish.

 

There is an alms-house belonging to this parish, on Boughtonlees, containing six dwellings.

 

The poor constantly relieved are about 15, casually 20.

 

BOUGHTON ALUPH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to All Saints, is large and handsome, built of slint, with ashlar stone to the doors, windows, and quoins. It consists of three isles and two chancels. The steeple is a large low tower, standing on four pillars in the middle of it. There are five bells in it, and at the south-east corner, adjoining to the tower, is a large square addition, in which is a stone stair-case. Both the chancels did belong to the Buckwell estate; but the family of Breton having buried in both since their sale of it, without Mr. Knight's permission, he refused to repair them, and they are now repaired by Mr. Breton. In the great chancel, within the rails, is a monument for Thomas Austen, esq. obt. 1637. In this and the north chancel are many gravestones of the Moiles and Bretons. In the north chancel is a handsome monument of marble, for Amy, wife of Josias Clerk, gent. of Essex, daughter of John Moyle, esq. of Buckwell, obt. 1631, having the effigies of her lying at full length, and of her three children kneeling at her head and feet, in full proportion, under a canopy. In the middle isle is a memorial for John Mascall, esq. obt. 1769; arms, Two bars, over all, three escutcheons ermine, impaling a saltier, and on it a crescent, for difference; and there are memorials for others likewise of the same family.

 

The church of Boughton Aluph, as has been already mentioned before, was antiently an appendage to the manor, and continued so in the 4th year of Richard II. when Sir Walter Pavely died possessed of the same, and it was found that Sir Thomas de Aldon was his next heir. How long afterwards it continued in his heirs I have not found; but in the reign of Henry VI. the advowson of this rectory was become the property of cardinal John Kempe, archbishop of York, who settled it on his new-founded college of Wye, and in the 29th year of that reign the master and chaplains of it had the king's licence to receive this advowson from the cardinal, and to appropriate the rectory of it to themselves; (fn. 10) and a vicarage was endowed here. In which situation it remained till the suppression of the college, in the 36th year of Henry VIII. when it was surrendered into the king's hands, who that year granted this church, with the presentation of the vicarage of it, among other premises, to Walter Bucler, esq. to hold in capite, with certain provisos for the maintenance of the curates and schoolmaster of Wye; which grant, on his non-performance of these conditions, became forfeited, and king Charles I. in his 2d and 5th years, granted the same premises, with the proviso for the payment of certain stipends to the before-mentioned curate and schoolmaster, to Robert Maxwell, from whose heirs this rectory and advowson was afterwards sold to Moyle, of Buckwell, in which name it continued till Mary, daughter and sole heir of John Moyle, esq. of Buckwell, carried them in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of them in 1708, and his great grandson the Rev. Moyle Breton, of Kennington, is the present owner of the parsonage appropriate of Boughton, with the advowson of the vicarage of this church, who pays twenty pounds per annum from it towards the stipends of the curate and schoolmaster of Wye, as stipulated in Robert Maxwell's patent, the several premises granted in it being now in different hands as has been already more fully mentioned before.

 

It is valued in the king's books at 6l. 5s. the yearly tenths being 12s. 6d. but it is now of the clear yearly certified value (delivered in 1752) of 58l. 6s. 10d.

 

In 1578 here were communicants one hundred and fifty-four; in 1640, one hundred and seventy-seven. It is now worth about eighty pounds per annum. There are twenty three acres of glebe belonging to it.

 

There was a composition in 1305 entered into between the rector of Westwell and Stephen de Wilmington, rector of this church, concerning the tithes of the hamlets of Shotingdon, Chilberton, and Wike.

 

www.british-history.ac.uk/survey-kent/vol7/pp384-398

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LUCKDRAGON IMAGINATION JEWELRY DEMONS angels gods of nature rainbow tower library spiral labyrinth legendary heart sacred holy mountain temple station castle dream world LODGE COSMIC REFRACTIONS #LABYRINTHLIBRARY #ENTERSANDMAN #THECURE #LABYRINTHMAGNETS 💟⚛️️☸️☮️☯️☪️✝️☦️✡️🔯♾️🆔⚕️️‍🌈❤️💛💚💙♈♉♊♋♌♍♎♏♐♑♒⛎⛎♀️♂️⚧️🐦🐬🐋🐉🐢🌎🌍🌏🌠🌌🌙💫✨🌟 #STARLIGHT #FLOWER #LIFE #RAINBOW #CASTLE #TOWER #SPIRAL #GATEWAY #COSMIC #FANTASY #TEMPLE #INN #FRACTAL #MANDALA #SUNFLOWER #IMAGINATION #STATION #LIBRARY #REFUGE #SKY #BLUE #STARLIGHT #SAPPHIRE #WORLD #GARDEN #MULTIVERSAL #ISLAND #EVENING #STAR #SECRET #PALACE #FORTRESS #PORTAL #FOREST #FAIRY #ELF #MYSTICAL #MAGICAL #MYSTERY #AURA #PROTECTION #PRESERVATION #RESTORATION #HEALING #IMMANENCE #ASTRAL #DREAM #DREAMS #DREAMING #MEMORY #STORYTELLING #CONSCIOUSNESS #SPIRIT #CHAKRAS #TRANSCENDENCE #MYSTIC #MYSTICSSKY #HAPPY #KIND #LATTICE #NETWORK #CIRCLE #DRAGON #LIGHT #BUTTERFLY #GUARDIAN #WATER #RIVER #OF #MATRIX #TREE #UNIVERSAL #GATLINBURG #RECORD #STORE #CROSSROADS #BEAR 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Its beginning to feel a little like Spring.

 

Even if the temperature didn't get above 4 degrees today, the sun did shine, and there was little breeze. And on our travels through the Kent countryside, spring flowers were everywhere to be seen.

 

We got up at half six when the water heater fired up, fed the cats, gave Scully her jab and made coffee.

 

Then to Whitfield for some hunting and gathering. Jools needing a cider restock and then the rest of the stuff we get through each week.

 

At least shopping so early means missing most of the crazies, and we see the same faces each week, though not well enough to speak, maybe the nod of a head.

 

Back home for breakfast of fruit and tea, put the shopping away and ignore the meows for more food.

 

And off out for some gentle churchcrawling. Our first target is perhaps the last substantial Norman church in east Kent I had yet to visit: Great Chart.

 

Great Chart is now a suburb of Ashford, which is spreading westwards towards the Romney Marsh. This means navigating the series of manic roundabouts onto the A28, past Waitrose and out of town, turning off on about the tenth roundabout, and through the village, no new builds here.

 

And on top of the hill is the church, which Google maps assured me would be open at ten. It was twenty five to eleven, so safe as milk?

 

No. It was locked, with no details of keyholders. So I took some exterior shots and we walked back to the car.

 

I had a back up. We were going here anyway, just Jools didn't know.

 

On the other side of Ashford, out in the countryside, and just below the treeline of Kings Wood, at the end of a dead end lane next to a manor house, is Boughton Aluph.

 

I knew it would be locked, but also knew there was details of a keyholder. So, once we arrived, I called the number, was given directions, and off we set to Boughton Leas.

 

Up a six footer up the down, right at a junction, then right at the first cottage, and the old lady was waiting.

 

We reversed out, turned round and went back to the church, parking in the entrance to a field.

 

Beds jammed with Winter Aconites abounded, but i only had eyes for the church, up the steep path and through the old swing gate.

 

There is no path to the Priest's door, just a track of flattened grass. I went down the stops, inserted the key and turned, the door moved, then opened.

 

Inside is a large a airy space, well lit through windows with little stained glass. Entry is via the vestry in the north chapel, so I walk out into the Chancel, ad look back at the large Nave, filled with chairs.

 

The walls are sparsely adorned, with the memorials that are there as listed by Hasted below. Amazing to think of details recorded 220 years ago are still there and recognisable by his description.

 

The church has a new organ, which I am told sounds splendid in the summer when there are regular concerts as part of Stour Valley Music group.

 

Beside the organ I see the wall painting of The Trinity, though it is hard to see it all other than via an oblique view as the organ is in the way.

 

Ancient glass fills the upper traceries of the east window, most in good condition. At the west in, shards and remnants make more of an abstract display.

 

After half an hour I was done, so leave a donation and exit the church, locking the door behind me.

 

We took the key back, then was the question: shall we have lunch out?

 

We shall.

 

But where.

 

I mention the New Flying Horse in Wye, which is three miles away across the Stour and railway. So off we go. At the level crossing we see the new barriers, which replaced the manual gates a couple of years back, then up through the village, past the mad parking near the market, and along a back street to the pub.

 

It was five minutes past opening time.

 

They had a table, and at least three menus. We both chose steakburgers, and so waited and people-watched until the food arrived.

 

It was nothing extraordinary, but that's not what you want in a burger: just cheese, bacon and pickles. And lots of crispy fries.

 

We pay, and leave. Jools had accidentally ordered a pint of cider, so I drove back, back over Wye Down, to Stone Street then to Bridge and onto the A2.

 

Traffic was very light, we got back at two, just in time to watch the end of the lunchtime games and make a brew before taking my place beside Scully on the sofa.

 

Where I then fell asleep for half an hour.

 

Norwich only drew at Hull, a team we put to the sword in the warm autumn sunshine back in September.

 

Bacon butties for supper, then settle down to watch Palace v Everton, and it was the Toffees who win again under their old new manager, David Moyes.

 

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A connoisseur's church built in the thirteenth century by a man called Adulphus to replace a Saxon church. About a hundred years later the church was substantially enlarged under Sir Thomas Aldon, a courtier of Edward III. Stained glass shields of the King and associated Kentish families still survive as part of the fantastic East window where the upper lights actually follow the curve of both the external arch and the arch of the three main lights below. How fine it must have looked when completely glazed in stained glass. The south porch has a rare fireplace - showing that it may have been adapted to cater for pilgrims on their way to the shrine of Becket at Canterbury Cathedral. Of the same date is the fine screen and possibly the floor tiles. In the north transept is a good example of late fifteenth century wall painting. It depicts the Trinity and is set in a series of decorative frames. Regrettably the dove - central to the story as representative of the Holy Spirit - has long disappeared.

 

www.kentchurches.info/church.asp?p=Boughton+Aluph

 

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BOUGHTON ALUPH

IS the next parish westward from that of Wye. It is frequently spelt Bocton, and is written in Domesday, Boltune, and has the addition of Aluph to it from one of its antient owners, Alulphus de Bocton, as well as to distinguish it from the other parishes of the same name in this county, and in a will, proved anno 1416, in the Prerogative-office, Canterbury, I find it mentioned by the name of the parish of Boughton Aluph, otherwise called Boughton in the Bushe. There are four boroughs in it, Goatlands, Wilmington, Dane, and Hebbinge.

 

THE PARISH lies about twelve miles distant both from Canterbury and Faversham, and about four from Ashford, the high road from Canterbury to the latter goes along the foot of the hills, near the eastern boundary of the parish, where the soil is chalky; close on the east side of the road is Buckwell-house, great part of which has been some time since pulled down, but there is sufficient remaining, with the offices and walls about it, to shew it was once a seat of some note, and at no great distance on the hill, high above the road, is the church and court-lodge. Above this, still further westward, is much open, rough ground, called the Warren, on a chalky soil, reaching beyond the high Faversham road, the new inclosure in Eastwell park adjoining to it, being within this parish; within the northern boundary of it there is a parcel of woodland, about one hundred acres lying in Kingswood, just above Socombe down; it was formerly part of Barton manor, and was sold off from it by Mr. Breton a few years before he sold that manor to Sir Robert Furnese, bart, by whose daughter Catherine it went in marriage to the earl of Guildford, whose grandson George-Augustus, earl of Guildford, is now possessed of it. By the pales of Eastwell park, at a small distance from the mansion of it, the last mentioned road descends below the hill to low ground, and mostly a gravelly soil; on it is the village, situated round a green, called Boughton lees, the west side only of which is in this parish. At the southern boundary of the parish, on the Ashford road, is the borough and hamlet of Wilmington, the antient mansion of which stood close to the road, it has been long since pulled down. It stood within a moat, which is still very entire, its area containing half an acre of ground; many old foundations have been dug up round about it within memory.

 

There is a fair held on the lees on Midsummer day for toys and pedlary.

 

IN THE TIME of the Saxons this place was in the possession of earl Godwin, who was succeeded in it by his eldest son earl Harold, afterwards king of England, on whose death in the fatal battle of Hastings, William the Conqueror having obtained the crown, seized on all the late king's estates, and gave this of Boughton to Eustance, earl of Bologne, who had followed him over hither, as a reward for his services; and he possessed it in the 15th year of that reign, at the time the survey of Domesday was taken, in which it is thus entered, under the title of Terra Comitis Eustachii, i. e. the land of earl Eustace.

 

In the lath of Wivarlet, in Wihundred, the earl holds Boltune. Earl Goduin held it, and it was taxed at seven sulings, then and now. The arable land is thirty-three carucartes. In demesne there are three, and sixty-seven villeins, with five borders having thirty carucates. There is a church, and seventeen servants, and two mills of seven shillings and two-pence, and twenty-six acres of meadow. Wood for the pannage of two hundred hogs. In the time of king Edward the Confessor it was worth twenty pounds, and afterwards thirty pounds, now forty pounds.

 

Of the earl of Bologne this manor was held by a family who assumed their name from it. Alulphus de Boughton held it in the reign of king John, as appears by the Testa de Nevil, of the honor of Bologne. Stephen de Bocton died possessed of this manor in the 14th year of Edward I. holding it in capite by knight's service; together with its member, Hethenden, in Kent, and Orset, in Essex, both escheats of that honor. Soon after which it passed into the family of Burghersh, and Robert de Burghersh, constable of Dover castle, died possessed of this manor of Bocton Olaus in the 34th year of that reign, whose son Stephen, in the 1st year of Edward II obtained a charter of free-warren in all his demesne lands within it. To him succeeded Bartholomew, lord Bughersh, constable of Dover Castle, lord warden, and chamberlain of the king's household. In the 12th, and in the 16th years of Edward III. he had the charter of free-warren renewed for all his lands. (fn. 1) His son Bartholomew, lord Burghersh, about the 43d year of king Edward III. passed away this manor by sale, with much other land in this county and in Warwickshire, to Sir Walter de Paveley, K.G. who spelt his name both Paveley and Pavalli, and bore for his arms, Azure, a cross story, or, as they are now on the roof of Canterbury cloisters. After the death of whose grandson Walter, in the 4th year of king Richard II. it was found by inquisition, that this manor, with the advowson of the church of Bocton Aluph, descended by the entail of it to Thomas de Aldon, as his next heir, who became accordingly possessed of it, and afterwards alienated it to Sir Thomas Trivet, whose widow Elizabeth died possessed of it in the 12th year of king Henry VI. and was succeeded by Elizabeth, then wife of Edward Nevill, lord Bergavenny, fourth son of Ralph, earl of Westmoreland; as her next heir, and the entitled her husband above-mentioned to the possession of it. After her death he remarried Catherine, daughter of Sir Robert Howard, and died anno 19 Edward IV. being then possessed as tenant by the courtesy of England, of this manor among others of the inheritance of Elizabeth his first wife. His eldest son Sir George Nevill, lord Bergavenny; seems to have sold this manor to Sir Thomas Kempe, of Ollantigh, whose youngest son Thomas, bishop of London, died possessed of it in the 4th year of king Henry VII. leaving his nephew Sir Thomas Kempe his next heir, whose descendant Sir Thomas Kempe, of Ollantigh, about the latter and of queen Elizabeth's reign, alienated it to Finch, of Eastwell, in whose successors, earls of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who, by will in 1769, devised this manor to George Finch Hatton, esq. of Eastwell, the present owner of it.

 

SEATON is a small manor in this parish, which was held by knight's service in grand sergeantry, to provide one man, called a vautrer, to lead three greyhounds when the king should go into Gascony, until he had worn out a pair of shoes of the price of four-pence, bought at the king's cost; (fn. 2) by which service John de Criol, younger son of Bertram, held it at his death in the 48th year of king Henry III. whose grand-daughter Joane becoming heir to her brother's inheritance, who died s. p. she carried this manor in marriage to Sir Richard de Rokesle, who was found to hold it by the like service, in the 11th year of king Edward II. His eldest daughter and coheir Agnes married Thomas de Poynings, and entitled him to the possession of it. In whose descendants it continued till Alianore, daughter of Richard de Poynings, marrying Henry, lord Percy, eldest son of Henry, earl of Northamberland, he, in her right, became entitled to this manor among her other great inheritance in this county and elsewhere; and in his descendants this manor continued down to Henry, VIII. earl of Northamberland, (fn. 3) who, in the 23d year of Henry VIII. conveyed it to feoffees, who soon afterwards passed it away by sale to Sir Christopher Hales, afterwards knighted, and the king's attorney-general, whose lands were disgavelled by the act of the 31st year of Henry VIII. He died possessed of it in the 33d year of that reign, holding it of the king, as of his castle of Dover, by knight's service. He left three daughters his coheirs, who joined in the sale of it to Sir Thomas Moyle, of Eastwell, and chancellor of the king's court of augmentation, whose daughter and coheir Catherine, carried it in marriage to Sir Thomas Finch, of Eastwell, (fn. 4) in whose descendants, earls of Winchelsea, this manor continued down to Daniel, earl of Winchelsea and Nottingham, who dying in 1769, without male issue, gave it, together with his other estates in this county, to his nephew George Finch Hatton, esq. now of Eastwell, the present proprietor of it.

 

BARTON is a manor here, the mansion of which stood on the west side of the Ashford road, in the borough of Socombe, almost opposite to Buckwell, but it has been pulled down some years, and there is now only a barn on the scite of it. It was once part of the possessions of the family of Leyborne, of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of king Henry III. and in this name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which, she was usually stiled the Infanta of Kent, who, though she had three husbands, all of whom she survived, yet she died s. p. in the 41st year of king Edward III. (fn. 5) Upon which this manor, among the rest of her estates, escheated to the crown, there being no one found who could make claim to her estates, by direct or even by collateral alliance. After which this manor continued in the crown, till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, at Westminister, which he had in his 22d year completed and made collegiate, and had the year before granted to the dean and canons of this manor, among others, in mortmain. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, who soon afterwards granted this manor to Sir Thomas Moyle, of Eastwell, and he parted with it to his brother Walter Moyle, esq. who afterwards resided at Buckwell, in this parish; and in his descendants, resident at Buckwell, this manor continued, till John Moyle, esq. of Buckwell, leaving Mary his sole daughter and heir, she carried it in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of it in 1708, and his son, Moyle Breton, esq. of Kennington, about the year 1730, sold this manor to Thomas May, afterwards Knight, esq. of Godmersham, whose son Tho. Knight, esq. of Godmersham, dying in 1794, s.p. gave it by will to his widow Mrs. Catherine Knight, but she has since resigned it to Edward Austen, esq. of Godmersham park, who is the present owner of it.

 

BUCKWELL, which was once accounted a manor, is situated at a small distance from Barton last-mentioned, though on the opposite side of the road. It was, in the reign of the Conqueror, part of those estates which were given to William de Arsick, for his assistance in the desence of Dover castle, and made up, with them, the barony of Arsick, being held of it, as one knight's fee, by barony, as of the castle of Dover, to which it owed ward and service. Of him and his heirs this manor was again held by the family of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of Henry III. and was succeeded in it by William his son; but when it passed from this name, I have not found; but soon afterwards, the manor of Buckwell, and the mansion of it, seem to have been Separated, and in the possession of different owners; for the manor itself became the property of Robert de Burghersh, constable of Dover castle, and likewise lord warden, whose descendant Bartholomew, lord Burghersh, about the 43d year of king Edward III. conveyed it, with other land in this parish and elsewhere, to Sir Walter de Paveley, one of whose descendants passed it away to Sir Robert Belknap, chief justice of the common pleas, who in the 11th year of that reign was attainted, and banished to Ireland, and though he was afterwards permitted to return in the 20th year of it, yet his attainder still continued, and his lands remained forfeited as before, (fn. 6) and this manor remained in the crown till that king vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in Westminster, in the possession of the dean and canons, of which it remained till the suppression of that college in the 1st year of king Edward VI. when it came into the hands of the crown, whence it was granted to John Moyle, whose ancestors, resident at the mansion of Buckwell, had likewise been leffees of this manor under the deans and canons for some generations.

 

Mention has been made above, that the mansion of Buckwell had, before the reign of king Edward I. been separated from the manor itself; accordingly I find, that in the 8th year of king Edward III. William de la Hay died possessed of it, and that soon afterwards it became the property of a family who assumed their name from it, being usually called Bekewell. Henry de Bekewell appears by the escheat-rolls to have died possessed of it in the 10th year of that reign, as did his descendant, of the same name, in the 17th year of king Richard II. After this family was extinct here, this seat became the property of Wode, and remained so till the 34th year of Henry VI. and then Robert Wode passed it away by sale to Walter Moyle, ancestor of John Moyle, esq. of this place, who had the grant of the manor of Buckwell from king Edward VI. as be fore-mentioned. The Moyles were descended from Thomas Moyle, of Bodmin, in Cornwall, whose grandson Sir Walter, third son of Henry, was of Eastwell, and purchaser of this estate, as before-mentioned. His eldest son John had several sons, of whom John was father of Ralph Moyle, who died at Eastwell in 1582. Walter was of Buckwell, and ancestor of the Moyles of this place; and Thomas, who was knighted, and was of Eastwell, left two daughters his coheirs, married to Finch and Kempe. They bore for their arms, Gules, a mule passant, within a bordure, argent. There are many memorials of them in both the chancels of this church. (fn. 7) In the descendants of John Moyle, resident at Buckwell, this manor and seat continued till Mary, sole daughter and heir of John Moyle, esq. carried both of them in marriage to Robert Breton, esq. of the Elmes, near Dover, whose son Moyle Breton, esq. of Kennington, about the year 1730, being enabled so to do by an act passed for this purpose, sold them, with other adjoining estates, to Thomas May, afterwards Knight, esq. of Godmersham, and his only son and heir Thomas Knight, esq. of that place, on his death, s. p. in 1794, gave them by will to his widow, Mrs. Catherine Knight, who likewise resigned them to Edward Austen, esq. of Godmersham, the present owner of them.

 

Wilmington, called likewise antiently Wilmingdon, is a manor which lies at the southern part of this parish, on the Ashford road likewise. It gives name to the borough in which it stands, and to the hamlet of houses which stand round about it. Robert de Wilmington held this manor in the reign of Henry III. in grand sergeantry, of the honor of Bolegne, by the service of being the earl's cook, it being then valued at two marcs. His descendant Bertram de Wilmington, died possessed of it in the 12th year of Edward II. when it was found by inquisition, that he held it of the king in capite, by the service of finding for the king one pot-hook for his meat, whenever he should come within the manor of Boughton Aluph. (fn. 8) His descendant, of the same name, died possessed of it in the 6th year of king Henry V. After which it came into the possession of John Mowbray, duke of Norfolk, who was possessed of it in the 2d year of Edward IV. On his death the great inheritance of the Mowbrays came to the descendants of his two sisters and coheirs, and in the division of it John, lord Howard, in right of his mother Margaret, the eldest of them, became entitled to this manor. He was one of the most illustrious noblemen of his time, and having continued faithful to the house of York, he remained no less stedfast to the interest of king Richard III. who created him duke of Norsolk, earl marshal and lord admiral of England. But he did not enjoy these honors long; for he was next year slain in the battle of Bosworth, fighting on the king's behalf, and in the 1st year of Henry VII. he was attainted in parliament, and this manor, among his other possessions, became confiscated to the crown; (fn. 9) whence it was afterwards granted to Moyle, in which name it continued till the beginning of Edward VI.'s reign, when by Catherine, daughter and coheir of Sir Thomas Moyle, of Eastwell, it went in marriage to Sir Thomas Finch, of that parish, who died in 1563, and she remarrying with Nicholas St. Leger, esq. of Beamstone, in Westwell, entitled him to it for her life. She died in 1586, on which it came to her son Sir Moyle Finch, bart. in whose descendants, earl of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who at his death in 1769, devised it to his nephew George Finch Hatton, esq. now of Eastwell, the present owner of it.

 

But Part Of The Demesne Lands of this manor were sold off, about the year 1713, to the Rev. Hilkiah Bedford, publisher of the bereditary Right of the Crown of England asserted, whose eldest son William Bedford M.D. whose daughter Elizabeth marrying Mr. Claxton, of Shirley, in Surry, has entitled him to the possession of it.

 

ANOTHER PART of this estate, now called Little Wilmington, in the reign of king Henry VI. was in the possession of Richard Sandys, who alienated it to John Barough, who resided at it, and died possessed of it in the 1st year of king Edward IV. One of his descendants, Richard Barrowe, resided here in the reigns of king Elizabeth and James I. and died in the 6th year of the latter, leaving three sons, Robert, Richard, and William, to which last he devised his house and lands in Borden, and from him descended the Barrows of that parish. To Robert Barrow, his eldest son, he devised this estate of Little Wilmington, and in his descendants it continued, till it was at length sold to Knott, and from that name again to Dr. William Egerton, prebendary of Canterbury, who died possessed of it in 1728, leaving two daughters his coheirs, and his widow surviving, upon whose death it came to Jemima, widow of Edward Bridges, esq. of Wotton, one of the above-mentioned coheirs, and William Hammond, esq. of St. Albans, the eldest son of William Hammond, esq. of that place, by Charlotte the other coheir; and upon a division made, this estate was allotted to Mrs. Bridges above-mentioned, now of Canterbury, and she is the present possessor of it.

 

MARDOL MANOR is the last place to be mentioned in this parish, lying on the south side of it. This manor was antiently the patrimony of the Corbies in which it continued till Robert Corbie, in the reign of king Richard II. leaving an only daughter and heir Joane, she carried it, among the rest of her inheritance, to Sir Nicholas Wotton, whose descendant Thomas Wotton, esq. in the reign of queen Elizabeth, passed it away by sale to Sprott, from which name, in the reign of king Charles I. it was alienated to Thomas Finch, earl of Winchelsea, in whose descendants it continued down to Daniel, earl of Winchelsea and Nottingham, who in 1769, gave it by will, with the rest of his estates in this county, to his nephew George Finch Hatton, esq. now the present owner of it.

 

Charities.

MR. JOHN BOUGHTON, vicar, left to this parish by will, in 1642, 30s. per annum to such poor as had great charge of children, aged and incapable to work, to be distributed on the Thursday in Whitsun-week; and to the churchwardens and overseers, 10s. per annum, for a sermon to be preached on that day, to be paid out of house and land on Boughton lees.

 

MR. THOMAS KEEPS left by will in 1780, 20s. per annum to the use of the poor, out of a field in Great Chart, rented at 6l. per annum, the remainder of the rent being left to five other parishes.

 

MR. WILLIAM CROW left by will in 1770, to this parish, the sum of 90l. to be put into the public funds, the amount of the profits of it to be yearly distributed by the owners of Eastwell-place, among such honest and well disposed poor aged men and women, especially widows, as they should consider real objects of charity; but not to persons receiving alms, in relief of the parish.

 

There is an alms-house belonging to this parish, on Boughtonlees, containing six dwellings.

 

The poor constantly relieved are about 15, casually 20.

 

BOUGHTON ALUPH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to All Saints, is large and handsome, built of slint, with ashlar stone to the doors, windows, and quoins. It consists of three isles and two chancels. The steeple is a large low tower, standing on four pillars in the middle of it. There are five bells in it, and at the south-east corner, adjoining to the tower, is a large square addition, in which is a stone stair-case. Both the chancels did belong to the Buckwell estate; but the family of Breton having buried in both since their sale of it, without Mr. Knight's permission, he refused to repair them, and they are now repaired by Mr. Breton. In the great chancel, within the rails, is a monument for Thomas Austen, esq. obt. 1637. In this and the north chancel are many gravestones of the Moiles and Bretons. In the north chancel is a handsome monument of marble, for Amy, wife of Josias Clerk, gent. of Essex, daughter of John Moyle, esq. of Buckwell, obt. 1631, having the effigies of her lying at full length, and of her three children kneeling at her head and feet, in full proportion, under a canopy. In the middle isle is a memorial for John Mascall, esq. obt. 1769; arms, Two bars, over all, three escutcheons ermine, impaling a saltier, and on it a crescent, for difference; and there are memorials for others likewise of the same family.

 

The church of Boughton Aluph, as has been already mentioned before, was antiently an appendage to the manor, and continued so in the 4th year of Richard II. when Sir Walter Pavely died possessed of the same, and it was found that Sir Thomas de Aldon was his next heir. How long afterwards it continued in his heirs I have not found; but in the reign of Henry VI. the advowson of this rectory was become the property of cardinal John Kempe, archbishop of York, who settled it on his new-founded college of Wye, and in the 29th year of that reign the master and chaplains of it had the king's licence to receive this advowson from the cardinal, and to appropriate the rectory of it to themselves; (fn. 10) and a vicarage was endowed here. In which situation it remained till the suppression of the college, in the 36th year of Henry VIII. when it was surrendered into the king's hands, who that year granted this church, with the presentation of the vicarage of it, among other premises, to Walter Bucler, esq. to hold in capite, with certain provisos for the maintenance of the curates and schoolmaster of Wye; which grant, on his non-performance of these conditions, became forfeited, and king Charles I. in his 2d and 5th years, granted the same premises, with the proviso for the payment of certain stipends to the before-mentioned curate and schoolmaster, to Robert Maxwell, from whose heirs this rectory and advowson was afterwards sold to Moyle, of Buckwell, in which name it continued till Mary, daughter and sole heir of John Moyle, esq. of Buckwell, carried them in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of them in 1708, and his great grandson the Rev. Moyle Breton, of Kennington, is the present owner of the parsonage appropriate of Boughton, with the advowson of the vicarage of this church, who pays twenty pounds per annum from it towards the stipends of the curate and schoolmaster of Wye, as stipulated in Robert Maxwell's patent, the several premises granted in it being now in different hands as has been already more fully mentioned before.

 

It is valued in the king's books at 6l. 5s. the yearly tenths being 12s. 6d. but it is now of the clear yearly certified value (delivered in 1752) of 58l. 6s. 10d.

 

In 1578 here were communicants one hundred and fifty-four; in 1640, one hundred and seventy-seven. It is now worth about eighty pounds per annum. There are twenty three acres of glebe belonging to it.

 

There was a composition in 1305 entered into between the rector of Westwell and Stephen de Wilmington, rector of this church, concerning the tithes of the hamlets of Shotingdon, Chilberton, and Wike.

 

www.british-history.ac.uk/survey-kent/vol7/pp384-398

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#SOULSPIRIT #FULL #GATLINBURGVIBES #PRODUCT #BEST #SLAYER #HUMMER#MODERNLOVE #imagination #station #library #world #tree #life #love 🌈😍⭐💙✨🌠💜🔵😻🌝❤️💛💚🐦💟🐈🐢🐉🙏STONETEMPLEPILOTS RECORDS#SHIRTS #records #broadcasts #fromeurope #pearljam #smashingpumpkins #gratefuldead #aliceinchains #brucespringsteen #mikeoldfield #nirvana + #comevisit #gatlinburgtn @mountain_mall 🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌠💜♑♐🐦💟🐈🐢🐉 "...Get some walking in, try live together in peace harmony with people all creeds nations." -- Monty Python's Meaning Life MUSIC1978.COM $$*%+#PEACE #LOVEGORILLAZ ♊ ♋ ♌ ♍ ♎ ♏ ♐ ♑ ♒ ⛎ ♉ ♊💜🌈💛🌻✨🔥🎑😍🎨🔜🌠🌝🍀💕🕘🙏😯🐢🐈💟🐦🐉💙🔵💚💙💜💖💗💛💘💚💓😻💝💟♥️❣️💕💞😍🔥🌎🙏🐢🐈🐦🐉🔵💙💚💙 💜☮️♈♉♊♋♌♍♎♏♐♑♒⛎⛎♾️🔴🔵 weaveworld memory celestial sanctuary radiance reflection resurrection magiC @THERHYTHMSECTION78 @MOUNTAIN_MALL @VISITGATLINBURG GREATSMOKYMTNS SHIRT STICKER SHOP HEAVYMETAL KPOP SMOKYMTNS SMOKYMOUNTAINSTRONG SMOKY CLASSIC NEW METAL HEAVY GREATSMOKYMOUNTAINS MOUNTAIN STRONG BAND MTNS. COME VISIT MALL GREAT RIDGE HAVEN REFUGE BIRD ♈♉♊♋♌♍♎♏♐♑♒⛎ #RECORDS #TAYLORSWIFT #THERHYTHMSECTION #SHIRTS #VINYLRECORDS WWW.MUSIC1978.COM WWW.FLICKR.COM/PHOTOS/MUSIC1978 WWW.RHYTHMSECTIONGATLINBURG.COM TAYLORSWIFT ADVENTURETIME STURGILLSIMPSON JIMIHENDRIX BARBIE ELTONJOHN NIRVANA TOMPETTY OLIVIARODRIGO JEFFBUCKLEY LANADELREY MICHAELJACKSON MFDOOM THECURE GORILLAZ TEARSFORFEARS RAGEAGAINSTTHEMACHINE M83 NIGHTMAREBEFORECHRISTMAS BOBDYLAN NEONGENESISEVANGELION KINGCRIMSON BACKTOTHEFUTURE NEUTRALMILKHOTEL ARCTICMONKEYS TYLERTHECREATOR MGMT OZZYOSBOURNE MYBLOODYVALENTINE DAVIDBOWIE COCTEAUTWINS TAMEIMPALA JOHNNYCASH BEETLEJUICE MACDEMARCO MACMILLER MELANIEMARTINEZ STRANGERTHINGS DIO TYLERCHILDERS DIRTYDANCING FOOTLOOSE THEDOORS 💜☮️♈♉♊♋♌♍♎♏♐♑♒⛎⛎♾️🔴🔵I GOT / BLIND FAR FROM ME DAY-IN DAY-OUT BLOWIN IN WIND MY GIRLS #REALMS #LAYERS #LEVELS #MAGICMIRROR #HEALINGMAGIC #MAZE #WAY #MAGICAL #FEAR #BETH #PATTERN #MEDICINAL #DAN #YIN #YANG #DUALITY #COSMICDREAM #MAGICRAINBOW #FORESTMAGIC #WORLDOFDREAM 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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

 

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All Saints, Gazeley, Suffolk.

 

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

 

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

 

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

 

Which is what happened.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Here, it was the reset mediaeval glass.

 

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

 

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

 

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

 

I photographed them all.

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Simon Knott, June 2019

 

www.suffolkchurches.co.uk/gazeley.htm

I thought I had visited St Mary years ago. And indeed I had, or stood on the green in front of it, but didn't set foot inside.

 

This I didn't realise until Saturday when I was standing outside it looking at the row of cottages leading to the lych gate, I knew the scene was new to me.

 

The drizzle was still falling, so I could not linger in the churchyard, and scampered along the south side of the building, looking for the porch, but there wasn't one. Instead a simple door near to the chancel gave way when I turned the handle, after stepping over the void that acts as a drain for rainwater falling from the roof.

 

I tried hard to find the lightswitches, as in the gloom of the early afternoon, it was almost dark inside. Even when I found the switches in the south chapel, there seemed to be no power to them, so the church remained in half darkness.

 

What I did see, and was dazzled by, were tiles used to line the lower part of the chancel walls, like a mosaic, creating fantastic patterns.

 

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A mainly thirteenth century church restored by Sir George Gilbert Scott. There is a high window which originally shed light onto the Rood figures (see also Capel le Ferne). Some medieval glass survives in the heads of the windows in the chancel showing angels holding crowns. The west window was designed by Morris and Co in 1874 to commemorate a former Rector, whilst the south chapel has a set of continental glass brought here by the Beckingham family from their house in Essex. Above the nave arcade is a good set of murals including a figure of St Nicholas. The famous Elizabethan theologian Richard Hooker is commemorated in the chancel.

 

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

 

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Bishopsbourne is another example of a parish church belonging to the church (the archbishop, in this case), which was totally rebuilt on a large(r) scale in the 13th century (cf. Chartham). The chancel, as rebuilt, was as wide as the nave, and there is no chancel arch (and probably never has been).

The nave and chancel both show at least two phases of work of about the mid to later 13th century, so it seems likely that a rebuilding programme was being carried on in stages during the 2nd half of the 13th century (no sign exists, above-ground, of the earlier church).

Perhaps the earliest visible work are the two pairs of two-light windows on either side of the chancel. They have geometrical tracery and all sit on an internal moulded string course (there is medieval glass at the top of all these windows). This string course rises up in the east wall, and has on it the five-light east window, within trefoiled lancets, which is perhaps slightly later in date. There is also a late 13th century piscina at the east end of the south wall (though with a 19th century back wall). Externally the N.E. and S.E. corners of the chancel have angle buttresses, but these are heavily restored. It is also just possible that there were further geometrical windows further west in the chancel, which were covered/removed when the 15th century additions were made.

In the nave, as John Newman has pointed out, the two slender arcades have slight differences (N. capitals more complex than the S. ones). Also that the nave abaci are undercut, while the chancel string course is not. Originally the south arcade was at least three bays long (ie. longer than the present nave), but on the north this is not so clear. The aisles themselves are very narrow, with shed roofs continuing the slope of the main nave roof (though this shape may only be 15th century when the aisles were remodelled). The only surviving feature of the 13th century in the outer aisle walls (again heavily restored externally in the 19th century) is the north doorway with its niche (called a stoup by some writers, but not necessarily one) immediately to the east. This doorway has slightly projecting pilasters on either side, and the whole was covered by a porch until 1837.

The second main phase of work took place in the later 15th century. First, the whole of the west end of the church was demolished and a new tower was constructed with diagonal buttresses. The tower is of three main stages with the top stage rendered. The whole of the south face is mostly rendered. As this was being built, short walls were erected from the eastern diagonal buttresses to the 13th century arcade (ie. leaving the western ends of the aisles outside). (This is perhaps due to a population decrease in the parish). New west walls (containing two light perpendicular square headed windows) to the shortened aisles were also built, and four new 2-light perpendicular windows were inserted into the outer aisle walls. Along the top of the inside of the aisles walls a new moulded timber stringcourse was made (the roofs were perhaps also remade, but they are hidden beneath plaster in the aisles, and the main nave roof was replaced in 1871). At the west end of the nave the new short north and south walls contain five 3-light windows with perpendicular tracery under a 2-centred arch in their heads. On the upper nave walls, above the arcade, are remains of some fine painted figures on a painted 'ashlar' background. These were perhaps painted after the 15th century rebuilding (a date of around 1462 for the rebuilding is perhaps suggested by the will of William Harte (see below). At the extreme west end of the nave are two areas (N. and S.) of in situ medieval floor tiles. It is just possible that they predate the tower building work. (They must continue eastwards under the pews). There is also a 15th cent. octagonal font bowl (on a 1975 base). The southern chapel (the Bourne Pew after the Reformation) with its diagonal buttresses and 3-light east window is also 15th century but it was very heavily restored in c. 1853 (date over new S. door). It has a separate roof (and plaster ceiling). The rectangular N. addition with a plinth is also 15th century and was perhaps built as a vestry. It had an external door and only a small door into the chancel until the rebuilding of 1865, when a massive new arch was put in to accommodate a new organ (earlier the organ was under the tower arch). At this time also a totally new pitched roof was built over the vestry, perhaps replacing a low pitched 15th century roof. There is a high up window on the north side above the pulpit, with some old glass in it.

A new boiler house was dug under the western half of the vestry (in the 1880s - date on radiator), and its N.W. corner was rebuilt, incorporating a fireplace and chimney. The cut through N. chancel wall (and foundation) can be seen in the boiler room below.

The door into the Rood loft is in the S.E. corner of the nave.

In 1871-2 a major restoration took place under Scott, when the boarded wagon roofs were put in (nave and chancel) and new pews were installed (and choir stalls). The c. 18th century pulpit was remodelled and has its larger tester removed. The west window contains 1874 Morris & Co glass with figures by Burne Jones. There is also much c. 1877 mosaic work on the lower chancel walls and a large Reredos. The chancel floor was also raised.

 

BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles, etc.):

The main building materials are flintwork with Rag and Caenstone quoins/jambs, etc. However much of this has been removed externally by the heavy 19th century restoration. The nave arcades are of Reigate stone. The 15th century tower has fine large quoins of Kent Rag (Hythe/Folkestone stone with boring mollusc holes), and a few reused pieces of Caen, Reigate and Roman brick.

The south chapel was "partly of brick" in 1846 (Glynne) but this has now gone in the Restoration. There is also some fine early post-medieval glass in the east window of this chapel.

 

(For medieval glass, wall paintings and floor tiles ,see above).

 

(Also 15th century choir stalls, see below). There are also the arms and Cardinals Cap of Cardinal Morton (hence 1494-1500) in the S.W. chancel window.

 

There are now 4 bells (2 J Hatch of 1618; Christopher Hodson 1685 and Robert Mot 1597). The later from St. Mary, Bredman, Canterbury was installed in 1975 (a cracked bell was 'discarded').

 

A late medieval brass (of John and Elizabeth Colwell) lies under the organ - another of 1617 (John Gibon) is under the choir stalls.

 

EXCEPTIONAL MONUMENTS IN CHURCH To Richard Hooker (1633) - originally on N chancel wall and moved to S chancel will c. 1865.

 

Also John Cockman (+1734) - also on N. chancel wall and moved to E. wall of N. aisle c. 1865 (when the organ was put under new vestry arch).

 

Also a fine Purbeck marble (14th century) grave slab under the N.E. corner of the tower.

 

There are also two fine 15th century (c. 1462) stall fronts in the chancel with carved panels and ends (and 'poppy heads'). The added Victorian choir stalls copy them.

 

CHURCHYARD AND ENVIRONS:

Shape: Rectangular

 

Condition: Good

 

Earthworks:

enclosing: drop on N. and W. sides (?Ha-Ha) into Bourne Park adjacent:

 

Building in churchyard or on boundary: Lychgate of 1911

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book

 

Evidence of pre-Norman status (DB, DM, TR etc.):

 

Late med. status: Rectory

 

Patron: The Archbishop

 

Other documentary sources: Test. Cant. (E. Kent 1907) 23 mentions 'one piece of that stone on which the Archangel Gabriel descended when he saluted the 'BVM' to the Image of the BVM of the church of Bourne. Towards the work of the Church of Bourne, of the stalls and other reparations, 4 marcs. Wm. Haute (1462). Also 'Beam, now before altar of B. Mary in the church' (1477) and Lights of St. Mary, St. Katherine and St. Nicholas (1484) and light of Holy Cross (1462) and 'The altar of St. Mary and St. Nicholas in the nave' (1476).

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:

Inside present church: Good - main nave and chancel floor raised in 19th century (earlier levels should be intact beneath (except where burials, etc.).

 

Outside present church: Drainage trench cut round outside of church.

 

Quinquennial inspection (date\architect): October 1987 David Martin

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: A fine 13th and 15th century church, with an impressive collection of medieval wall paintings, stained glass, floor tiles and pew fronts inside. The 13th century architectural details of the chancel windows and nave arcade are very good. There are, no doubt, the remains of the earlier church beneath.

 

The wider context: One of a group of fine later 13th century rebuildings (cf. Hythe, Chartham, Adisham, etc.)

REFERENCES: Notes by FC Elliston Erwood, Arch. Cant. 62 (1949), 101-3 (+ plan) + S. R. Glynne Notes on the Churches of Kent (1877), 130-1 (He visited in 1846); Hasted IX (1800), 335-7; Newman BOE (N.E. and E Kent) (3rd ed. 1983) 144-5.

 

Guide book: by Miss Alice Castle (1931, rev. 1961, 1969, 1980) - no plan.

 

Plans & drawings: Early 19th century engraving of interior looking W. NW (before restoration).

 

DATES VISITED: 25th November 1991 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/BIS.htm

 

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BISHOPSBORNE

LIES the next parish eastward from Bridge, described before, in the hundred of that name. It is called in Domesday, Burnes, that is, borne, from the bourn or stream which rises in it, being the head of the river, called the Lesser Stour; and it had the name of Bishopsborne from its belonging to the archbishop, and to distinguish it from the several other parishes of the same name in this neighbourhood. There is but one borough in this parish, namely, that of Bourne.

 

THIS PARISH lies about five miles eastward from Canterbury, just beyond Bridge, about half a mile from the Dover road, and the entrance of Barham downs in the valley on the left hand, where the church and village, the parsonage, the mansion and grounds of Bourne place, and the seat of Charlton at the opposite boundary, with the high hills behind them, topped with woods, from a most pleasing and luxuriant prospect indeed. In this beautiful valley, in which the Lesser Stour rises, and through which the Nailbourne at times runs, is the village of Bourne-street, consisting of about fifteen houses, and near it the small seat of Ofwalds, belonging to Mr. Beckingham, and now inhabited by his brother the Rev. Mr. Beckingham, and near it the church and court-lodge. On the rise of the hill is the parsonage, an antient building modernized, and much improved by the present rector Dr. Fowell, and from its whiteness a conspicuous object to the road and Barham downs. About a mile distant eastward, in the vale, close to the foot of the hills, is Charlton, in a low and damp situation, especially when the nailbourne runs. On the opposite side of the church westward, stands the ornament of this parish, the noble mansion of Bourne-place, (for several years inhabited by Sir Horace Mann, bart. but now by William Harrison, esq.) with its paddocks, grounds, and plantations, reaching up to the downs, having the bourn, which is the source of the Lesser Stour, which rises here in the front of it, directing its course from hence to Bridge, and so on by Littleborne, Ickham and Wickham, till it joins the Greater Stour river. This valley from this source of the bourn upwards, is dry, except after great rains, or thaws of snow, when the springs of the Nailbourn occasionally over flow at Liminge and Elham, and directing their course through this parish descend into the head of the bourn, and blend their waters with it. From this valley southward the opposite hills rise pretty high to the woodland, called Gosley wood, belonging to Mr. Beckingham, of large extent, and over a poor, barren and stony country, with rough healthy ground interspersed among it, to the valley at the southern boundary of the parish, adjoining to Hardres; near which is the house of Bursted, in a lonely unfrequented situations, hardly known to any one.

 

THE MANOR OF BOURNE, otherwise Bishopsborne, was given by one Aldhun, a man of some eminence in Canterbury, from his office of præfect, or bailiff of that city, (qui in hac regali villa bujus civitatis prafectus suit), (fn. 1) to the monks of Christ-church there, towards the support of their refectory. After which, anno 811, the monks exchanged it, among other estates, with archbishop Wlfred, for the manor of Eastry, and it continued part of the possessions of the see of Canterbury, at the time of taking the survey of Domesday, in which it is thus entered, under the title of the archbishop's lands:

 

In Berham hundred, the archbishop himself holds Burnes in demesne. It was taxed for six sulings. The arable land is fifty carucates. In demesne there are five carucates, and sixty-four villeins, with fifty-three borderers having thirty carucates and an half. There is a church, and two mills of eight shillings and six pence, and twenty acres of meadow. Wood for the pannage of fifteen hogs. Of herbage twenty-seven pence. In its whole value, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, now thirty pounds.

 

The manor of Bishopsborne appears by the above entry to have been at that time in the archbishop's own hands, and it probably continued so as long as it remained part of his revenues, which was till the 35th year of king Henry VIII. when archbishop Cranmer, by an act specially passed for the purpose, exchanged this manor with the park, grounds and soil of the archbishop in this parish, called Langham park, with Thomas Colepeper, sen. esq. of Bedgbury, who that year alienated it to Sir Anthony Aucher, of Otterden, who gave this manor, with the rest of his possessions in this parish, to his second son Edward. Since which it has continued in the same line of ownership as Bourne-place, as will be more particularly mentioned hereafter, down to Stephen Beckingham, esq. the present owner of it. A court leet and court baron is held for this manor.

 

BOURNE-PLACE, formerly called the manor of Hautsbourne, is an eminent seat in this parish, for the manor has from unity of possession been for many years merged in the paramount manor of Bishopsborne. It was in very early times possessed by a family who took their name from it. Godric de Burnes is mentioned in the very beginning of the survey of Domesday, as the possessor of lands in it. John de Bourne had a grant of free-warren and other liberties for his lands in Bourne and Higham in the 16th year of king Edward I. He left an only daughter Helen, who carried this estate in marriage to John de Shelving, of Shelvingborne, whose grandson, of the same name, died anno 4 Edward III. at which time this manor had acquired from them the name of Shelvington. He left an only daughter and heir Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, whose son Nicholas Haut gave to William, his youngest son, this estate of Bishopsborne, where he afterwards resided, and died in 1462, having been knight of the shire and sheriff of this county. From him it descended down to Sir William Haut, of Hautsborne, sheriff in the 16th and 29th year of king Henry VIII. whose son Edmund dying unmarried in his life-time, his two daughters, Elizabeth, married to Thomas Colepeper, esq. of Bedgbury, and Jane, to Sir Thomas Wyatt, of Allington-castle, became his coheirs, and on the division of their estates, this of Hautsborne was allotted to the former, and her hus band Thomas Colepeper, in her right, became possessed of it, and having acquired the manor of Bishopsborne by exchange from the archbishop, anno 35 Henry VIII. immediately afterwards passed away both that and Hautsborne to Sir Anthony Aucher, of Otterden, whose family derived their origin from Ealcher, or Aucher, the first earl of Kent, who had the title of duke likewise, from his being intrusted with the military power of the county. He is eminent in history for his bravery against the Danes, in the year 853. They first settled at Newenden, where more of the early account of them may be seen. He at his death gave them to his second son Edward, who afterwards resided here at Shelvington, alias Hautsborne, as it was then called, whose great-grandson Sir Anthony Aucher was created a baronet in 1666, and resided here. He left surviving two sons Anthony and Hewitt, and two daughters, Elizabeth, afterwards married to John Corbett, esq. of Salop, LL. D. and Hester, to the Rev. Ralph Blomer, D. D. prebendary of Canterbury. He died in 1692, and was succeeded by his eldest son, who dying under age and unmarried, Hewitt his brother succeeded him in title and estate, but he dying likewise unmarried about the year 1726, the title became extinct, but his estates devolved by his will to his elder sister Elizabeth, who entitled her husband Dr. Corbett afterwards to them, and he died possessed of the manor of Bishopsborne, with this seat, which seems then to have been usually called Bourneplace, in 1736, leaving his five daughters his coheirs, viz. Katherine, afterwards married to Stephen Beckingham, esq. Elizabeth, to the Rev. Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignat. Geohegan, esq. and Margaret-Hannah-Roberta, to William Hougham, esq. of Canterbury, the four latter of whom, with their respective husbands, in 1752, jointed in the sale of their shares in this estate to Stephen Beckingham, esq. above-men tioned, who then became possessed of the whole of it. He married first the daughter of Mr. Cox, by whom he had the present Stephen beckingham, esq. who married Mary, daughter of the late John Sawbridge, esq. of Ollantigh, deceased, by whom he had an only daughter, who married John-George Montague, esq. eldest son of John, lord viscount Hinchingbrooke, since deceased. By his second wife Catherine, daughter of Dr. John Corbet, he had two daughters, Charlotte and Catherine, both married, one to Mr. Dillon and the other to Mr. Gregory; and a son John Charles, in holy orders, and now rector of Upper Hardres. They bear for their arms, Argent, a sess, crenelle, between three escallop shells, sable. He died in 1756, and his son Stephen Beckingham, esq. above-mentioned, now of Hampton-court, is the present owner of the manor of Bishopsborne, and the mansion of Bourneplace.

 

BURSTED is a manor, in the southern part of this parish, obscurely situated in an unfrequented valley, among the woods, next to Hardres. It is in antient deeds written Burghsted, and was formerly the property of a family of the same name, in which it remained till it was at length sold to one of the family of Denne, of Dennehill, in Kingston, and it continued so till Thomas Denne, esq. of that place, in Henry VIII.'s reign, gave it to his son William, whose grandson William, son of Vincent Denne, LL. D. died possessed of it in 1640, and from him it descended down to Mr. Thomas Denne, gent. of Monkton-court, in the Isle of Thanet, who died not many years since, and his widow Mrs. Elizabeth Denne, of Monktoncourt, is the present possessor of it.

 

CHARLTON is a seat, in the eastern part of this parish, which was formerly the estate of a family named Herring, in which it continued till William Herring, anno 3 James I. conveyed it to John Gibbon, gent. the third son of Thomas Gibbon, of Frid, in Bethers den, descended again from those of Rolvenden, and he resided here, and died possessed of it in 1617, as did his son William in 1632, whose heirs passed it away to Sir Anthony Aucher, bart. whose son Sir Hewitt Aucher, bart. in 1726, gave it by will to his sister Elizabeth, and she afterwards carried it in marriage to John Corbett, LL. D. of Salop, who died possessed of it in 1735, leaving his window surviving, after whose death in 1764 it came to her five daughters and coheirs, who, excepting Frances, married to Sir William Hardres, bart. joined with their husbands in the sale of their respective fifth parts of it in 1765, to Francis Hender Foote, clerk, who resided here. Mr. Foote was first a barrister-at-law, and then took orders. He married Catherine, third daughter of Robert Mann, esq. of Linton, by whom he had three sons, John, mentioned below, who is married and has issue; Robert, rector of Boughton Malherb, and vicar of Linton, who married Anne, daughter of Dobbins Yate, esq. of Gloucestershire, and Edward, in the royal navy; and three daughters, of whom two died unmarried, and Catherine, the second, married first Mr. Ross, and secondly Sir Robert Herries, banker, of London. Mr. Foote died possessed of them in 1773, leaving his wife Catherine surviving, who possessed them at her death in 1776, on which they descended to their eldest son John Foote, esq. of Charlton, who in 1784, purchased of the heirs of lady Hardres, deceased, the remaining fifth part, and so became possessed of the whole of it, of which he is the present owner, but Mr. Turner now resides in it.

 

Charities.

MRS. ELIZABETH CORBETT, window, executrix of Sir Hewit Aucher, bart. deceased, in 1749, made over to trustees, for the use and benefit of the poor, a tenement called Bonnetts, and half an acre of land adjoining, in this parish; now occupied by two poor persons, but if rented, of the annual value of 3l.

 

The poor constantly relieved are about eleven, casually seven.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

¶The church, which is dedicated to St. Mary, is a large building, consisting of three isles and three chancels, having a tower steeple at the west end, in which are four bells. This church is a large handsome building, but it is not kept so comely as it ought to be. In the chancel is a monument for Richard Hooker, rector of this parish, who died in 1600; on it is his bust, in his black gown and square cap. A monument for John Cockman, M. D. of Charlton. His widow lies in the vault by him, obt. 1739; arms, Argent, three cocks, gules, impaling Dyke. Memorial for Petronell, wife of Dr. John Fowell, the present rector, second daughter of William Chilwich, esq. of Devonshire, obt. 1766. She lies buried in a vault under the altar. A large stone, twelve feet long, supposed to be over the remains of Mr. Richard Hooker. A memorial on brass for John Gibbon, gent. of this parish, obt. 1617; arms, Gibbon, a lion rampant-guardant, between three escallops, impaling Hamon, of Acrise, quartering Cossington. Memorials for Mrs. Jane Gibbon, his wife, obt. 1625, and for William Gibbon, gent. obt. 1632. A memorial for William Gresham, obt. 1718. In one of the windows are the arms of the see of Canterbury impaling Warham. In the middle isle, in the south wall, above the capital of the pillar, opposite the pulpit, is a recess, in which once stood the image of the Virgin Mary, the patron saint of this church, to which William Hawte, esq. by will anno 1462, among the rest of his relics, gave a piece of the stone on which the archangel Gabriel descended, when he saluted her, for this image to rest its feet upon. On the pavement near this, seemingly over a vault, is a stone with an inscription in brass, for William, eldest son of Sir William Hawt. A memorial for Farnham Aldersey, gent. of this parish, only son of Farnham Aldersey, gent. of Maidstone, obt. 1733. Memorials for several of the Dennes, of this parish. In a window of the south isle, are the arms of Haut, impaling Argent, a lion rampant-guardant, azure. The south chancel is inclosed and made into a handsome pew for the family of Bourne-place, under which is a vault appropriated to them. The window of it eastward is a very handsome one, mostly of modern painted glass; the middle parts filled up with scripture history, and the surrounding compartments with the arms and different marriages impaled of the family of Beckingham. On each side of this window are two ranges of small octagon tablets of black marble, intended for the family of Aucher, and their marriages, but they were not continued. In the church-yard, on the south side, is a vault for the family of Foote, of Charlton, and a tomb for Mrs. Elizabeth Corbett, obt. 1764; arms, Corbett, which were Or, two ravens, sable, within a bordure, gules, bezantee. At the north-east corner of the church-porch are several tombs for the Dennes.

 

The church of Bishopsborne, with the chapel of Barham annexed, was antiently appendant to the manor, and continued so till the exchange made between the archbishop and Thomas Colepeper, in the 35th year of king Henry VIII. out of which the advowson of this rectory was excepted. Since which it has continued parcel of the possessions of the see of Canterbury to the present time, his grace the archbishop being the present patron of it.

 

This rectory, (including the chapel of Barham annexed to it) is valued in the king's books at 39l. 19s. 2d. and the yearly tenths at 3l. 19s. 11d. In 1588 here were communicants one hundred. In 1640 one hundred and forty-eight, and it was valued, with Barham, at two hundred and fifty pounds per annum.

 

Church of Bishopsborne with the Chapel of Barhan annexed.

 

www.british-history.ac.uk/survey-kent/vol9/pp328-337

 

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Richard Hooker (March 1554 – 3 November 1600) was an English priest in the Church of England and an influential theologian.[2] He was one of the most important English theologians of the sixteenth century.[3] His defence of the role of redeemed reason informed the theology of the seventeenth century Caroline Divines and later provided many members of the Church of England with a theological method which combined the claims of revelation, reason and tradition.[3] Scholars disagree regarding Hooker's relationship with what would later be called "Anglicanism" and the Reformed theological tradition. Traditionally, he has been regarded as the originator of the Anglican via media between Protestantism and Catholicism.[4]:1 However, a growing number of scholars have argued that he should be considered as being in the mainstream Reformed theology of his time and that he only sought to oppose the extremists (Puritans), rather than moving the Church of England away from Protestantism.

 

This sermon from 1585 was one of those that triggered Travers attack and appeal to the Privy Council. Travers accused Hooker of preaching doctrine favourable to the Church of Rome when in fact he had just described their differences emphasising that Rome attributed to works "a power of satisfying God for sin;..." For Hooker, works were a necessary expression of thanksgiving for unmerited justification by a merciful God.[11] Hooker defended his belief in the doctrine of Justification by faith, but argued that even those who did not understand or accept this could be saved by God.

 

Of the Lawes of Ecclesiastical Politie is Hooker's best-known work, with the first four books being published in 1594. The fifth was published in 1597, while the final three were published posthumously,[2] and indeed may not all be his own work. Structurally, the work is a carefully worked out reply to the general principles of Puritanism as found in The Admonition and Thomas Cartwright's follow-up writings, more specifically:

 

Scripture alone is the rule that should govern all human conduct;

Scripture prescribes an unalterable form of Church government;

The English Church is corrupted by Roman Catholic orders, rites, etc.;

The law is corrupt in not allowing lay elders;

'There ought not to be in the Church Bishops'.[12]

Of the Lawes has been characterised as "probably the first great work of philosophy and theology to be written in English."[13] The book is far more than a negative rebuttal of the puritan claims: it is (here McAdoo quotes John S. Marshall) 'a continuous and coherent whole presenting a philosophy and theology congenial to the Anglican Book of Common Prayer and the traditional aspects of the Elizabethan Settlement."[14]

 

Quoting C. S. Lewis,[15] Stephen Neill underlines its positive side in the following terms: Hitherto, in England, "controversy had involved only tactics; Hooker added strategy. Long before the close fighting in Book III begins, the puritan position has been rendered desperate by the great flanking movements in Books I and II. . . . Thus the refutation of the enemy comes in the end to seem a very small thing, a by-product."[16]

 

It is a massive work that deals mainly with the proper governance of the churches ("polity"). The Puritans advocated the demotion of clergy and ecclesiasticism. Hooker attempted to work out which methods of organising churches are best.[2] What was at stake behind the theology was the position of the Queen Elizabeth I as the Supreme Governor of the Church. If doctrine were not to be settled by authorities, and if Martin Luther's argument for the priesthood of all believers were to be followed to its extreme with government by the Elect, then having the monarch as the governor of the church was intolerable. On the other side, if the monarch were appointed by God to be the governor of the church, then local parishes going their own ways on doctrine were similarly intolerable.

 

In political philosophy, Hooker is best remembered for his account of law and the origins of government in Book One of the Politie. Drawing heavily on the legal thought of Thomas Aquinas, Hooker distinguishes seven forms of law: eternal law ("that which God hath eternally purposed himself in all his works to observe"), celestial law (God's law for the angels), nature's law (that part of God's eternal law that governs natural objects), the law of reason (dictates of Right Reason that normatively govern human conduct), human positive law (rules made by human lawmakers for the ordering of a civil society), divine law (rules laid down by God that can only be known by special revelation), and ecclesiastical law (rules for the governance of a church). Like Aristotle, whom he frequently quotes, Hooker believes that humans are naturally inclined to live in society. Governments, he claims, are based on both this natural social instinct and on the express or implied consent of the governed.

 

The Laws is remembered not only for its stature as a monumental work of Anglican thought, but also for its influence in the development of theology, political theory, and English prose.

 

Hooker worked largely from Thomas Aquinas, but he adapted scholastic thought in a latitudinarian manner. He argued that church organisation, like political organisation, is one of the "things indifferent" to God. He wrote that minor doctrinal issues were not issues that damned or saved the soul, but rather frameworks surrounding the moral and religious life of the believer. He contended there were good monarchies and bad ones, good democracies and bad ones, and good church hierarchies and bad ones: what mattered was the piety of the people. At the same time, Hooker argued that authority was commanded by the Bible and by the traditions of the early church, but authority was something that had to be based on piety and reason rather than automatic investiture. This was because authority had to be obeyed even if it were wrong and needed to be remedied by right reason and the Holy Spirit. Notably, Hooker affirmed that the power and propriety of bishops need not be in every case absolute.

 

King James I is quoted by Izaak Walton, Hooker's biographer, as saying, "I observe there is in Mr. Hooker no affected language; but a grave, comprehensive, clear manifestation of reason, and that backed with the authority of the Scriptures, the fathers and schoolmen, and with all law both sacred and civil."[17] Hooker's emphasis on Scripture, reason, and tradition considerably influenced the development of Anglicanism, as well as many political philosophers, including John Locke.[2] Locke quotes Hooker numerous times in the Second Treatise of Civil Government and was greatly influenced by Hooker's natural-law ethics and his staunch defence of human reason. As Frederick Copleston notes, Hooker's moderation and civil style of argument were remarkable in the religious atmosphere of his time.[18] In the Church of England he is celebrated with a Lesser Festival on 3 November and the same day is also observed in the Calendars of other parts of the Anglican Communion.

 

en.wikipedia.org/wiki/Richard_Hooker

Ramzan is a not just a Holy Month a very peaceful sublime month of Barkat too, for those who are in Iftar selling trade , they get good returns for the noble work they do, perhaps fruits and other items are expensive but the common Muslim man does not complain , he goes about life his roza his Ibadat.

 

And this is what I try to show you , the common Muslim , his family , his wife his mother going about buying the Iftar items , his children also kissed by hope of Ramzan.

 

Whatever your sect Islam does not condemn you , or segregates you , you follow what you have to follw after all we are all children of One God One Holy Prophet One Holy Book and Ahle Bayt..

 

This is how I see the Islam I follow a Islam that pre empts I respect another mans religion too .. and my country that brings all of us together under one shade ..

 

Perhaps I am not a very artistic photographer I shoot Ramzan as I see Ramzan on my soul , as it was during your childhood and my childhood too.

 

Before sectarian strife with its evil fangs penetrated the Soul of Islam..and changed the economics of religious life and peace , hate is created by lust power big bucks ..

 

Islam in India is a million light years away from Syria Afghanistan Pakistan and other Arab countries where even during Ramzan the battle rages and really call me what you want but Muslims do love killing Muslims passionately lustfully.

 

So I shoot an Islam of Peace Sadgi Bhaichara Khulus and Aman..

 

I share this message with you through my Ramzan blogs...

 

And I interlink the soul of my blog with your on Facebook and Twitter ..

 

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

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

Its beginning to feel a little like Spring.

 

Even if the temperature didn't get above 4 degrees today, the sun did shine, and there was little breeze. And on our travels through the Kent countryside, spring flowers were everywhere to be seen.

 

We got up at half six when the water heater fired up, fed the cats, gave Scully her jab and made coffee.

 

Then to Whitfield for some hunting and gathering. Jools needing a cider restock and then the rest of the stuff we get through each week.

 

At least shopping so early means missing most of the crazies, and we see the same faces each week, though not well enough to speak, maybe the nod of a head.

 

Back home for breakfast of fruit and tea, put the shopping away and ignore the meows for more food.

 

And off out for some gentle churchcrawling. Our first target is perhaps the last substantial Norman church in east Kent I had yet to visit: Great Chart.

 

Great Chart is now a suburb of Ashford, which is spreading westwards towards the Romney Marsh. This means navigating the series of manic roundabouts onto the A28, past Waitrose and out of town, turning off on about the tenth roundabout, and through the village, no new builds here.

 

And on top of the hill is the church, which Google maps assured me would be open at ten. It was twenty five to eleven, so safe as milk?

 

No. It was locked, with no details of keyholders. So I took some exterior shots and we walked back to the car.

 

I had a back up. We were going here anyway, just Jools didn't know.

 

On the other side of Ashford, out in the countryside, and just below the treeline of Kings Wood, at the end of a dead end lane next to a manor house, is Boughton Aluph.

 

I knew it would be locked, but also knew there was details of a keyholder. So, once we arrived, I called the number, was given directions, and off we set to Boughton Leas.

 

Up a six footer up the down, right at a junction, then right at the first cottage, and the old lady was waiting.

 

We reversed out, turned round and went back to the church, parking in the entrance to a field.

 

Beds jammed with Winter Aconites abounded, but i only had eyes for the church, up the steep path and through the old swing gate.

 

There is no path to the Priest's door, just a track of flattened grass. I went down the stops, inserted the key and turned, the door moved, then opened.

 

Inside is a large a airy space, well lit through windows with little stained glass. Entry is via the vestry in the north chapel, so I walk out into the Chancel, ad look back at the large Nave, filled with chairs.

 

The walls are sparsely adorned, with the memorials that are there as listed by Hasted below. Amazing to think of details recorded 220 years ago are still there and recognisable by his description.

 

The church has a new organ, which I am told sounds splendid in the summer when there are regular concerts as part of Stour Valley Music group.

 

Beside the organ I see the wall painting of The Trinity, though it is hard to see it all other than via an oblique view as the organ is in the way.

 

Ancient glass fills the upper traceries of the east window, most in good condition. At the west in, shards and remnants make more of an abstract display.

 

After half an hour I was done, so leave a donation and exit the church, locking the door behind me.

 

We took the key back, then was the question: shall we have lunch out?

 

We shall.

 

But where.

 

I mention the New Flying Horse in Wye, which is three miles away across the Stour and railway. So off we go. At the level crossing we see the new barriers, which replaced the manual gates a couple of years back, then up through the village, past the mad parking near the market, and along a back street to the pub.

 

It was five minutes past opening time.

 

They had a table, and at least three menus. We both chose steakburgers, and so waited and people-watched until the food arrived.

 

It was nothing extraordinary, but that's not what you want in a burger: just cheese, bacon and pickles. And lots of crispy fries.

 

We pay, and leave. Jools had accidentally ordered a pint of cider, so I drove back, back over Wye Down, to Stone Street then to Bridge and onto the A2.

 

Traffic was very light, we got back at two, just in time to watch the end of the lunchtime games and make a brew before taking my place beside Scully on the sofa.

 

Where I then fell asleep for half an hour.

 

Norwich only drew at Hull, a team we put to the sword in the warm autumn sunshine back in September.

 

Bacon butties for supper, then settle down to watch Palace v Everton, and it was the Toffees who win again under their old new manager, David Moyes.

 

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A connoisseur's church built in the thirteenth century by a man called Adulphus to replace a Saxon church. About a hundred years later the church was substantially enlarged under Sir Thomas Aldon, a courtier of Edward III. Stained glass shields of the King and associated Kentish families still survive as part of the fantastic East window where the upper lights actually follow the curve of both the external arch and the arch of the three main lights below. How fine it must have looked when completely glazed in stained glass. The south porch has a rare fireplace - showing that it may have been adapted to cater for pilgrims on their way to the shrine of Becket at Canterbury Cathedral. Of the same date is the fine screen and possibly the floor tiles. In the north transept is a good example of late fifteenth century wall painting. It depicts the Trinity and is set in a series of decorative frames. Regrettably the dove - central to the story as representative of the Holy Spirit - has long disappeared.

 

www.kentchurches.info/church.asp?p=Boughton+Aluph

 

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BOUGHTON ALUPH

IS the next parish westward from that of Wye. It is frequently spelt Bocton, and is written in Domesday, Boltune, and has the addition of Aluph to it from one of its antient owners, Alulphus de Bocton, as well as to distinguish it from the other parishes of the same name in this county, and in a will, proved anno 1416, in the Prerogative-office, Canterbury, I find it mentioned by the name of the parish of Boughton Aluph, otherwise called Boughton in the Bushe. There are four boroughs in it, Goatlands, Wilmington, Dane, and Hebbinge.

 

THE PARISH lies about twelve miles distant both from Canterbury and Faversham, and about four from Ashford, the high road from Canterbury to the latter goes along the foot of the hills, near the eastern boundary of the parish, where the soil is chalky; close on the east side of the road is Buckwell-house, great part of which has been some time since pulled down, but there is sufficient remaining, with the offices and walls about it, to shew it was once a seat of some note, and at no great distance on the hill, high above the road, is the church and court-lodge. Above this, still further westward, is much open, rough ground, called the Warren, on a chalky soil, reaching beyond the high Faversham road, the new inclosure in Eastwell park adjoining to it, being within this parish; within the northern boundary of it there is a parcel of woodland, about one hundred acres lying in Kingswood, just above Socombe down; it was formerly part of Barton manor, and was sold off from it by Mr. Breton a few years before he sold that manor to Sir Robert Furnese, bart, by whose daughter Catherine it went in marriage to the earl of Guildford, whose grandson George-Augustus, earl of Guildford, is now possessed of it. By the pales of Eastwell park, at a small distance from the mansion of it, the last mentioned road descends below the hill to low ground, and mostly a gravelly soil; on it is the village, situated round a green, called Boughton lees, the west side only of which is in this parish. At the southern boundary of the parish, on the Ashford road, is the borough and hamlet of Wilmington, the antient mansion of which stood close to the road, it has been long since pulled down. It stood within a moat, which is still very entire, its area containing half an acre of ground; many old foundations have been dug up round about it within memory.

 

There is a fair held on the lees on Midsummer day for toys and pedlary.

 

IN THE TIME of the Saxons this place was in the possession of earl Godwin, who was succeeded in it by his eldest son earl Harold, afterwards king of England, on whose death in the fatal battle of Hastings, William the Conqueror having obtained the crown, seized on all the late king's estates, and gave this of Boughton to Eustance, earl of Bologne, who had followed him over hither, as a reward for his services; and he possessed it in the 15th year of that reign, at the time the survey of Domesday was taken, in which it is thus entered, under the title of Terra Comitis Eustachii, i. e. the land of earl Eustace.

 

In the lath of Wivarlet, in Wihundred, the earl holds Boltune. Earl Goduin held it, and it was taxed at seven sulings, then and now. The arable land is thirty-three carucartes. In demesne there are three, and sixty-seven villeins, with five borders having thirty carucates. There is a church, and seventeen servants, and two mills of seven shillings and two-pence, and twenty-six acres of meadow. Wood for the pannage of two hundred hogs. In the time of king Edward the Confessor it was worth twenty pounds, and afterwards thirty pounds, now forty pounds.

 

Of the earl of Bologne this manor was held by a family who assumed their name from it. Alulphus de Boughton held it in the reign of king John, as appears by the Testa de Nevil, of the honor of Bologne. Stephen de Bocton died possessed of this manor in the 14th year of Edward I. holding it in capite by knight's service; together with its member, Hethenden, in Kent, and Orset, in Essex, both escheats of that honor. Soon after which it passed into the family of Burghersh, and Robert de Burghersh, constable of Dover castle, died possessed of this manor of Bocton Olaus in the 34th year of that reign, whose son Stephen, in the 1st year of Edward II obtained a charter of free-warren in all his demesne lands within it. To him succeeded Bartholomew, lord Bughersh, constable of Dover Castle, lord warden, and chamberlain of the king's household. In the 12th, and in the 16th years of Edward III. he had the charter of free-warren renewed for all his lands. (fn. 1) His son Bartholomew, lord Burghersh, about the 43d year of king Edward III. passed away this manor by sale, with much other land in this county and in Warwickshire, to Sir Walter de Paveley, K.G. who spelt his name both Paveley and Pavalli, and bore for his arms, Azure, a cross story, or, as they are now on the roof of Canterbury cloisters. After the death of whose grandson Walter, in the 4th year of king Richard II. it was found by inquisition, that this manor, with the advowson of the church of Bocton Aluph, descended by the entail of it to Thomas de Aldon, as his next heir, who became accordingly possessed of it, and afterwards alienated it to Sir Thomas Trivet, whose widow Elizabeth died possessed of it in the 12th year of king Henry VI. and was succeeded by Elizabeth, then wife of Edward Nevill, lord Bergavenny, fourth son of Ralph, earl of Westmoreland; as her next heir, and the entitled her husband above-mentioned to the possession of it. After her death he remarried Catherine, daughter of Sir Robert Howard, and died anno 19 Edward IV. being then possessed as tenant by the courtesy of England, of this manor among others of the inheritance of Elizabeth his first wife. His eldest son Sir George Nevill, lord Bergavenny; seems to have sold this manor to Sir Thomas Kempe, of Ollantigh, whose youngest son Thomas, bishop of London, died possessed of it in the 4th year of king Henry VII. leaving his nephew Sir Thomas Kempe his next heir, whose descendant Sir Thomas Kempe, of Ollantigh, about the latter and of queen Elizabeth's reign, alienated it to Finch, of Eastwell, in whose successors, earls of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who, by will in 1769, devised this manor to George Finch Hatton, esq. of Eastwell, the present owner of it.

 

SEATON is a small manor in this parish, which was held by knight's service in grand sergeantry, to provide one man, called a vautrer, to lead three greyhounds when the king should go into Gascony, until he had worn out a pair of shoes of the price of four-pence, bought at the king's cost; (fn. 2) by which service John de Criol, younger son of Bertram, held it at his death in the 48th year of king Henry III. whose grand-daughter Joane becoming heir to her brother's inheritance, who died s. p. she carried this manor in marriage to Sir Richard de Rokesle, who was found to hold it by the like service, in the 11th year of king Edward II. His eldest daughter and coheir Agnes married Thomas de Poynings, and entitled him to the possession of it. In whose descendants it continued till Alianore, daughter of Richard de Poynings, marrying Henry, lord Percy, eldest son of Henry, earl of Northamberland, he, in her right, became entitled to this manor among her other great inheritance in this county and elsewhere; and in his descendants this manor continued down to Henry, VIII. earl of Northamberland, (fn. 3) who, in the 23d year of Henry VIII. conveyed it to feoffees, who soon afterwards passed it away by sale to Sir Christopher Hales, afterwards knighted, and the king's attorney-general, whose lands were disgavelled by the act of the 31st year of Henry VIII. He died possessed of it in the 33d year of that reign, holding it of the king, as of his castle of Dover, by knight's service. He left three daughters his coheirs, who joined in the sale of it to Sir Thomas Moyle, of Eastwell, and chancellor of the king's court of augmentation, whose daughter and coheir Catherine, carried it in marriage to Sir Thomas Finch, of Eastwell, (fn. 4) in whose descendants, earls of Winchelsea, this manor continued down to Daniel, earl of Winchelsea and Nottingham, who dying in 1769, without male issue, gave it, together with his other estates in this county, to his nephew George Finch Hatton, esq. now of Eastwell, the present proprietor of it.

 

BARTON is a manor here, the mansion of which stood on the west side of the Ashford road, in the borough of Socombe, almost opposite to Buckwell, but it has been pulled down some years, and there is now only a barn on the scite of it. It was once part of the possessions of the family of Leyborne, of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of king Henry III. and in this name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which, she was usually stiled the Infanta of Kent, who, though she had three husbands, all of whom she survived, yet she died s. p. in the 41st year of king Edward III. (fn. 5) Upon which this manor, among the rest of her estates, escheated to the crown, there being no one found who could make claim to her estates, by direct or even by collateral alliance. After which this manor continued in the crown, till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, at Westminister, which he had in his 22d year completed and made collegiate, and had the year before granted to the dean and canons of this manor, among others, in mortmain. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, who soon afterwards granted this manor to Sir Thomas Moyle, of Eastwell, and he parted with it to his brother Walter Moyle, esq. who afterwards resided at Buckwell, in this parish; and in his descendants, resident at Buckwell, this manor continued, till John Moyle, esq. of Buckwell, leaving Mary his sole daughter and heir, she carried it in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of it in 1708, and his son, Moyle Breton, esq. of Kennington, about the year 1730, sold this manor to Thomas May, afterwards Knight, esq. of Godmersham, whose son Tho. Knight, esq. of Godmersham, dying in 1794, s.p. gave it by will to his widow Mrs. Catherine Knight, but she has since resigned it to Edward Austen, esq. of Godmersham park, who is the present owner of it.

 

BUCKWELL, which was once accounted a manor, is situated at a small distance from Barton last-mentioned, though on the opposite side of the road. It was, in the reign of the Conqueror, part of those estates which were given to William de Arsick, for his assistance in the desence of Dover castle, and made up, with them, the barony of Arsick, being held of it, as one knight's fee, by barony, as of the castle of Dover, to which it owed ward and service. Of him and his heirs this manor was again held by the family of Leyborne, one of whom, Roger de Leyborne, died possessed of it in the 56th year of Henry III. and was succeeded in it by William his son; but when it passed from this name, I have not found; but soon afterwards, the manor of Buckwell, and the mansion of it, seem to have been Separated, and in the possession of different owners; for the manor itself became the property of Robert de Burghersh, constable of Dover castle, and likewise lord warden, whose descendant Bartholomew, lord Burghersh, about the 43d year of king Edward III. conveyed it, with other land in this parish and elsewhere, to Sir Walter de Paveley, one of whose descendants passed it away to Sir Robert Belknap, chief justice of the common pleas, who in the 11th year of that reign was attainted, and banished to Ireland, and though he was afterwards permitted to return in the 20th year of it, yet his attainder still continued, and his lands remained forfeited as before, (fn. 6) and this manor remained in the crown till that king vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in Westminster, in the possession of the dean and canons, of which it remained till the suppression of that college in the 1st year of king Edward VI. when it came into the hands of the crown, whence it was granted to John Moyle, whose ancestors, resident at the mansion of Buckwell, had likewise been leffees of this manor under the deans and canons for some generations.

 

Mention has been made above, that the mansion of Buckwell had, before the reign of king Edward I. been separated from the manor itself; accordingly I find, that in the 8th year of king Edward III. William de la Hay died possessed of it, and that soon afterwards it became the property of a family who assumed their name from it, being usually called Bekewell. Henry de Bekewell appears by the escheat-rolls to have died possessed of it in the 10th year of that reign, as did his descendant, of the same name, in the 17th year of king Richard II. After this family was extinct here, this seat became the property of Wode, and remained so till the 34th year of Henry VI. and then Robert Wode passed it away by sale to Walter Moyle, ancestor of John Moyle, esq. of this place, who had the grant of the manor of Buckwell from king Edward VI. as be fore-mentioned. The Moyles were descended from Thomas Moyle, of Bodmin, in Cornwall, whose grandson Sir Walter, third son of Henry, was of Eastwell, and purchaser of this estate, as before-mentioned. His eldest son John had several sons, of whom John was father of Ralph Moyle, who died at Eastwell in 1582. Walter was of Buckwell, and ancestor of the Moyles of this place; and Thomas, who was knighted, and was of Eastwell, left two daughters his coheirs, married to Finch and Kempe. They bore for their arms, Gules, a mule passant, within a bordure, argent. There are many memorials of them in both the chancels of this church. (fn. 7) In the descendants of John Moyle, resident at Buckwell, this manor and seat continued till Mary, sole daughter and heir of John Moyle, esq. carried both of them in marriage to Robert Breton, esq. of the Elmes, near Dover, whose son Moyle Breton, esq. of Kennington, about the year 1730, being enabled so to do by an act passed for this purpose, sold them, with other adjoining estates, to Thomas May, afterwards Knight, esq. of Godmersham, and his only son and heir Thomas Knight, esq. of that place, on his death, s. p. in 1794, gave them by will to his widow, Mrs. Catherine Knight, who likewise resigned them to Edward Austen, esq. of Godmersham, the present owner of them.

 

Wilmington, called likewise antiently Wilmingdon, is a manor which lies at the southern part of this parish, on the Ashford road likewise. It gives name to the borough in which it stands, and to the hamlet of houses which stand round about it. Robert de Wilmington held this manor in the reign of Henry III. in grand sergeantry, of the honor of Bolegne, by the service of being the earl's cook, it being then valued at two marcs. His descendant Bertram de Wilmington, died possessed of it in the 12th year of Edward II. when it was found by inquisition, that he held it of the king in capite, by the service of finding for the king one pot-hook for his meat, whenever he should come within the manor of Boughton Aluph. (fn. 8) His descendant, of the same name, died possessed of it in the 6th year of king Henry V. After which it came into the possession of John Mowbray, duke of Norfolk, who was possessed of it in the 2d year of Edward IV. On his death the great inheritance of the Mowbrays came to the descendants of his two sisters and coheirs, and in the division of it John, lord Howard, in right of his mother Margaret, the eldest of them, became entitled to this manor. He was one of the most illustrious noblemen of his time, and having continued faithful to the house of York, he remained no less stedfast to the interest of king Richard III. who created him duke of Norsolk, earl marshal and lord admiral of England. But he did not enjoy these honors long; for he was next year slain in the battle of Bosworth, fighting on the king's behalf, and in the 1st year of Henry VII. he was attainted in parliament, and this manor, among his other possessions, became confiscated to the crown; (fn. 9) whence it was afterwards granted to Moyle, in which name it continued till the beginning of Edward VI.'s reign, when by Catherine, daughter and coheir of Sir Thomas Moyle, of Eastwell, it went in marriage to Sir Thomas Finch, of that parish, who died in 1563, and she remarrying with Nicholas St. Leger, esq. of Beamstone, in Westwell, entitled him to it for her life. She died in 1586, on which it came to her son Sir Moyle Finch, bart. in whose descendants, earl of Winchelsea, it descended down to Daniel, earl of Winchelsea and Nottingham, who at his death in 1769, devised it to his nephew George Finch Hatton, esq. now of Eastwell, the present owner of it.

 

But Part Of The Demesne Lands of this manor were sold off, about the year 1713, to the Rev. Hilkiah Bedford, publisher of the bereditary Right of the Crown of England asserted, whose eldest son William Bedford M.D. whose daughter Elizabeth marrying Mr. Claxton, of Shirley, in Surry, has entitled him to the possession of it.

 

ANOTHER PART of this estate, now called Little Wilmington, in the reign of king Henry VI. was in the possession of Richard Sandys, who alienated it to John Barough, who resided at it, and died possessed of it in the 1st year of king Edward IV. One of his descendants, Richard Barrowe, resided here in the reigns of king Elizabeth and James I. and died in the 6th year of the latter, leaving three sons, Robert, Richard, and William, to which last he devised his house and lands in Borden, and from him descended the Barrows of that parish. To Robert Barrow, his eldest son, he devised this estate of Little Wilmington, and in his descendants it continued, till it was at length sold to Knott, and from that name again to Dr. William Egerton, prebendary of Canterbury, who died possessed of it in 1728, leaving two daughters his coheirs, and his widow surviving, upon whose death it came to Jemima, widow of Edward Bridges, esq. of Wotton, one of the above-mentioned coheirs, and William Hammond, esq. of St. Albans, the eldest son of William Hammond, esq. of that place, by Charlotte the other coheir; and upon a division made, this estate was allotted to Mrs. Bridges above-mentioned, now of Canterbury, and she is the present possessor of it.

 

MARDOL MANOR is the last place to be mentioned in this parish, lying on the south side of it. This manor was antiently the patrimony of the Corbies in which it continued till Robert Corbie, in the reign of king Richard II. leaving an only daughter and heir Joane, she carried it, among the rest of her inheritance, to Sir Nicholas Wotton, whose descendant Thomas Wotton, esq. in the reign of queen Elizabeth, passed it away by sale to Sprott, from which name, in the reign of king Charles I. it was alienated to Thomas Finch, earl of Winchelsea, in whose descendants it continued down to Daniel, earl of Winchelsea and Nottingham, who in 1769, gave it by will, with the rest of his estates in this county, to his nephew George Finch Hatton, esq. now the present owner of it.

 

Charities.

MR. JOHN BOUGHTON, vicar, left to this parish by will, in 1642, 30s. per annum to such poor as had great charge of children, aged and incapable to work, to be distributed on the Thursday in Whitsun-week; and to the churchwardens and overseers, 10s. per annum, for a sermon to be preached on that day, to be paid out of house and land on Boughton lees.

 

MR. THOMAS KEEPS left by will in 1780, 20s. per annum to the use of the poor, out of a field in Great Chart, rented at 6l. per annum, the remainder of the rent being left to five other parishes.

 

MR. WILLIAM CROW left by will in 1770, to this parish, the sum of 90l. to be put into the public funds, the amount of the profits of it to be yearly distributed by the owners of Eastwell-place, among such honest and well disposed poor aged men and women, especially widows, as they should consider real objects of charity; but not to persons receiving alms, in relief of the parish.

 

There is an alms-house belonging to this parish, on Boughtonlees, containing six dwellings.

 

The poor constantly relieved are about 15, casually 20.

 

BOUGHTON ALUPH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to All Saints, is large and handsome, built of slint, with ashlar stone to the doors, windows, and quoins. It consists of three isles and two chancels. The steeple is a large low tower, standing on four pillars in the middle of it. There are five bells in it, and at the south-east corner, adjoining to the tower, is a large square addition, in which is a stone stair-case. Both the chancels did belong to the Buckwell estate; but the family of Breton having buried in both since their sale of it, without Mr. Knight's permission, he refused to repair them, and they are now repaired by Mr. Breton. In the great chancel, within the rails, is a monument for Thomas Austen, esq. obt. 1637. In this and the north chancel are many gravestones of the Moiles and Bretons. In the north chancel is a handsome monument of marble, for Amy, wife of Josias Clerk, gent. of Essex, daughter of John Moyle, esq. of Buckwell, obt. 1631, having the effigies of her lying at full length, and of her three children kneeling at her head and feet, in full proportion, under a canopy. In the middle isle is a memorial for John Mascall, esq. obt. 1769; arms, Two bars, over all, three escutcheons ermine, impaling a saltier, and on it a crescent, for difference; and there are memorials for others likewise of the same family.

 

The church of Boughton Aluph, as has been already mentioned before, was antiently an appendage to the manor, and continued so in the 4th year of Richard II. when Sir Walter Pavely died possessed of the same, and it was found that Sir Thomas de Aldon was his next heir. How long afterwards it continued in his heirs I have not found; but in the reign of Henry VI. the advowson of this rectory was become the property of cardinal John Kempe, archbishop of York, who settled it on his new-founded college of Wye, and in the 29th year of that reign the master and chaplains of it had the king's licence to receive this advowson from the cardinal, and to appropriate the rectory of it to themselves; (fn. 10) and a vicarage was endowed here. In which situation it remained till the suppression of the college, in the 36th year of Henry VIII. when it was surrendered into the king's hands, who that year granted this church, with the presentation of the vicarage of it, among other premises, to Walter Bucler, esq. to hold in capite, with certain provisos for the maintenance of the curates and schoolmaster of Wye; which grant, on his non-performance of these conditions, became forfeited, and king Charles I. in his 2d and 5th years, granted the same premises, with the proviso for the payment of certain stipends to the before-mentioned curate and schoolmaster, to Robert Maxwell, from whose heirs this rectory and advowson was afterwards sold to Moyle, of Buckwell, in which name it continued till Mary, daughter and sole heir of John Moyle, esq. of Buckwell, carried them in marriage to Robert Breton, esq. of the Elmes, near Dover, who died possessed of them in 1708, and his great grandson the Rev. Moyle Breton, of Kennington, is the present owner of the parsonage appropriate of Boughton, with the advowson of the vicarage of this church, who pays twenty pounds per annum from it towards the stipends of the curate and schoolmaster of Wye, as stipulated in Robert Maxwell's patent, the several premises granted in it being now in different hands as has been already more fully mentioned before.

 

It is valued in the king's books at 6l. 5s. the yearly tenths being 12s. 6d. but it is now of the clear yearly certified value (delivered in 1752) of 58l. 6s. 10d.

 

In 1578 here were communicants one hundred and fifty-four; in 1640, one hundred and seventy-seven. It is now worth about eighty pounds per annum. There are twenty three acres of glebe belonging to it.

 

There was a composition in 1305 entered into between the rector of Westwell and Stephen de Wilmington, rector of this church, concerning the tithes of the hamlets of Shotingdon, Chilberton, and Wike.

 

www.british-history.ac.uk/survey-kent/vol7/pp384-398

he.kingdomsalvation.org/videos/our-pastor-said.html

 

מערכון 'הכומר שלנו אמר...' | למי עלינו להאזין כשאנו מאמינים באלוהים?

 

יו שונפו היא מאמינה מהעולם הדתי, שמעריצה כמרים ובכירים. היא חושבת כך: "אלוהים מינה את כל הכמרים והבכירים, וההישמעות לכמרים ולבכירים היא הישמעות לאלוהים". לכן היא נשמעת לכומר שלה בכל מעשיה, אפילו כשמדובר בקידום פניו של ישוע בשובו. אך לאחר דיון שמנוהל בצורה מבריקה, יו שונפו מבינה שזה מגוחך ולא הגיוני להיצמד לתפיסות דתיות. בסופו של דבר היא רואה שכאדם מאמין, עליה לפאר קודם כול את אלוהים, ולשמור לאלוהים את "בית המקדש" שבלבה. לכן היא מחליטה לברר ולחקור את דרך האמת בכוחות עצמה…

 

ייתכן שתאהב גם…

מהי עבודתה של רוח הקודש? כיצד מתבטאת עבודתה של רוח הקודש?

  

Image Source: כנסיית האל הכול יכול

  

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Gautama Buddha, also known as Siddhārtha Gautama, Shakyamuni, or simply the Buddha, was a sage on whose teachings Buddhism was founded. He is believed to have lived and taught mostly in northeastern India sometime between the sixth and fourth centuries BCE.

 

The word Buddha means "awakened one" or "the enlightened one". "Buddha" is also used as a title for the first awakened being in a Yuga era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha (Pali sammāsambuddha, Sanskrit samyaksaṃbuddha) of the present age. Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the śramaṇa movement common in his region. He later taught throughout regions of eastern India such as Magadha and Kosala.

 

Gautama is the primary figure in Buddhism and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later.

 

CONTENTS

HISTORICAL SIDDHARTA GAUTAMA

Scholars are hesitant to make unqualified claims about the historical facts of the Buddha's life. Most accept that he lived, taught and founded a monastic order during the Mahajanapada era during the reign of Bimbisara, the ruler of the Magadha empire, and died during the early years of the reign of Ajasattu, who was the successor of Bimbisara, thus making him a younger contemporary of Mahavira, the Jain tirthankara. Apart from the Vedic Brahmins, the Buddha's lifetime coincided with the flourishing of other influential śramaṇa schools of thoughts like Ājīvika, Cārvāka, Jainism, and Ajñana. It was also the age of influential thinkers like Mahavira, Pūraṇa Kassapa, Makkhali Gosāla, Ajita Kesakambalī, Pakudha Kaccāyana, and Sañjaya Belaṭṭhaputta, whose viewpoints the Buddha most certainly must have been acquainted with and influenced by. Indeed, Sariputta and Moggallāna, two of the foremost disciples of the Buddha, were formerly the foremost disciples of Sañjaya Belaṭṭhaputta, the skeptic. There is also evidence to suggest that the two masters, Alara Kalama and Uddaka Ramaputta, were indeed historical figures and they most probably taught Buddha two different forms of meditative techniques. While the general sequence of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" is widely accepted, there is less consensus on the veracity of many details contained in traditional biographies.

 

The times of Gautama's birth and death are uncertain. Most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE. More recently his death is dated later, between 411 and 400 BCE, while at a symposium on this question held in 1988, the majority of those who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death. These alternative chronologies, however, have not yet been accepted by all historians.

 

The evidence of the early texts suggests that Siddhārtha Gautama was born into the Shakya clan, a community that was on the periphery, both geographically and culturally, of the northeastern Indian subcontinent in the 5th century BCE. It was either a small republic, in which case his father was an elected chieftain, or an oligarchy, in which case his father was an oligarch. According to the Buddhist tradition, Gautama was born in Lumbini, nowadays in modern-day Nepal, and raised in the Shakya capital of Kapilavastu, which may have been in either present day Tilaurakot, Nepal or Piprahwa, India. He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, and died in Kushinagar.

 

No written records about Gautama have been found from his lifetime or some centuries thereafter. One Edict of Asoka, who reigned from circa 269 BCE to 232 BCE, commemorates the Emperor's pilgrimage to the Buddha's birthplace in Lumbini. Another one of his edicts mentions several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Maurya era and which may be the precursors of the Pāli Canon. The oldest surviving Buddhist manuscripts are the Gandhāran Buddhist texts, reported to have been found in or around Haḍḍa near Jalalabad in eastern Afghanistan and now preserved in the British Library. They are written in the Gāndhārī language using the Kharosthi script on twenty-seven birch bark manuscripts and date from the first century BCE to the third century CE.

 

TRADITIONAL BIOGRAPHIES

BIOGRAPHICAL SOURCES

The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā. Of these, the Buddhacarita is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE. The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE. The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra, and various Chinese translations of this date between the 3rd and 6th century CE. The Nidānakathā is from the Theravada tradition in Sri Lanka and was composed in the 5th century by Buddhaghoṣa.

 

From canonical sources, the Jataka tales, the Mahapadana Sutta (DN 14), and the Achariyabhuta Sutta (MN 123) which include selective accounts that may be older, but are not full biographies. The Jātakas retell previous lives of Gautama as a bodhisattva, and the first collection of these can be dated among the earliest Buddhist texts. The Mahāpadāna Sutta and Achariyabhuta Sutta both recount miraculous events surrounding Gautama's birth, such as the bodhisattva's descent from the Tuṣita Heaven into his mother's womb.

 

NATURE OF TRADITIONAL DEPICTIONS

In the earliest Buddhists texts, the nikāyas and āgamas, the Buddha is not depicted as possessing omniscience (sabbaññu) nor is he depicted as being an eternal transcendent (lokottara) being. According to Bhikkhu Analayo, ideas of the Buddha's omniscience (along with an increasing tendency to deify him and his biography) are found only later, in the Mahayana sutras and later Pali commentaries or texts such as the Mahāvastu. In the Sandaka Sutta, the Buddha's disciple Ananda outlines an argument against the claims of teachers who say they are all knowing while in the Tevijjavacchagotta Sutta the Buddha himself states that he has never made a claim to being omniscient, instead he claimed to have the "higher knowledges" (abhijñā). The earliest biographical material from the Pali Nikayas focuses on the Buddha's life as a śramaṇa, his search for enlightenment under various teachers such as Alara Kalama and his forty five year career as a teacher.

 

Traditional biographies of Gautama generally include numerous miracles, omens, and supernatural events. The character of the Buddha in these traditional biographies is often that of a fully transcendent (Skt. lokottara) and perfected being who is unencumbered by the mundane world. In the Mahāvastu, over the course of many lives, Gautama is said to have developed supra-mundane abilities including: a painless birth conceived without intercourse; no need for sleep, food, medicine, or bathing, although engaging in such "in conformity with the world"; omniscience, and the ability to "suppress karma". Nevertheless, some of the more ordinary details of his life have been gathered from these traditional sources. In modern times there has been an attempt to form a secular understanding of Siddhārtha Gautama's life by omitting the traditional supernatural elements of his early biographies.

 

Andrew Skilton writes that the Buddha was never historically regarded by Buddhist traditions as being merely human:

It is important to stress that, despite modern Theravada teachings to the contrary (often a sop to skeptical Western pupils), he was never seen as being merely human. For instance, he is often described as having the thirty-two major and eighty minor marks or signs of a mahāpuruṣa, "superman"; the Buddha himself denied that he was either a man or a god; and in the Mahāparinibbāna Sutta he states that he could live for an aeon were he asked to do so.The ancient Indians were generally unconcerned with chronologies, being more focused on philosophy. Buddhist texts reflect this tendency, providing a clearer picture of what Gautama may have taught than of the dates of the events in his life. These texts contain descriptions of the culture and daily life of ancient India which can be corroborated from the Jain scriptures, and make the Buddha's time the earliest period in Indian history for which significant accounts exist. British author Karen Armstrong writes that although there is very little information that can be considered historically sound, we can be reasonably confident that Siddhārtha Gautama did exist as a historical figure. Michael Carrithers goes a bit further by stating that the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true.

 

BIOGRAPHY

CONCEPTION AND BIRTH

The Buddhist tradition regards Lumbini, in present-day Nepal to be the birthplace of the Buddha. He grew up in Kapilavastu. The exact site of ancient Kapilavastu is unknown. It may have been either Piprahwa, Uttar Pradesh, present-day India, or Tilaurakot, present-day Nepal. Both places belonged to the Sakya territory, and are located only 15 miles apart from each other.

 

Gautama was born as a Kshatriya, the son of Śuddhodana, "an elected chief of the Shakya clan", whose capital was Kapilavastu, and who were later annexed by the growing Kingdom of Kosala during the Buddha's lifetime. Gautama was the family name. His mother, Maya (Māyādevī), Suddhodana's wife, was a Koliyan princess. Legend has it that, on the night Siddhartha was conceived, Queen Maya dreamt that a white elephant with six white tusks entered her right side, and ten months later Siddhartha was born. As was the Shakya tradition, when his mother Queen Maya became pregnant, she left Kapilvastu for her father's kingdom to give birth. However, her son is said to have been born on the way, at Lumbini, in a garden beneath a sal tree.

 

The day of the Buddha's birth is widely celebrated in Theravada countries as Vesak. Buddha's Birthday is called Buddha Purnima in Nepal and India as he is believed to have been born on a full moon day. Various sources hold that the Buddha's mother died at his birth, a few days or seven days later. The infant was given the name Siddhartha (Pāli: Siddhattha), meaning "he who achieves his aim". During the birth celebrations, the hermit seer Asita journeyed from his mountain abode and announced that the child would either become a great king (chakravartin) or a great sadhu. By traditional account, this occurred after Siddhartha placed his feet in Asita's hair and Asita examined the birthmarks. Suddhodana held a naming ceremony on the fifth day, and invited eight Brahmin scholars to read the future. All gave a dual prediction that the baby would either become a great king or a great holy man. Kondañña, the youngest, and later to be the first arhat other than the Buddha, was reputed to be the only one who unequivocally predicted that Siddhartha would become a Buddha.

 

While later tradition and legend characterized Śuddhodana as a hereditary monarch, the descendant of the Suryavansha (Solar dynasty) of Ikṣvāku (Pāli: Okkāka), many scholars think that Śuddhodana was the elected chief of a tribal confederacy.

 

Early texts suggest that Gautama was not familiar with the dominant religious teachings of his time until he left on his religious quest, which is said to have been motivated by existential concern for the human condition. The state of the Shakya clan was not a monarchy, and seems to have been structured either as an oligarchy, or as a form of republic. The more egalitarian gana-sangha form of government, as a political alternative to the strongly hierarchical kingdoms, may have influenced the development of the śramanic Jain and Buddhist sanghas, where monarchies tended toward Vedic Brahmanism.

 

EARLY LIFE AND MARRIAGE

Siddhartha was brought up by his mother's younger sister, Maha Pajapati. By tradition, he is said to have been destined by birth to the life of a prince, and had three palaces (for seasonal occupation) built for him. Although more recent scholarship doubts this status, his father, said to be King Śuddhodana, wishing for his son to be a great king, is said to have shielded him from religious teachings and from knowledge of human suffering.

 

When he reached the age of 16, his father reputedly arranged his marriage to a cousin of the same age named Yaśodharā (Pāli: Yasodharā). According to the traditional account, she gave birth to a son, named Rāhula. Siddhartha is said to have spent 29 years as a prince in Kapilavastu. Although his father ensured that Siddhartha was provided with everything he could want or need, Buddhist scriptures say that the future Buddha felt that material wealth was not life's ultimate goal.

 

RENUNCIATION AND ASCETIC LIFE

At the age of 29, the popular biography continues, Siddhartha left his palace to meet his subjects. Despite his father's efforts to hide from him the sick, aged and suffering, Siddhartha was said to have seen an old man. When his charioteer Channa explained to him that all people grew old, the prince went on further trips beyond the palace. On these he encountered a diseased man, a decaying corpse, and an ascetic. These depressed him, and he initially strove to overcome aging, sickness, and death by living the life of an ascetic.

 

Accompanied by Channa and riding his horse Kanthaka, Gautama quit his palace for the life of a mendicant. It's said that, "the horse's hooves were muffled by the gods" to prevent guards from knowing of his departure.

 

Gautama initially went to Rajagaha and began his ascetic life by begging for alms in the street. After King Bimbisara's men recognised Siddhartha and the king learned of his quest, Bimbisara offered Siddhartha the throne. Siddhartha rejected the offer, but promised to visit his kingdom of Magadha first, upon attaining enlightenment.

 

He left Rajagaha and practised under two hermit teachers of yogic meditation. After mastering the teachings of Alara Kalama (Skr. Ārāḍa Kālāma), he was asked by Kalama to succeed him. However, Gautama felt unsatisfied by the practice, and moved on to become a student of yoga with Udaka Ramaputta (Skr. Udraka Rāmaputra). With him he achieved high levels of meditative consciousness, and was again asked to succeed his teacher. But, once more, he was not satisfied, and again moved on.

 

Siddhartha and a group of five companions led by Kaundinya are then said to have set out to take their austerities even further. They tried to find enlightenment through deprivation of worldly goods, including food, practising self-mortification. After nearly starving himself to death by restricting his food intake to around a leaf or nut per day, he collapsed in a river while bathing and almost drowned. Siddhartha was rescued by a village girl named Sujata and she gave him some payasam (a pudding made from milk and jaggery) after which Siddhartha got back some energy. Siddhartha began to reconsider his path. Then, he remembered a moment in childhood in which he had been watching his father start the season's ploughing. He attained a concentrated and focused state that was blissful and refreshing, the jhāna.

 

AWAKENING

According to the early Buddhist texts, after realizing that meditative dhyana was the right path to awakening, but that extreme asceticism didn't work, Gautama discovered what Buddhists call the Middle Way - a path of moderation away from the extremes of self-indulgence and self-mortification, or the Noble Eightfold Path, as was identified and described by the Buddha in his first discourse, the Dhammacakkappavattana Sutta. In a famous incident, after becoming starved and weakened, he is said to have accepted milk and rice pudding from a village girl named Sujata. Such was his emaciated appearance that she wrongly believed him to be a spirit that had granted her a wish.

 

Following this incident, Gautama was famously seated under a pipal tree - now known as the Bodhi tree - in Bodh Gaya, India, when he vowed never to arise until he had found the truth. Kaundinya and four other companions, believing that he had abandoned his search and become undisciplined, left. After a reputed 49 days of meditation, at the age of 35, he is said to have attained Enlightenment. According to some traditions, this occurred in approximately the fifth lunar month, while, according to others, it was in the twelfth month. From that time, Gautama was known to his followers as the Buddha or "Awakened One" ("Buddha" is also sometimes translated as "The Enlightened One").

 

According to Buddhism, at the time of his awakening he realized complete insight into the cause of suffering, and the steps necessary to eliminate it. These discoveries became known as the "Four Noble Truths", which are at the heart of Buddhist teaching. Through mastery of these truths, a state of supreme liberation, or Nirvana, is believed to be possible for any being. The Buddha described Nirvāna as the perfect peace of a mind that's free from ignorance, greed, hatred and other afflictive states, or "defilements" (kilesas). Nirvana is also regarded as the "end of the world", in that no personal identity or boundaries of the mind remain. In such a state, a being is said to possess the Ten Characteristics, belonging to every Buddha.

 

According to a story in the Āyācana Sutta (Samyutta Nikaya VI.1) - a scripture found in the Pāli and other canons - immediately after his awakening, the Buddha debated whether or not he should teach the Dharma to others. He was concerned that humans were so overpowered by ignorance, greed and hatred that they could never recognise the path, which is subtle, deep and hard to grasp. However, in the story, Brahmā Sahampati convinced him, arguing that at least some will understand it. The Buddha relented, and agreed to teach.

 

FORMATION OF THE SANGHA

After his awakening, the Buddha met Taphussa and Bhallika — two merchant brothers from the city of Balkh in what is currently Afghanistan - who became his first lay disciples. It is said that each was given hairs from his head, which are now claimed to be enshrined as relics in the Shwe Dagon Temple in Rangoon, Burma. The Buddha intended to visit Asita, and his former teachers, Alara Kalama and Udaka Ramaputta, to explain his findings, but they had already died.

 

He then travelled to the Deer Park near Varanasi (Benares) in northern India, where he set in motion what Buddhists call the Wheel of Dharma by delivering his first sermon to the five companions with whom he had sought enlightenment. Together with him, they formed the first saṅgha: the company of Buddhist monks.

 

All five become arahants, and within the first two months, with the conversion of Yasa and fifty four of his friends, the number of such arahants is said to have grown to 60. The conversion of three brothers named Kassapa followed, with their reputed 200, 300 and 500 disciples, respectively. This swelled the sangha to more than 1,000.

 

TRAVELS AND TEACHING

For the remaining 45 years of his life, the Buddha is said to have traveled in the Gangetic Plain, in what is now Uttar Pradesh, Bihar and southern Nepal, teaching a diverse range of people: from nobles to servants, murderers such as Angulimala, and cannibals such as Alavaka. Although the Buddha's language remains unknown, it's likely that he taught in one or more of a variety of closely related Middle Indo-Aryan dialects, of which Pali may be a standardization.

 

The sangha traveled through the subcontinent, expounding the dharma. This continued throughout the year, except during the four months of the Vāsanā rainy season when ascetics of all religions rarely traveled. One reason was that it was more difficult to do so without causing harm to animal life. At this time of year, the sangha would retreat to monasteries, public parks or forests, where people would come to them.

 

The first vassana was spent at Varanasi when the sangha was formed. After this, the Buddha kept a promise to travel to Rajagaha, capital of Magadha, to visit King Bimbisara. During this visit, Sariputta and Maudgalyayana were converted by Assaji, one of the first five disciples, after which they were to become the Buddha's two foremost followers. The Buddha spent the next three seasons at Veluvana Bamboo Grove monastery in Rajagaha, capital of Magadha.

 

Upon hearing of his son's awakening, Suddhodana sent, over a period, ten delegations to ask him to return to Kapilavastu. On the first nine occasions, the delegates failed to deliver the message, and instead joined the sangha to become arahants. The tenth delegation, led by Kaludayi, a childhood friend of Gautama's (who also became an arahant), however, delivered the message.

 

Now two years after his awakening, the Buddha agreed to return, and made a two-month journey by foot to Kapilavastu, teaching the dharma as he went. At his return, the royal palace prepared a midday meal, but the sangha was making an alms round in Kapilavastu. Hearing this, Suddhodana approached his son, the Buddha, saying:

 

"Ours is the warrior lineage of Mahamassata, and not a single warrior has gone seeking alms."

 

The Buddha is said to have replied:

 

"That is not the custom of your royal lineage. But it is the custom of my Buddha lineage. Several thousands of Buddhas have gone by seeking alms."

 

Buddhist texts say that Suddhodana invited the sangha into the palace for the meal, followed by a dharma talk. After this he is said to have become a sotapanna. During the visit, many members of the royal family joined the sangha. The Buddha's cousins Ananda and Anuruddha became two of his five chief disciples. At the age of seven, his son Rahula also joined, and became one of his ten chief disciples. His half-brother Nanda also joined and became an arahant.

 

Of the Buddha's disciples, Sariputta, Maudgalyayana, Mahakasyapa, Ananda and Anuruddha are believed to have been the five closest to him. His ten foremost disciples were reputedly completed by the quintet of Upali, Subhoti, Rahula, Mahakaccana and Punna.

 

In the fifth vassana, the Buddha was staying at Mahavana near Vesali when he heard news of the impending death of his father. He is said to have gone to Suddhodana and taught the dharma, after which his father became an arahant.The king's death and cremation was to inspire the creation of an order of nuns. Buddhist texts record that the Buddha was reluctant to ordain women. His foster mother Maha Pajapati, for example, approached him, asking to join the sangha, but he refused. Maha Pajapati, however, was so intent on the path of awakening that she led a group of royal Sakyan and Koliyan ladies, which followed the sangha on a long journey to Rajagaha. In time, after Ananda championed their cause, the Buddha is said to have reconsidered and, five years after the formation of the sangha, agreed to the ordination of women as nuns. He reasoned that males and females had an equal capacity for awakening. But he gave women additional rules (Vinaya) to follow.

 

MAHAPARINIRVANA

According to the Mahaparinibbana Sutta of the Pali canon, at the age of 80, the Buddha announced that he would soon reach Parinirvana, or the final deathless state, and abandon his earthly body. After this, the Buddha ate his last meal, which he had received as an offering from a blacksmith named Cunda. Falling violently ill, Buddha instructed his attendant Ānanda to convince Cunda that the meal eaten at his place had nothing to do with his passing and that his meal would be a source of the greatest merit as it provided the last meal for a Buddha. Mettanando and Von Hinüber argue that the Buddha died of mesenteric infarction, a symptom of old age, rather than food poisoning. The precise contents of the Buddha's final meal are not clear, due to variant scriptural traditions and ambiguity over the translation of certain significant terms; the Theravada tradition generally believes that the Buddha was offered some kind of pork, while the Mahayana tradition believes that the Buddha consumed some sort of truffle or other mushroom. These may reflect the different traditional views on Buddhist vegetarianism and the precepts for monks and nuns.

 

Waley suggests that Theravadin's would take suukaramaddava (the contents of the Buddha's last meal), which can translate as pig-soft, to mean soft flesh of a pig. However, he also states that pig-soft could mean "pig's soft-food", that is, after Neumann, a soft food favoured by pigs, assumed to be a truffle. He argues (also after Neumann) that as Pali Buddhism was developed in an area remote to the Buddha's death, the existence of other plants with suukara- (pig) as part of their names and that "(p)lant names tend to be local and dialectical" could easily indicate that suukaramaddava was a type of plant whose local name was unknown to those in the Pali regions. Specifically, local writers knew more about their flora than Theravadin commentator Buddhaghosa who lived hundreds of years and kilometres remote in time and space from the events described. Unaware of an alternate meaning and with no Theravadin prohibition against eating animal flesh, Theravadins would not have questioned the Buddha eating meat and interpreted the term accordingly.

 

Ananda protested the Buddha's decision to enter Parinirvana in the abandoned jungles of Kuśināra (present-day Kushinagar, India) of the Malla kingdom. The Buddha, however, is said to have reminded Ananda how Kushinara was a land once ruled by a righteous wheel-turning king that resounded with joy:

 

44. Kusavati, Ananda, resounded unceasingly day and night with ten sounds - the trumpeting of elephants, the neighing of horses, the rattling of chariots, the beating of drums and tabours, music and song, cheers, the clapping of hands, and cries of "Eat, drink, and be merry!"

 

The Buddha then asked all the attendant Bhikkhus to clarify any doubts or questions they had. They had none. According to Buddhist scriptures, he then finally entered Parinirvana. The Buddha's final words are reported to have been: "All composite things (Saṅkhāra) are perishable. Strive for your own liberation with diligence" (Pali: 'vayadhammā saṅkhārā appamādena sampādethā'). His body was cremated and the relics were placed in monuments or stupas, some of which are believed to have survived until the present. For example, The Temple of the Tooth or "Dalada Maligawa" in Sri Lanka is the place where what some believe to be the relic of the right tooth of Buddha is kept at present.

 

According to the Pāli historical chronicles of Sri Lanka, the Dīpavaṃsa and Mahāvaṃsa, the coronation of Emperor Aśoka (Pāli: Asoka) is 218 years after the death of the Buddha. According to two textual records in Chinese (十八部論 and 部執異論), the coronation of Emperor Aśoka is 116 years after the death of the Buddha. Therefore, the time of Buddha's passing is either 486 BCE according to Theravāda record or 383 BCE according to Mahayana record. However, the actual date traditionally accepted as the date of the Buddha's death in Theravāda countries is 544 or 545 BCE, because the reign of Emperor Aśoka was traditionally reckoned to be about 60 years earlier than current estimates. In Burmese Buddhist tradition, the date of the Buddha's death is 13 May 544 BCE. whereas in Thai tradition it is 11 March 545 BCE.

 

At his death, the Buddha is famously believed to have told his disciples to follow no leader. Mahakasyapa was chosen by the sangha to be the chairman of the First Buddhist Council, with the two chief disciples Maudgalyayana and Sariputta having died before the Buddha.

 

While in the Buddha's days he was addressed by the very respected titles Buddha, Shākyamuni, Shākyasimha, Bhante and Bho, he was known after his parinirvana as Arihant, Bhagavā/Bhagavat/Bhagwān, Mahāvira, Jina/Jinendra, Sāstr, Sugata, and most popularly in scriptures as Tathāgata.

 

BUDDHA AND VEDAS

Buddha's teachings deny the authority of the Vedas and consequently [at least atheistic] Buddhism is generally viewed as a nāstika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.

 

RELICS

After his death, Buddha's cremation relics were divided amongst 8 royal families and his disciples; centuries later they would be enshrined by King Ashoka into 84,000 stupas. Many supernatural legends surround the history of alleged relics as they accompanied the spread of Buddhism and gave legitimacy to rulers.

 

PHYSICAL CHARACTERISTICS

An extensive and colorful physical description of the Buddha has been laid down in scriptures. A kshatriya by birth, he had military training in his upbringing, and by Shakyan tradition was required to pass tests to demonstrate his worthiness as a warrior in order to marry. He had a strong enough body to be noticed by one of the kings and was asked to join his army as a general. He is also believed by Buddhists to have "the 32 Signs of the Great Man".

 

The Brahmin Sonadanda described him as "handsome, good-looking, and pleasing to the eye, with a most beautiful complexion. He has a godlike form and countenance, he is by no means unattractive." (D, I:115)

 

"It is wonderful, truly marvellous, how serene is the good Gotama's appearance, how clear and radiant his complexion, just as the golden jujube in autumn is clear and radiant, just as a palm-tree fruit just loosened from the stalk is clear and radiant, just as an adornment of red gold wrought in a crucible by a skilled goldsmith, deftly beaten and laid on a yellow-cloth shines, blazes and glitters, even so, the good Gotama's senses are calmed, his complexion is clear and radiant." (A, I:181)

 

A disciple named Vakkali, who later became an arahant, was so obsessed by the Buddha's physical presence that the Buddha is said to have felt impelled to tell him to desist, and to have reminded him that he should know the Buddha through the Dhamma and not through physical appearances.

 

Although there are no extant representations of the Buddha in human form until around the 1st century CE (see Buddhist art), descriptions of the physical characteristics of fully enlightened buddhas are attributed to the Buddha in the Digha Nikaya's Lakkhaṇa Sutta (D, I:142). In addition, the Buddha's physical appearance is described by Yasodhara to their son Rahula upon the Buddha's first post-Enlightenment return to his former princely palace in the non-canonical Pali devotional hymn, Narasīha Gāthā ("The Lion of Men").

 

Among the 32 main characteristics it is mentioned that Buddha has blue eyes.

 

NINE VIRTUES

Recollection of nine virtues attributed to the Buddha is a common Buddhist meditation and devotional practice called Buddhānusmṛti. The nine virtues are also among the 40 Buddhist meditation subjects. The nine virtues of the Buddha appear throughout the Tipitaka, and include:

 

- Buddho – Awakened

- Sammasambuddho – Perfectly self-awakened

- Vijja-carana-sampano – Endowed with higher knowledge and ideal conduct.

- Sugato – Well-gone or Well-spoken.

- Lokavidu – Wise in the knowledge of the many worlds.

- Anuttaro Purisa-damma-sarathi – Unexcelled trainer of untrained people.

- Satthadeva-Manussanam – Teacher of gods and humans.

- Bhagavathi – The Blessed one

- Araham – Worthy of homage. An Arahant is "one with taints destroyed, who has lived the holy life, done what had to be done, laid down the burden, reached the true goal, destroyed the fetters of being, and is completely liberated through final knowledge."

 

TEACHINGS

TRACING THE OLDEST TEACHINGS

Information of the oldest teachings may be obtained by analysis of the oldest texts. One method to obtain information on the oldest core of Buddhism is to compare the oldest extant versions of the Theravadin Pali Canon and other texts. The reliability of these sources, and the possibility to draw out a core of oldest teachings, is a matter of dispute. According to Vetter, inconsistencies remain, and other methods must be applied to resolve those inconsistencies.

 

According to Schmithausen, three positions held by scholars of Buddhism can be distinguished:

 

"Stress on the fundamental homogeneity and substantial authenticity of at least a considerable part of the Nikayic materials;"

"Scepticism with regard to the possibility of retrieving the doctrine of earliest Buddhism;"

"Cautious optimism in this respect."

 

DHYANA AND INSIGHT

A core problem in the study of early Buddhism is the relation between dhyana and insight. Schmithausen, in his often-cited article On some Aspects of Descriptions or Theories of 'Liberating Insight' and 'Enlightenment' in Early Buddhism notes that the mention of the four noble truths as constituting "liberating insight", which is attained after mastering the Rupa Jhanas, is a later addition to texts such as Majjhima Nikaya 36

 

CORE TEACHINGS

According to Tilmann Vetter, the core of earliest Buddhism is the practice of dhyāna. Bronkhorst agrees that dhyana was a Buddhist invention, whereas Norman notes that "the Buddha's way to release [...] was by means of meditative practices." Discriminating insight into transiency as a separate path to liberation was a later development.

 

According to the Mahāsaccakasutta, from the fourth jhana the Buddha gained bodhi. Yet, it is not clear what he was awakened to. "Liberating insight" is a later addition to this text, and reflects a later development and understanding in early Buddhism. The mentioning of the four truths as constituting "liberating insight" introduces a logical problem, since the four truths depict a linear path of practice, the knowledge of which is in itself not depicted as being liberating:

 

[T]hey do not teach that one is released by knowing the four noble truths, but by practicing the fourth noble truth, the eightfold path, which culminates in right samadhi.

 

Although "Nibbāna" (Sanskrit: Nirvāna) is the common term for the desired goal of this practice, many other terms can be found throughout the Nikayas, which are not specified.

 

According to Vetter, the description of the Buddhist path may initially have been as simple as the term "the middle way". In time, this short description was elaborated, resulting in the description of the eightfold path.

 

According to both Bronkhorst and Anderson, the four truths became a substitution for prajna, or "liberating insight", in the suttas in those texts where "liberating insight" was preceded by the four jhanas. According to Bronkhorst, the four truths may not have been formulated in earliest Buddhism, and did not serve in earliest Buddhism as a description of "liberating insight". Gotama's teachings may have been personal, "adjusted to the need of each person."

 

The three marks of existence may reflect Upanishadic or other influences. K.R. Norman supposes that these terms were already in use at the Buddha's time, and were familiar to his listeners.

 

The Brahma-vihara was in origin probably a brahmanic term; but its usage may have been common to the Sramana traditions.

  

LATER DEVELOPMENTS

In time, "liberating insight" became an essential feature of the Buddhist tradition. The following teachings, which are commonly seen as essential to Buddhism, are later formulations which form part of the explanatory framework of this "liberating insight":

 

- The Four Noble Truths: that suffering is an ingrained part of existence; that the origin of suffering is craving for sensuality, acquisition of identity, and fear of annihilation; that suffering can be ended; and that following the Noble Eightfold Path is the means to accomplish this;

- The Noble Eightfold Path: right view, right intention, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration;

- Dependent origination: the mind creates suffering as a natural product of a complex process.

 

OTHER RELIGIONS

Some Hindus regard Gautama as the 9th avatar of Vishnu. The Buddha is also regarded as a prophet by the Ahmadiyya Muslims and a Manifestation of God in the Bahá'í Faith. Some early Chinese Taoist-Buddhists thought the Buddha to be a reincarnation of Lao Tzu.

 

The Christian Saint Josaphat is based on the Buddha. The name comes from the Sanskrit Bodhisattva via Arabic Būdhasaf and Georgian Iodasaph. The only story in which St. Josaphat appears, Barlaam and Josaphat, is based on the life of the Buddha. Josaphat was included in earlier editions of the Roman Martyrology (feast day 27 November) — though not in the Roman Missal — and in the Eastern Orthodox Church liturgical calendar (26 August).

 

Disciples of the Cao Đài religion worship the Buddha as a major religious teacher. His image can be found in both their Holy See and on the home altar. He is revealed during communication with Divine Beings as son of their Supreme Being (God the Father) together with other major religious teachers and founders like Jesus, Laozi, and Confucius.

 

In the ancient Gnostic sect of Manichaeism the Buddha is listed among the prophets who preached the word of God before Mani.

 

WIKIPEDIA

Anything we try to add to Jesus and what HE HAS DONE! Actually takes away from Jesus.

 

The reason it's called THE CHRISTIAN LIFE, is because it's Christ Life living in us as his Children who have come to HIM THROUGH FAITH IN "HIS" FINISHED WORK FOR US. Jesus cried out from the cross, 'IT IS FINISHED'! Why you may ask, because it was finished, he did it all and there was NOTHING left for us to do but BELIEVE! Is that complicated? So why do we allow RELIGION to muddy the water, and keep us from ever RESTING IN CHRIST FINISHED WORK FOR US?

 

Satan and the pretend church club of man doesn't want you to know that! Because it gets THEM NOTHING. Which is why they try to keep us focused on ourselves and on them. So we continue to throw money at them, rather than resting in the sufficiency of Christ Jesus. Keeping us from ever having a real relationship with the Living GOD.

 

As long as ANY of our dependence is on ourselves or them, what we are doing or not doing in our sinful flesh, then our dependency can't be on Jesus. So don't fall into the trap and snare the Devil and his minions are setting for YOU. Hoping to substitute a life focused on Christ and him alone for one focused on ourselves and religious activities of men which leads to death.

 

It's also called the EXCHANGED LIFE, for a reason. We exchange all that we are, which is SPIRITUALLY DEAD in trespasses and sin. So we can receive all that HE IS, which is Life, Grace and absolute Perfection. God has made us alive in HIM, through FAITH IN HIM AND WHAT HE HAS DONE. NOT FAITH IN OURSELVES OR ANYTHING WE CAN DO IN AND OF OURSELVES. It's Christ's death for us, His burial which is the proof of His death, and His Resurrected Life on the third day. PERIOD. He was raised so that we too might experience that same Resurrected Life through HIM.

 

THAT'S THE GOSPEL, WHICH MEANS "THE GOOD NEWS" IN THE GREEK LANGUAGE! SO WHEN WE SPREAD THE GOSPEL OF JESUS CHRIST, WE ARE IN FACT SPREADING "GOOD NEWS". BLESSINGS TO ALL WHO WALK BY FAITH IN JESUS CHRIST AND ALL THAT HE HAS DONE FOR US. YOU ARE LOVED BY GOD MOST HIGH AND HAVE BEEN GIVEN EVERYTHING YOU NEED FOR LIFE AND GODLINESS, and I pray that you may be filled to the measure of all the fullness of God, IN "HIM". Where is all this found you may ask? "IN HIM".

 

------------------------ 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!

 

For the best Biblical teaching in the last 2 centuries! Please listen to and down load these FREE audio files that were created with YOU in mind. It's ALL FREE, if you like it, please share it with others. ❤️ ✝️ ❤️

 

archive.org/details/PeopleToPeopleByBobGeorgeFREE-ARCHIVE...

 

www.revealedinchrist.com

 

CLICK THE LETTER "L" TO ENLARGE THE IMAGE.

 

My THANK'S to all those who have taken the time to view, fave, comment or share my photo's with others. I really appreciate it! ❤️

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

 

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All Saints, Gazeley, Suffolk.

 

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

 

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

 

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

 

Which is what happened.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Here, it was the reset mediaeval glass.

 

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

 

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

 

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

 

I photographed them all.

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Simon Knott, June 2019

 

www.suffolkchurches.co.uk/gazeley.htm

It will not come as a surprise to find that it is cold this time of the year here.

 

Cold when the wind blows, and colder when the sun shines. At least in winter.

 

We lay in bed until half seven, then too our time to have showers, get dressed and go down for breakfast, where there was chaos as folks lined up for a free table.

 

Once we go one, we filled with the usual from a cold buffet, and washed down with plenty of coffee.

 

I put on my new walking shoes, fitted the cleats/crampons, picked up the camera and we went out, walking down the main street towards what I thought was the centre.

 

All the while walking into the teeth of a fresh cold wind that was going to get only stronger through the day.

 

My knee is still not happy, but that joins my back and right shoulder making complaints, so I make the best of it, and we walk on.

 

To the harbour where we find lots of work repairing the quayside, so lots of fencing, so we turn back towards the opera house and some shelter from the wind.

 

There was little shelter.

 

I took shots of the modern building, then we turned back, knowing that we had a tail wind at least some of the way, even if the buildings and the way they funnelled the wind made this not always true.

 

Back on the main shopping street, I saw to the right Rainbow Street, and the cathedral at the top, so I set off while Jools went to check on the car.

 

Bright sunshine gave way to heavy snow showers and squally winds, so strong that it ripped the glasses from my face, so after chasing after them, I took shelter inside the building.

 

After taking shots, we braved it back outside, and on the way back to the hotel, kind of mocking us, the sun came out briefly.

 

But the wind was increasing, so instead of going to a café to have lunch, we went back to our room and had fresh brews and the pack of biscuits we brought from England.

 

And then the 100mph rush of the trip meant we were all snoozy, so we went to bed for an hour. Or three.

 

Snow had come down quite hard, but not settled much, so for dinner, we took a slither down to a bar themed on the film, The Big Lebowski for beers n burgers.

 

We got a table with fine views of projection screens, one showing Dazed and Confused, and then The Big Lebowski while the other had the France v Ireland six nations game.

 

The burgers were gooey and greasy, but good, and the beer cold. I also had one of over 20 different white Russians, another homage to the film.

 

Before finally heading back to the room to watch the second half of the game while sipping Irish whiskey and eating peanut butter M&Ms.

 

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Hallgrímskirkja (Icelandic pronunciation: [ˈhatl̥ˌkrimsˌcʰɪr̥ca], Church of Hallgrímur) is a Lutheran (Church of Iceland) parish church in Reykjavík, Iceland. At 74.5 metres (244 ft) tall, it is the largest church in Iceland and among the tallest structures in the country.[1] Known for its distinctively curved spire and side wings, it has been described as having become an important symbol for Iceland's national identity since its completion in 1986.[2] The church is named after the Icelandic poet and cleric Hallgrímur Pétursson (1614–1674), author of the Passion Hymns.

 

Situated on the hilltop Skólavörðuholt [ˈskouːlaˌvœrðʏˌhɔl̥t] near the centre of Reykjavík, the church is one of the city's best-known landmarks and is visible throughout the city. State Architect Guðjón Samúelsson's design of the church was commissioned in 1937. He is said to have designed it to resemble the trap rocks, mountains and glaciers of Iceland's landscape,[4][5] in particular its columnar basalt "organ pipe" formations (such as those at Svartifoss).[2] The design is similar in style to the expressionist architecture of Grundtvig's Church of Copenhagen, Denmark, completed in 1940, which has been described as a likely influence, alongside the expressionist Kirche am Hohenzollernplatz in Berlin, Germany (completed in 1933).[2]

 

Architecturally, Hallgrímskirkja consists of three parts: The tower with the distinctly curved side wings which house service facilities, a nave in more traditional architecture, and a sanctuary at the other end of the nave, whose cylindrical shape has been described as evoking Viking war helmets.[2] Hallgrímskirkja also has a 244 ft (74.37 meters) dome.[2]

 

Inside the church you can light a candle for a dead family member for 100 ISK (0,6913 USD).

 

Hallgrímskirkja is best described as a piece of Expressionist architecture because of its tower-like exterior, its rejection of traditional styles and its dynamic design.[6][2] It was heavily influenced by another building, Grundtvigskirken.[2] Like Hallgrímskirkja, Grundtvigskirken, has an organ-like appearance.[2]

 

It took 41 years to build the church:[7] construction started in 1945 and ended in 1986, but the landmark tower was completed long before the whole church was finished. The crypt beneath the choir was consecrated in 1948, the steeple and wings were completed in 1974,[5] and the nave was consecrated in 1986.[1] At the time of construction, the building was criticized as too old-fashioned and as a blend of different architectural styles.[8] The church was originally intended to be less tall, but the leaders of the Church of Iceland wanted a large spire to outshine Landakotskirkja (Landakot's Church), which was the cathedral of the Catholic Church in Iceland.[8]

 

The interior is 1,676 square metres (18,040 sq ft).[citation needed]

 

The church has a carillon of bells at the top, that ring each hour.

 

The church houses two large pipe organs. The first, a Rieger-Kloss organ was installed in 1946.[9] It was moved to the South Wing when it opened and a new organ was built.[9] The next pipe organ was commissioned from Frobenius in 1985.[9] Soon after, in 1988 the church council decided that the Frobenius pipe organ wasn't big enough and commissioned another from the German organ builder Johannes Klais of Bonn.[9] It has electronic action; the pipes are remote from the four manuals and pedal console. There are 102 ranks, 72 stops and 5275 pipes.[1] It is 15 metres (49 ft) tall and weighs 25 metric tons (25 long tons; 28 short tons). Its construction was finished in December 1992.

 

Einar Jónsson donated the statue of Jesus to the church in 1948, which stands right next to the entrance to the nave. Jesus receives the Holy Spirit after being baptized in the Jordan.

 

The church is also used as an observation tower. An observer can take a lift up to the viewing deck and view Reykjavík and the surrounding mountains.[10]

 

The statue of explorer Leif Erikson (c.970 – c.1020) by Alexander Stirling Calder in front of the church predates its construction. It was a gift from the United States in honor of the 1930 Althing Millennial Festival, commemorating the 1000th anniversary of the convening of Iceland's parliament at Þingvellir in 930 AD.[5]

 

en.wikipedia.org/wiki/Hallgr%C3%ADmskirkja

I thought I had visited St Mary years ago. And indeed I had, or stood on the green in front of it, but didn't set foot inside.

 

This I didn't realise until Saturday when I was standing outside it looking at the row of cottages leading to the lych gate, I knew the scene was new to me.

 

The drizzle was still falling, so I could not linger in the churchyard, and scampered along the south side of the building, looking for the porch, but there wasn't one. Instead a simple door near to the chancel gave way when I turned the handle, after stepping over the void that acts as a drain for rainwater falling from the roof.

 

I tried hard to find the lightswitches, as in the gloom of the early afternoon, it was almost dark inside. Even when I found the switches in the south chapel, there seemed to be no power to them, so the church remained in half darkness.

 

What I did see, and was dazzled by, were tiles used to line the lower part of the chancel walls, like a mosaic, creating fantastic patterns.

 

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A mainly thirteenth century church restored by Sir George Gilbert Scott. There is a high window which originally shed light onto the Rood figures (see also Capel le Ferne). Some medieval glass survives in the heads of the windows in the chancel showing angels holding crowns. The west window was designed by Morris and Co in 1874 to commemorate a former Rector, whilst the south chapel has a set of continental glass brought here by the Beckingham family from their house in Essex. Above the nave arcade is a good set of murals including a figure of St Nicholas. The famous Elizabethan theologian Richard Hooker is commemorated in the chancel.

 

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

 

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Bishopsbourne is another example of a parish church belonging to the church (the archbishop, in this case), which was totally rebuilt on a large(r) scale in the 13th century (cf. Chartham). The chancel, as rebuilt, was as wide as the nave, and there is no chancel arch (and probably never has been).

The nave and chancel both show at least two phases of work of about the mid to later 13th century, so it seems likely that a rebuilding programme was being carried on in stages during the 2nd half of the 13th century (no sign exists, above-ground, of the earlier church).

Perhaps the earliest visible work are the two pairs of two-light windows on either side of the chancel. They have geometrical tracery and all sit on an internal moulded string course (there is medieval glass at the top of all these windows). This string course rises up in the east wall, and has on it the five-light east window, within trefoiled lancets, which is perhaps slightly later in date. There is also a late 13th century piscina at the east end of the south wall (though with a 19th century back wall). Externally the N.E. and S.E. corners of the chancel have angle buttresses, but these are heavily restored. It is also just possible that there were further geometrical windows further west in the chancel, which were covered/removed when the 15th century additions were made.

In the nave, as John Newman has pointed out, the two slender arcades have slight differences (N. capitals more complex than the S. ones). Also that the nave abaci are undercut, while the chancel string course is not. Originally the south arcade was at least three bays long (ie. longer than the present nave), but on the north this is not so clear. The aisles themselves are very narrow, with shed roofs continuing the slope of the main nave roof (though this shape may only be 15th century when the aisles were remodelled). The only surviving feature of the 13th century in the outer aisle walls (again heavily restored externally in the 19th century) is the north doorway with its niche (called a stoup by some writers, but not necessarily one) immediately to the east. This doorway has slightly projecting pilasters on either side, and the whole was covered by a porch until 1837.

The second main phase of work took place in the later 15th century. First, the whole of the west end of the church was demolished and a new tower was constructed with diagonal buttresses. The tower is of three main stages with the top stage rendered. The whole of the south face is mostly rendered. As this was being built, short walls were erected from the eastern diagonal buttresses to the 13th century arcade (ie. leaving the western ends of the aisles outside). (This is perhaps due to a population decrease in the parish). New west walls (containing two light perpendicular square headed windows) to the shortened aisles were also built, and four new 2-light perpendicular windows were inserted into the outer aisle walls. Along the top of the inside of the aisles walls a new moulded timber stringcourse was made (the roofs were perhaps also remade, but they are hidden beneath plaster in the aisles, and the main nave roof was replaced in 1871). At the west end of the nave the new short north and south walls contain five 3-light windows with perpendicular tracery under a 2-centred arch in their heads. On the upper nave walls, above the arcade, are remains of some fine painted figures on a painted 'ashlar' background. These were perhaps painted after the 15th century rebuilding (a date of around 1462 for the rebuilding is perhaps suggested by the will of William Harte (see below). At the extreme west end of the nave are two areas (N. and S.) of in situ medieval floor tiles. It is just possible that they predate the tower building work. (They must continue eastwards under the pews). There is also a 15th cent. octagonal font bowl (on a 1975 base). The southern chapel (the Bourne Pew after the Reformation) with its diagonal buttresses and 3-light east window is also 15th century but it was very heavily restored in c. 1853 (date over new S. door). It has a separate roof (and plaster ceiling). The rectangular N. addition with a plinth is also 15th century and was perhaps built as a vestry. It had an external door and only a small door into the chancel until the rebuilding of 1865, when a massive new arch was put in to accommodate a new organ (earlier the organ was under the tower arch). At this time also a totally new pitched roof was built over the vestry, perhaps replacing a low pitched 15th century roof. There is a high up window on the north side above the pulpit, with some old glass in it.

A new boiler house was dug under the western half of the vestry (in the 1880s - date on radiator), and its N.W. corner was rebuilt, incorporating a fireplace and chimney. The cut through N. chancel wall (and foundation) can be seen in the boiler room below.

The door into the Rood loft is in the S.E. corner of the nave.

In 1871-2 a major restoration took place under Scott, when the boarded wagon roofs were put in (nave and chancel) and new pews were installed (and choir stalls). The c. 18th century pulpit was remodelled and has its larger tester removed. The west window contains 1874 Morris & Co glass with figures by Burne Jones. There is also much c. 1877 mosaic work on the lower chancel walls and a large Reredos. The chancel floor was also raised.

 

BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles, etc.):

The main building materials are flintwork with Rag and Caenstone quoins/jambs, etc. However much of this has been removed externally by the heavy 19th century restoration. The nave arcades are of Reigate stone. The 15th century tower has fine large quoins of Kent Rag (Hythe/Folkestone stone with boring mollusc holes), and a few reused pieces of Caen, Reigate and Roman brick.

The south chapel was "partly of brick" in 1846 (Glynne) but this has now gone in the Restoration. There is also some fine early post-medieval glass in the east window of this chapel.

 

(For medieval glass, wall paintings and floor tiles ,see above).

 

(Also 15th century choir stalls, see below). There are also the arms and Cardinals Cap of Cardinal Morton (hence 1494-1500) in the S.W. chancel window.

 

There are now 4 bells (2 J Hatch of 1618; Christopher Hodson 1685 and Robert Mot 1597). The later from St. Mary, Bredman, Canterbury was installed in 1975 (a cracked bell was 'discarded').

 

A late medieval brass (of John and Elizabeth Colwell) lies under the organ - another of 1617 (John Gibon) is under the choir stalls.

 

EXCEPTIONAL MONUMENTS IN CHURCH To Richard Hooker (1633) - originally on N chancel wall and moved to S chancel will c. 1865.

 

Also John Cockman (+1734) - also on N. chancel wall and moved to E. wall of N. aisle c. 1865 (when the organ was put under new vestry arch).

 

Also a fine Purbeck marble (14th century) grave slab under the N.E. corner of the tower.

 

There are also two fine 15th century (c. 1462) stall fronts in the chancel with carved panels and ends (and 'poppy heads'). The added Victorian choir stalls copy them.

 

CHURCHYARD AND ENVIRONS:

Shape: Rectangular

 

Condition: Good

 

Earthworks:

enclosing: drop on N. and W. sides (?Ha-Ha) into Bourne Park adjacent:

 

Building in churchyard or on boundary: Lychgate of 1911

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book

 

Evidence of pre-Norman status (DB, DM, TR etc.):

 

Late med. status: Rectory

 

Patron: The Archbishop

 

Other documentary sources: Test. Cant. (E. Kent 1907) 23 mentions 'one piece of that stone on which the Archangel Gabriel descended when he saluted the 'BVM' to the Image of the BVM of the church of Bourne. Towards the work of the Church of Bourne, of the stalls and other reparations, 4 marcs. Wm. Haute (1462). Also 'Beam, now before altar of B. Mary in the church' (1477) and Lights of St. Mary, St. Katherine and St. Nicholas (1484) and light of Holy Cross (1462) and 'The altar of St. Mary and St. Nicholas in the nave' (1476).

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:

Inside present church: Good - main nave and chancel floor raised in 19th century (earlier levels should be intact beneath (except where burials, etc.).

 

Outside present church: Drainage trench cut round outside of church.

 

Quinquennial inspection (date\architect): October 1987 David Martin

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: A fine 13th and 15th century church, with an impressive collection of medieval wall paintings, stained glass, floor tiles and pew fronts inside. The 13th century architectural details of the chancel windows and nave arcade are very good. There are, no doubt, the remains of the earlier church beneath.

 

The wider context: One of a group of fine later 13th century rebuildings (cf. Hythe, Chartham, Adisham, etc.)

REFERENCES: Notes by FC Elliston Erwood, Arch. Cant. 62 (1949), 101-3 (+ plan) + S. R. Glynne Notes on the Churches of Kent (1877), 130-1 (He visited in 1846); Hasted IX (1800), 335-7; Newman BOE (N.E. and E Kent) (3rd ed. 1983) 144-5.

 

Guide book: by Miss Alice Castle (1931, rev. 1961, 1969, 1980) - no plan.

 

Plans & drawings: Early 19th century engraving of interior looking W. NW (before restoration).

 

DATES VISITED: 25th November 1991 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/BIS.htm

 

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BISHOPSBORNE

LIES the next parish eastward from Bridge, described before, in the hundred of that name. It is called in Domesday, Burnes, that is, borne, from the bourn or stream which rises in it, being the head of the river, called the Lesser Stour; and it had the name of Bishopsborne from its belonging to the archbishop, and to distinguish it from the several other parishes of the same name in this neighbourhood. There is but one borough in this parish, namely, that of Bourne.

 

THIS PARISH lies about five miles eastward from Canterbury, just beyond Bridge, about half a mile from the Dover road, and the entrance of Barham downs in the valley on the left hand, where the church and village, the parsonage, the mansion and grounds of Bourne place, and the seat of Charlton at the opposite boundary, with the high hills behind them, topped with woods, from a most pleasing and luxuriant prospect indeed. In this beautiful valley, in which the Lesser Stour rises, and through which the Nailbourne at times runs, is the village of Bourne-street, consisting of about fifteen houses, and near it the small seat of Ofwalds, belonging to Mr. Beckingham, and now inhabited by his brother the Rev. Mr. Beckingham, and near it the church and court-lodge. On the rise of the hill is the parsonage, an antient building modernized, and much improved by the present rector Dr. Fowell, and from its whiteness a conspicuous object to the road and Barham downs. About a mile distant eastward, in the vale, close to the foot of the hills, is Charlton, in a low and damp situation, especially when the nailbourne runs. On the opposite side of the church westward, stands the ornament of this parish, the noble mansion of Bourne-place, (for several years inhabited by Sir Horace Mann, bart. but now by William Harrison, esq.) with its paddocks, grounds, and plantations, reaching up to the downs, having the bourn, which is the source of the Lesser Stour, which rises here in the front of it, directing its course from hence to Bridge, and so on by Littleborne, Ickham and Wickham, till it joins the Greater Stour river. This valley from this source of the bourn upwards, is dry, except after great rains, or thaws of snow, when the springs of the Nailbourn occasionally over flow at Liminge and Elham, and directing their course through this parish descend into the head of the bourn, and blend their waters with it. From this valley southward the opposite hills rise pretty high to the woodland, called Gosley wood, belonging to Mr. Beckingham, of large extent, and over a poor, barren and stony country, with rough healthy ground interspersed among it, to the valley at the southern boundary of the parish, adjoining to Hardres; near which is the house of Bursted, in a lonely unfrequented situations, hardly known to any one.

 

THE MANOR OF BOURNE, otherwise Bishopsborne, was given by one Aldhun, a man of some eminence in Canterbury, from his office of præfect, or bailiff of that city, (qui in hac regali villa bujus civitatis prafectus suit), (fn. 1) to the monks of Christ-church there, towards the support of their refectory. After which, anno 811, the monks exchanged it, among other estates, with archbishop Wlfred, for the manor of Eastry, and it continued part of the possessions of the see of Canterbury, at the time of taking the survey of Domesday, in which it is thus entered, under the title of the archbishop's lands:

 

In Berham hundred, the archbishop himself holds Burnes in demesne. It was taxed for six sulings. The arable land is fifty carucates. In demesne there are five carucates, and sixty-four villeins, with fifty-three borderers having thirty carucates and an half. There is a church, and two mills of eight shillings and six pence, and twenty acres of meadow. Wood for the pannage of fifteen hogs. Of herbage twenty-seven pence. In its whole value, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, now thirty pounds.

 

The manor of Bishopsborne appears by the above entry to have been at that time in the archbishop's own hands, and it probably continued so as long as it remained part of his revenues, which was till the 35th year of king Henry VIII. when archbishop Cranmer, by an act specially passed for the purpose, exchanged this manor with the park, grounds and soil of the archbishop in this parish, called Langham park, with Thomas Colepeper, sen. esq. of Bedgbury, who that year alienated it to Sir Anthony Aucher, of Otterden, who gave this manor, with the rest of his possessions in this parish, to his second son Edward. Since which it has continued in the same line of ownership as Bourne-place, as will be more particularly mentioned hereafter, down to Stephen Beckingham, esq. the present owner of it. A court leet and court baron is held for this manor.

 

BOURNE-PLACE, formerly called the manor of Hautsbourne, is an eminent seat in this parish, for the manor has from unity of possession been for many years merged in the paramount manor of Bishopsborne. It was in very early times possessed by a family who took their name from it. Godric de Burnes is mentioned in the very beginning of the survey of Domesday, as the possessor of lands in it. John de Bourne had a grant of free-warren and other liberties for his lands in Bourne and Higham in the 16th year of king Edward I. He left an only daughter Helen, who carried this estate in marriage to John de Shelving, of Shelvingborne, whose grandson, of the same name, died anno 4 Edward III. at which time this manor had acquired from them the name of Shelvington. He left an only daughter and heir Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, whose son Nicholas Haut gave to William, his youngest son, this estate of Bishopsborne, where he afterwards resided, and died in 1462, having been knight of the shire and sheriff of this county. From him it descended down to Sir William Haut, of Hautsborne, sheriff in the 16th and 29th year of king Henry VIII. whose son Edmund dying unmarried in his life-time, his two daughters, Elizabeth, married to Thomas Colepeper, esq. of Bedgbury, and Jane, to Sir Thomas Wyatt, of Allington-castle, became his coheirs, and on the division of their estates, this of Hautsborne was allotted to the former, and her hus band Thomas Colepeper, in her right, became possessed of it, and having acquired the manor of Bishopsborne by exchange from the archbishop, anno 35 Henry VIII. immediately afterwards passed away both that and Hautsborne to Sir Anthony Aucher, of Otterden, whose family derived their origin from Ealcher, or Aucher, the first earl of Kent, who had the title of duke likewise, from his being intrusted with the military power of the county. He is eminent in history for his bravery against the Danes, in the year 853. They first settled at Newenden, where more of the early account of them may be seen. He at his death gave them to his second son Edward, who afterwards resided here at Shelvington, alias Hautsborne, as it was then called, whose great-grandson Sir Anthony Aucher was created a baronet in 1666, and resided here. He left surviving two sons Anthony and Hewitt, and two daughters, Elizabeth, afterwards married to John Corbett, esq. of Salop, LL. D. and Hester, to the Rev. Ralph Blomer, D. D. prebendary of Canterbury. He died in 1692, and was succeeded by his eldest son, who dying under age and unmarried, Hewitt his brother succeeded him in title and estate, but he dying likewise unmarried about the year 1726, the title became extinct, but his estates devolved by his will to his elder sister Elizabeth, who entitled her husband Dr. Corbett afterwards to them, and he died possessed of the manor of Bishopsborne, with this seat, which seems then to have been usually called Bourneplace, in 1736, leaving his five daughters his coheirs, viz. Katherine, afterwards married to Stephen Beckingham, esq. Elizabeth, to the Rev. Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignat. Geohegan, esq. and Margaret-Hannah-Roberta, to William Hougham, esq. of Canterbury, the four latter of whom, with their respective husbands, in 1752, jointed in the sale of their shares in this estate to Stephen Beckingham, esq. above-men tioned, who then became possessed of the whole of it. He married first the daughter of Mr. Cox, by whom he had the present Stephen beckingham, esq. who married Mary, daughter of the late John Sawbridge, esq. of Ollantigh, deceased, by whom he had an only daughter, who married John-George Montague, esq. eldest son of John, lord viscount Hinchingbrooke, since deceased. By his second wife Catherine, daughter of Dr. John Corbet, he had two daughters, Charlotte and Catherine, both married, one to Mr. Dillon and the other to Mr. Gregory; and a son John Charles, in holy orders, and now rector of Upper Hardres. They bear for their arms, Argent, a sess, crenelle, between three escallop shells, sable. He died in 1756, and his son Stephen Beckingham, esq. above-mentioned, now of Hampton-court, is the present owner of the manor of Bishopsborne, and the mansion of Bourneplace.

 

BURSTED is a manor, in the southern part of this parish, obscurely situated in an unfrequented valley, among the woods, next to Hardres. It is in antient deeds written Burghsted, and was formerly the property of a family of the same name, in which it remained till it was at length sold to one of the family of Denne, of Dennehill, in Kingston, and it continued so till Thomas Denne, esq. of that place, in Henry VIII.'s reign, gave it to his son William, whose grandson William, son of Vincent Denne, LL. D. died possessed of it in 1640, and from him it descended down to Mr. Thomas Denne, gent. of Monkton-court, in the Isle of Thanet, who died not many years since, and his widow Mrs. Elizabeth Denne, of Monktoncourt, is the present possessor of it.

 

CHARLTON is a seat, in the eastern part of this parish, which was formerly the estate of a family named Herring, in which it continued till William Herring, anno 3 James I. conveyed it to John Gibbon, gent. the third son of Thomas Gibbon, of Frid, in Bethers den, descended again from those of Rolvenden, and he resided here, and died possessed of it in 1617, as did his son William in 1632, whose heirs passed it away to Sir Anthony Aucher, bart. whose son Sir Hewitt Aucher, bart. in 1726, gave it by will to his sister Elizabeth, and she afterwards carried it in marriage to John Corbett, LL. D. of Salop, who died possessed of it in 1735, leaving his window surviving, after whose death in 1764 it came to her five daughters and coheirs, who, excepting Frances, married to Sir William Hardres, bart. joined with their husbands in the sale of their respective fifth parts of it in 1765, to Francis Hender Foote, clerk, who resided here. Mr. Foote was first a barrister-at-law, and then took orders. He married Catherine, third daughter of Robert Mann, esq. of Linton, by whom he had three sons, John, mentioned below, who is married and has issue; Robert, rector of Boughton Malherb, and vicar of Linton, who married Anne, daughter of Dobbins Yate, esq. of Gloucestershire, and Edward, in the royal navy; and three daughters, of whom two died unmarried, and Catherine, the second, married first Mr. Ross, and secondly Sir Robert Herries, banker, of London. Mr. Foote died possessed of them in 1773, leaving his wife Catherine surviving, who possessed them at her death in 1776, on which they descended to their eldest son John Foote, esq. of Charlton, who in 1784, purchased of the heirs of lady Hardres, deceased, the remaining fifth part, and so became possessed of the whole of it, of which he is the present owner, but Mr. Turner now resides in it.

 

Charities.

MRS. ELIZABETH CORBETT, window, executrix of Sir Hewit Aucher, bart. deceased, in 1749, made over to trustees, for the use and benefit of the poor, a tenement called Bonnetts, and half an acre of land adjoining, in this parish; now occupied by two poor persons, but if rented, of the annual value of 3l.

 

The poor constantly relieved are about eleven, casually seven.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

¶The church, which is dedicated to St. Mary, is a large building, consisting of three isles and three chancels, having a tower steeple at the west end, in which are four bells. This church is a large handsome building, but it is not kept so comely as it ought to be. In the chancel is a monument for Richard Hooker, rector of this parish, who died in 1600; on it is his bust, in his black gown and square cap. A monument for John Cockman, M. D. of Charlton. His widow lies in the vault by him, obt. 1739; arms, Argent, three cocks, gules, impaling Dyke. Memorial for Petronell, wife of Dr. John Fowell, the present rector, second daughter of William Chilwich, esq. of Devonshire, obt. 1766. She lies buried in a vault under the altar. A large stone, twelve feet long, supposed to be over the remains of Mr. Richard Hooker. A memorial on brass for John Gibbon, gent. of this parish, obt. 1617; arms, Gibbon, a lion rampant-guardant, between three escallops, impaling Hamon, of Acrise, quartering Cossington. Memorials for Mrs. Jane Gibbon, his wife, obt. 1625, and for William Gibbon, gent. obt. 1632. A memorial for William Gresham, obt. 1718. In one of the windows are the arms of the see of Canterbury impaling Warham. In the middle isle, in the south wall, above the capital of the pillar, opposite the pulpit, is a recess, in which once stood the image of the Virgin Mary, the patron saint of this church, to which William Hawte, esq. by will anno 1462, among the rest of his relics, gave a piece of the stone on which the archangel Gabriel descended, when he saluted her, for this image to rest its feet upon. On the pavement near this, seemingly over a vault, is a stone with an inscription in brass, for William, eldest son of Sir William Hawt. A memorial for Farnham Aldersey, gent. of this parish, only son of Farnham Aldersey, gent. of Maidstone, obt. 1733. Memorials for several of the Dennes, of this parish. In a window of the south isle, are the arms of Haut, impaling Argent, a lion rampant-guardant, azure. The south chancel is inclosed and made into a handsome pew for the family of Bourne-place, under which is a vault appropriated to them. The window of it eastward is a very handsome one, mostly of modern painted glass; the middle parts filled up with scripture history, and the surrounding compartments with the arms and different marriages impaled of the family of Beckingham. On each side of this window are two ranges of small octagon tablets of black marble, intended for the family of Aucher, and their marriages, but they were not continued. In the church-yard, on the south side, is a vault for the family of Foote, of Charlton, and a tomb for Mrs. Elizabeth Corbett, obt. 1764; arms, Corbett, which were Or, two ravens, sable, within a bordure, gules, bezantee. At the north-east corner of the church-porch are several tombs for the Dennes.

 

The church of Bishopsborne, with the chapel of Barham annexed, was antiently appendant to the manor, and continued so till the exchange made between the archbishop and Thomas Colepeper, in the 35th year of king Henry VIII. out of which the advowson of this rectory was excepted. Since which it has continued parcel of the possessions of the see of Canterbury to the present time, his grace the archbishop being the present patron of it.

 

This rectory, (including the chapel of Barham annexed to it) is valued in the king's books at 39l. 19s. 2d. and the yearly tenths at 3l. 19s. 11d. In 1588 here were communicants one hundred. In 1640 one hundred and forty-eight, and it was valued, with Barham, at two hundred and fifty pounds per annum.

 

Church of Bishopsborne with the Chapel of Barhan annexed.

 

www.british-history.ac.uk/survey-kent/vol9/pp328-337

 

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Richard Hooker (March 1554 – 3 November 1600) was an English priest in the Church of England and an influential theologian.[2] He was one of the most important English theologians of the sixteenth century.[3] His defence of the role of redeemed reason informed the theology of the seventeenth century Caroline Divines and later provided many members of the Church of England with a theological method which combined the claims of revelation, reason and tradition.[3] Scholars disagree regarding Hooker's relationship with what would later be called "Anglicanism" and the Reformed theological tradition. Traditionally, he has been regarded as the originator of the Anglican via media between Protestantism and Catholicism.[4]:1 However, a growing number of scholars have argued that he should be considered as being in the mainstream Reformed theology of his time and that he only sought to oppose the extremists (Puritans), rather than moving the Church of England away from Protestantism.

 

This sermon from 1585 was one of those that triggered Travers attack and appeal to the Privy Council. Travers accused Hooker of preaching doctrine favourable to the Church of Rome when in fact he had just described their differences emphasising that Rome attributed to works "a power of satisfying God for sin;..." For Hooker, works were a necessary expression of thanksgiving for unmerited justification by a merciful God.[11] Hooker defended his belief in the doctrine of Justification by faith, but argued that even those who did not understand or accept this could be saved by God.

 

Of the Lawes of Ecclesiastical Politie is Hooker's best-known work, with the first four books being published in 1594. The fifth was published in 1597, while the final three were published posthumously,[2] and indeed may not all be his own work. Structurally, the work is a carefully worked out reply to the general principles of Puritanism as found in The Admonition and Thomas Cartwright's follow-up writings, more specifically:

 

Scripture alone is the rule that should govern all human conduct;

Scripture prescribes an unalterable form of Church government;

The English Church is corrupted by Roman Catholic orders, rites, etc.;

The law is corrupt in not allowing lay elders;

'There ought not to be in the Church Bishops'.[12]

Of the Lawes has been characterised as "probably the first great work of philosophy and theology to be written in English."[13] The book is far more than a negative rebuttal of the puritan claims: it is (here McAdoo quotes John S. Marshall) 'a continuous and coherent whole presenting a philosophy and theology congenial to the Anglican Book of Common Prayer and the traditional aspects of the Elizabethan Settlement."[14]

 

Quoting C. S. Lewis,[15] Stephen Neill underlines its positive side in the following terms: Hitherto, in England, "controversy had involved only tactics; Hooker added strategy. Long before the close fighting in Book III begins, the puritan position has been rendered desperate by the great flanking movements in Books I and II. . . . Thus the refutation of the enemy comes in the end to seem a very small thing, a by-product."[16]

 

It is a massive work that deals mainly with the proper governance of the churches ("polity"). The Puritans advocated the demotion of clergy and ecclesiasticism. Hooker attempted to work out which methods of organising churches are best.[2] What was at stake behind the theology was the position of the Queen Elizabeth I as the Supreme Governor of the Church. If doctrine were not to be settled by authorities, and if Martin Luther's argument for the priesthood of all believers were to be followed to its extreme with government by the Elect, then having the monarch as the governor of the church was intolerable. On the other side, if the monarch were appointed by God to be the governor of the church, then local parishes going their own ways on doctrine were similarly intolerable.

 

In political philosophy, Hooker is best remembered for his account of law and the origins of government in Book One of the Politie. Drawing heavily on the legal thought of Thomas Aquinas, Hooker distinguishes seven forms of law: eternal law ("that which God hath eternally purposed himself in all his works to observe"), celestial law (God's law for the angels), nature's law (that part of God's eternal law that governs natural objects), the law of reason (dictates of Right Reason that normatively govern human conduct), human positive law (rules made by human lawmakers for the ordering of a civil society), divine law (rules laid down by God that can only be known by special revelation), and ecclesiastical law (rules for the governance of a church). Like Aristotle, whom he frequently quotes, Hooker believes that humans are naturally inclined to live in society. Governments, he claims, are based on both this natural social instinct and on the express or implied consent of the governed.

 

The Laws is remembered not only for its stature as a monumental work of Anglican thought, but also for its influence in the development of theology, political theory, and English prose.

 

Hooker worked largely from Thomas Aquinas, but he adapted scholastic thought in a latitudinarian manner. He argued that church organisation, like political organisation, is one of the "things indifferent" to God. He wrote that minor doctrinal issues were not issues that damned or saved the soul, but rather frameworks surrounding the moral and religious life of the believer. He contended there were good monarchies and bad ones, good democracies and bad ones, and good church hierarchies and bad ones: what mattered was the piety of the people. At the same time, Hooker argued that authority was commanded by the Bible and by the traditions of the early church, but authority was something that had to be based on piety and reason rather than automatic investiture. This was because authority had to be obeyed even if it were wrong and needed to be remedied by right reason and the Holy Spirit. Notably, Hooker affirmed that the power and propriety of bishops need not be in every case absolute.

 

King James I is quoted by Izaak Walton, Hooker's biographer, as saying, "I observe there is in Mr. Hooker no affected language; but a grave, comprehensive, clear manifestation of reason, and that backed with the authority of the Scriptures, the fathers and schoolmen, and with all law both sacred and civil."[17] Hooker's emphasis on Scripture, reason, and tradition considerably influenced the development of Anglicanism, as well as many political philosophers, including John Locke.[2] Locke quotes Hooker numerous times in the Second Treatise of Civil Government and was greatly influenced by Hooker's natural-law ethics and his staunch defence of human reason. As Frederick Copleston notes, Hooker's moderation and civil style of argument were remarkable in the religious atmosphere of his time.[18] In the Church of England he is celebrated with a Lesser Festival on 3 November and the same day is also observed in the Calendars of other parts of the Anglican Communion.

 

en.wikipedia.org/wiki/Richard_Hooker

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

SIN

You're not here by accident. God loves you, wants you to have a personal relationship with Him and He has a purpose for your life. There is just one thing that separates you from God. That one thing is sin. You may not feel like that statement really applies to you, but consider what the Bible says: "For all have sinned and come short of the glory of God." Romans 3:23

CHRIST DIED FOR US

That includes you and every one of us! But there is great news for each us, and that includes you. God loves you, wants you to have a personal relationship with Him and He has a purpose for your life. So much so, that Jesus actually took the punishment for our sin as if He Himself were the one who deserved it!! Consider what the Bible says: "God demonstrates His own love for us in this: While we were still sinners, Christ died for us."

Romans 5:8

GOD LOVES YOU!

It might be hard for you to understand but God really DOES love you! More than you can ever imagine! And there's nothing you can do to make him stop! Are you thinking that you should make things right in your life before you come to Jesus? Many people feel that

way, but consider what the Bible says: "He saved us, not because of righteous things we had done, but because of His mercy." Titus 3:5

THE GRACE OF GOD

It is the grace of God that allows us to come to Him - not our efforts to somehow "clean up our life" or "work our way to Heaven." We can't earn it because it is a free gift. Consider

what the Bible says: "For it is by grace you have been saved, through faith - and this not from yourselves, it is the gift of God - not by works, so that no one can boast." Ephesians

2:8-9

GOD's GIFT

Think about this for a moment. For you to come to God, your sin must be paid for. God's gift to you is His son, Jesus, who paid that debt for you! Jesus paid the price for our sin (death) by giving His life on Calvary's cross. God brought Jesus back from the dead and

paved the way for us to have a personal relationship with Him through Jesus. Consider what the Bible says: "For the wages of sin is death, but the gift of God is eternal life in Jesus Christ our Lord." Romans 6:23

JESUS IS LORD!

All that's left for any of us to do is to accept the gift that Jesus is holding out for you right now. God says that if you believe in His son, Jesus, you can live forever with Him in glory. Consider what the Bible says: "If you confess with your mouth, "Jesus is Lord," and

believe in your heart that God raised him from the dead, will be saved. For it is with your heart that you believe and are justified, and it is with your mouth that you confess and are saved." Romans 10:9-10

"For God so loved the world that He gave his one and only Son, that whoever believes in him shall not perish, but have eternal life." John 3:16

ARE YOU READY?

Are you ready to accept the gift of eternal life that Jesus is offering you right now? If it is your sincere desire to ask Jesus to come into your heart as your personal Lord and Savior, then talk to God from your heart through the Sinner's Prayer:

Lord Jesus, I believe that you are the Son of God and that You died for my sin. Please come into my life, to be my

Lord and Savior. I ask you to forgive me for my sin and cleanse me from all that it has done in my life. Fill my life

with your Holy Spirit and help me to live a life that is pleasing to you. Thank-you, Jesus, for saving me!

 

The Bible says: "Behold, I stand at the door and knock; if anyone hears My voice and opens the door, I will come in to him and will dine with him and he with me" Revelation 3:20

BE SAVED & BRING JESUS INTO

YOUR LIFE

If you have trusted Jesus as your Lord and Savior, please let me know. I want to rejoice in what God has done in your life and pray for you. I will help you to grow spiritually and will help you in your journey with the Lord, in any way that I possibly can.

 

God Bless You!

 

dickmorgan@witness4jesus.com

www.witness4jesus.com

 

"Ascetic" redirects here. For the emphasis of art and beauty, see Aestheticism and Aesthetics.

  

Pursuing enlightenment, Buddha first practiced severe asceticism before recommending a moderated Middle Way.[1] In Christianity, Francis of Assisi and his followers practiced extreme acts of asceticism.[2]

Asceticism[a] is a lifestyle characterized by abstinence from sensual pleasures, often for the purpose of pursuing spiritual goals.[3] Ascetics may withdraw from the world for their practices or continue to be part of their society, but typically adopt a frugal lifestyle, characterised by the renunciation of material possessions and physical pleasures, and also spend time fasting while concentrating on the practice of religion or reflection upon spiritual matters,[4] which is thought by some to allow the practitioner's core of consciousness to expand and connect with the infinite universal consciousness.[5] Some individuals have also attempted an ascetic lifestyle to free themselves from addictions to things such as alcohol, tobacco, drugs, entertainment, sex, food, etc.[6]

 

Asceticism has been historically observed in many religious and philosophic traditions, including Buddhism, Jainism, Hinduism, Islam, Christianity, Judaism, Stoicism, Epicureanism, and Pythagoreanism and contemporary practices continue amongst some religious followers.[6]

 

Practitioners abandon sensual pleasures and lead an abstinent lifestyle, in the pursuit of redemption,[7] salvation, or spirituality.[8] Many ascetics believe the action of purifying the body helps to purify the soul, and thus obtain a greater connection with the Divine or find inner peace. This may take the form of rituals, the renunciation of pleasure, or self-mortification. However, ascetics maintain that self-imposed constraints bring them greater freedom in various areas of their lives, such as increased clarity of thought and the ability to resist potentially destructive temptations. Asceticism is seen in the ancient theologies as a journey towards spiritual transformation, where the simple is sufficient, the bliss is within, the frugal is plenty.[4] Inversely, several ancient religious traditions, such as Zoroastrianism, Ancient Egyptian religion,[9] and the Dionysian Mysteries, vamachara, and the modern Western occult left-hand path traditions, openly reject ascetic practices and either focus on various types of hedonism or on the importance of family life, both rejecting celibacy.[citation needed]

 

Etymology and meaning

The adjective "ascetic" derives from the ancient Greek term áskēsis, which means "training" or "exercise".[10] The original usage did not refer to self-denial, but to the physical training required for athletic events.[3] Its usage later extended to rigorous practices used in many major religious traditions, in varying degrees, to attain redemption and higher spirituality.[11]

 

Dom Cuthbert Butler classified asceticism into natural and unnatural forms:[12]

 

"Natural asceticism" involves a lifestyle which reduces material aspects of life to the utmost simplicity and to a minimum. This may include minimal, simple clothing, sleeping on a floor or in caves, and eating a simple, minimal amount of food.[12] Natural asceticism, state Wimbush and Valantasis, does not include maiming the body or harsher austerities that make the body suffer.[12]

"Unnatural asceticism", in contrast, covers practices that go further, and involves body mortification, punishing one's own flesh, and habitual self-infliction of pain, such as by sleeping on a bed of nails.[12]

Religions

Self-discipline and abstinence in some form and degree are parts of religious practice within many religious and spiritual traditions. Ascetic lifestyle is associated particularly with monks, nuns, and fakirs in Abrahamic religions, and bhikkhus, munis, sannyasis, vairagis, goswamis, and yogis in Indian religions.[13][14]

 

Abrahamic religions

Bahá'í Faith

Further information: Baháʼí Faith and the unity of religion and Prayer in the Baháʼí Faith

In the Baháʼí Faith, according to Shoghi Effendi, the maintenance of a high standard of moral conduct is neither to be associated or confused with any form of extreme asceticism, nor of excessive and bigoted puritanism. The religious standard set by Baháʼu'lláh, founder of the Baháʼí Faith, seeks under no circumstances to deny anyone the legitimate right and privilege to derive the fullest advantage and benefit from the manifold joys, beauties, and pleasures with which the world has been so plentifully enriched by God, which Baháʼís regard as an all-loving creator.[15]: 44 

 

Christianity

Part of a series on

Christian mysticism

Transfiguration of Jesus

Theology · Philosophy

Practices

People (by era or century)

Literature · Media

vte

Further information: Ascetical theology, Christian monasticism, Christian mysticism, and Christian meditation

Notable Christian authors of Late Antiquity such as Origen, St Jerome, John Chrysostom, and Augustine of Hippo, interpreted meanings of the Biblical texts within a highly asceticized religious environment.[16] Scriptural examples of asceticism could be found in the lives of John the Baptist, Jesus Christ, the twelve apostles, and Paul the Apostle.[16] The Dead Sea Scrolls revealed ascetic practices of the ancient Jewish sect of Essenes who took vows of abstinence to prepare for a holy war. An emphasis on an ascetic religious life was evident in both early Christian writings (see: Philokalia) and practices (see: Hesychasm). Other Christian practitioners of asceticism include saints such as Paul the Hermit, Simeon Stylites, David of Wales, John of Damascus, and Francis of Assisi.[16]

 

According to Richard Finn, much of early Christian asceticism has been traced to Judaism, but not to traditions within Greek asceticism.[4] Some of the ascetic thoughts in Christianity nevertheless, Finn states, have roots in Greek moral thought.[4] Virtuous living is not possible when an individual is craving bodily pleasures with desire and passion. Morality is not seen in the ancient theology as a balancing act between right and wrong, but a form of spiritual transformation, where the simple is sufficient, the bliss is within, the frugal is plenty.[4]

  

Coptic icon of St. Anthony the Great, father of Christian monasticism and early anchorite. The Coptic inscription reads 'Ⲡⲓⲛⲓϣϯ Ⲁⲃⲃⲁ Ⲁⲛⲧⲱⲛⲓ' ("the Great Father Anthony").

The deserts of the Middle East were at one time inhabited by thousands of male and female Christian ascetics, hermits and anchorites,[17] including St. Anthony the Great (otherwise known as St. Anthony of the Desert), St. Mary of Egypt, and St. Simeon Stylites, collectively known as the Desert Fathers and Desert Mothers. In 963 an association of monasteries called Lavra was formed on Mount Athos, in Eastern Orthodox tradition.[18] This became the most important center of orthodox Christian ascetic groups in the centuries that followed.[18] In the modern era, Mount Athos and Meteora have remained a significant center.[19]

 

Sexual abstinence such as those of the Encratites sect of Christians was only one aspect of ascetic renunciation, and both natural and unnatural asceticism have been part of Christian asceticism. The natural ascetic practices have included simple living, begging,[20] fasting and ethical practices such as humility, compassion, meditation, patience and prayer.[21] Evidence of extreme asceticism in Christianity appear in second century texts and thereafter, in both Eastern & Western Christian traditions, such as the practice of chaining the body to rocks, eating only grass,[22] praying seated on a pillar in the elements for decades such as by the monk Simeon Stylites,[23] solitary confinement inside a cell, abandoning personal hygiene and adopting lifestyle of a beast, self-inflicted pain and voluntary suffering.[20][24] Such ascetic practices were linked to the Christian concepts of sin and redemption.[25][26]

 

Evagrius Ponticus: monastic teaching

Main article: Evagrius Ponticus

Further information: Origen and Clement of Alexandria

Evagrius Ponticus, also called Evagrius the Solitary (345–399 CE), was a highly educated monastic teacher who produced a large theological body of work,[27] mainly ascetic, including the Gnostikos (Ancient Greek: γνωστικός, gnōstikos, "learned", from γνῶσις, gnōsis, "knowledge"), also known as The Gnostic: To the One Made Worthy of Gnosis. The Gnostikos is the second volume of a trilogy containing the Praktikos, intended for young monks to achieve apatheia, i.e., "a state of calm which is the prerequisite for love and knowledge",[27] in order to purify their intellect and make it impassible, to reveal the truth hidden in every being. The third book, Kephalaia Gnostika, was meant for meditation by advanced monks. Those writings made him one of the most recognized ascetic teachers and scriptural interpreters of his time,[27] which include Clement of Alexandria and Origen.

 

The ascetic literature of early Christianity was influenced by pre-Christian Greek philosophical traditions, especially Plato and Aristotle, looking for the perfect spiritual way of life.[28] According to Clement of Alexandria, philosophy and Scriptures can be seen as "double expressions of one pattern of knowledge".[27] According to Evagrius, "body and the soul are there to help the intellect and not to hinder it".[29]

 

Islam

Main article: Sufism

Further information: Dervish, Fakir, and Zhikr

The Arabic term for "asceticism" is zuhd.[30] The Islamic prophet Muhammad and his followers practiced asceticism.[31] However, contemporary mainstream Islam has not had a tradition of asceticism, but its Sufi groups[32] have cherished their own ascetic tradition for several centuries.[33][34][35] Islamic literary sources and historians report that during the early Muslim conquests of the Middle East and North Africa (7th–10th centuries), some of the Muslim warriors guarding the frontier settlements were also ascetics;[36][37] numerous historical accounts also report of some Christian monks that apostatized from Christianity, converted to Islam, and joined the jihad,[37] as well as of several Muslim warriors that repudiated Islam, converted to Christianity, and became Christian monks.[37][38] Monasticism is forbidden in Islam.[36][37][39] Scholars in the field of Islamic studies have argued that asceticism (zuhd) served as a precursor to the later doctrinal formations of Sufis that began to emerge in the tenth century[33] through the works of individuals such as al-Junayd, al-Qushayrī, al-Sarrāj, al-Hujwīrī and others.[40][41]

  

A Sufi Muslim ascetic (fakir) in Bengal during the 1860s

Sufism emerged and grew as a mystical,[33] somewhat hidden tradition in the mainstream Sunni and Shia denominations of Islam,[33] state Eric Hanson and Karen Armstrong, likely in reaction to "the growing worldliness of Umayyad and Abbasid societies".[42] Acceptance of asceticism emerged in Sufism slowly because it was contrary to the sunnah, states Nile Green, and early Sufis condemned "ascetic practices as unnecessary public displays of what amounted to false piety".[43] The ascetic Sufis were hunted and persecuted both by Sunni and Shia rulers, in various centuries.[44][45] Sufis were highly influential and greatly successful in spreading Islam between the 10th and 19th centuries,[33] particularly to the furthest outposts of the Muslim world in the Middle East and North Africa, the Balkans and Caucasus, the Indian subcontinent, and finally Central, Eastern and Southeast Asia.[33] Some scholars have argued that Sufi Muslim ascetics and mystics played a decisive role in converting the Turkic peoples to Islam between the 10th and 12th centuries and Mongol invaders in Persia during the 13th and 14th centuries, mainly because of the similarities between the extreme, ascetic Sufis (fakirs and dervishes) and the Shamans of the traditional Turco-Mongol religion.[46][47]

 

Sufism was adopted and then grew particularly in the frontier areas of Islamic states,[33][46] where the asceticism of its fakirs and dervishes appealed to populations already used to the monastic traditions of Hinduism, Buddhism, and medieval Christianity.[42][48][49] Ascetic practices of Sufi fakirs have included celibacy, fasting, and self-mortification.[50][51] Sufi ascetics also participated in mobilizing Muslim warriors for holy wars, helping travelers, dispensing blessings through their perceived magical powers, and in helping settle disputes.[52] Ritual ascetic practices, such as self-flagellation (Tatbir), have been practiced by Shia Muslims annually at the Mourning of Muharram.[53]

 

Judaism

Main article: Asceticism in Judaism

Further information: Jewish mysticism

 

Chassidei Ashkenaz were a Jewish mystical and ascetic movement in medieval Germany.

Asceticism has not been a dominant theme within Judaism, but minor to significant ascetic traditions have been a part of Jewish spirituality.[54] The history of Jewish asceticism is traceable to first millennium BCE era with the references of the Nazirite (or Nazorean, Nazarene, Naziruta, Nazir), whose rules of practice are found in Book of Numbers 6:1–21.[55] The ascetic practices included not cutting the hair, abstaining from eating meat or grapes, abstention from wine, or fasting and hermit style living conditions for a period of time.[55] Literary evidence suggests that this tradition continued for a long time, well into the common era, and both Jewish men and women could follow the ascetic path, with examples such as the ascetic practices for fourteen years by Queen Helena of Adiabene, and by Miriam of Tadmor.[55][56] After the Jews returned from the Babylonian exile and the Mosaic institution was done away with, a different form of asceticism arose when Antiochus IV Epiphanes threatened the Jewish religion in 167 BCE. The Essene tradition of the second Temple period is described as one of the movements within historic Jewish asceticism between second century BCE and first century CE.[57]

 

Ascetic Jewish sects existed in ancient and medieval era times,[58] most notably the Essenes. According to Allan Nadler, two most significant examples of medieval Jewish asceticism have been Havoth ha-Levavoth and Hasidei Ashkenaz.[54] Pious self-deprivation was a part of the dualism and mysticism in these ascetic groups. This voluntary separation from the world was called Perishuth, and the Jewish society widely accepted this tradition in late medieval era.[54] Extreme forms of ascetic practices have been opposed or controversial in the Hasidic movement.[59]

 

The Ashkenazi Hasidim (Hebrew: חסידי אשכנז, romanized: Chassidei Ashkenaz) were a Jewish mystical, ascetic movement in the German Rhineland whose practices are documented in the texts of the 12th and 13th centuries.[60] Peter Meister states that this Jewish asceticism emerged in the tenth century, grew much wider with prevalence in southern Europe and the Middle East through the Jewish pietistic movement.[61] According to Shimon Shokek, these ascetic practices were the result of an influence of medieval Christianity on Ashkenazi Hasidism. The Jewish faithful of this Hasidic tradition practiced the punishment of body, self-torture by starvation, sitting in the open in freezing snow, or in the sun with fleas in summer, all with the goal of purifying the soul and turning one's attention away from the body unto the soul.[60]

 

Another significant school of Jewish asceticism appeared in the 16th century led from Safed.[62] These mystics engaged in radical material abstentions and self-mortification with the belief that this helps them transcend the created material world, reach and exist in the mystical spiritual world. A studied example of this group was Hayyim ben Joseph Vital, and their rules of ascetic lifestyle (Hanhagoth) are documented.[54][63]

 

Indian religions

Asceticism is found in both non-theistic and theistic traditions within Indian religions. The origins of the practice are ancient, and a heritage shared by major Indian religions such as Buddhism, Hinduism and Jainism. They are referred by many names such as Sadhu, Pravrajita, Bhikshu, Yati etc.[64]

 

Asceticism in Indian religions includes a spectrum of diverse practices, ranging from the mild self-discipline, self-imposed poverty and simple living typical of Buddhism and Hinduism,[65][66] to more severe austerities and self-mortification practices of monks in Jainism and now extinct Ajivikas in the pursuit of salvation.[67] Some ascetics live as hermits relying on whatever food they can find in the forests, then sleep and meditate in caves; others travel from one holy site to another while sustaining their body by begging for food; yet others live in monasteries as monks or nuns.[68] Some ascetics live like priests and preachers, other ascetics are armed and militant,[68] to resist any persecution—a phenomenon that emerged after the arrival of Islam in India.[69][70] Self-torture is relatively uncommon practice but one that attracts public attention. In Indian traditions such as Buddhism and Hinduism, self-mortification is typically criticized.[68] However, Indian mythologies also describe numerous ascetic gods or demons who pursued harsh austerities for decades or centuries that helped each gain special powers.[71]

 

Buddhism

 

The Buddha as an ascetic. Gandhara, 2nd–3rd century CE. British Museum

The historical Siddhartha Gautama adopted an extreme ascetic life in search of enlightenment.[72] However, after enlightenment he rejected extreme asceticism in favor of a more moderated version, the "Middle Way."[73]

 

According to Hajime Nakamura and other scholars, some early Buddhist texts suggest that asceticism was a part of Buddhist practice in its early days.[73][74] Further, in practice, records from about the start of the common era through the 19th century suggest that asceticism has been a part of Buddhism, both in Theravada and Mahayana traditions.

 

Theravada

See also: Dhutanga

Textual evidence suggests that ascetic practices were a part of the Buddhist tradition in Sri Lanka by the third century BC, and this tradition continued through the medieval era in parallel to sangha style monastic tradition.[75]

 

In the Theravada tradition of Thailand, medieval texts report of ascetic monks who wander and dwell in the forest or crematory alone, do austere practices, and these came to be known as Thudong.[76][77] Ascetic Buddhist monks have been and continue to be found in Myanmar, and as in Thailand, they are known to pursue their own version of Buddhism, resisting the hierarchical institutionalized sangha structure of monasteries in Buddhism.[78]

 

Mahayana

In the Mahayana tradition asceticism with esoteric and mystical meanings became an accepted practice, such as in the Tendai and Shingon schools of Japanese Buddhism.[75] These Japanese practices included penance, austerities, ablutions under a waterfall, and rituals to purify oneself.[75] Japanese records from the 12th century record stories of monks undertaking severe asceticism, while records suggest that 19th century Nichiren Buddhist monks woke up at midnight or 2:00 am daily, and performed ascetic water purification rituals under cold waterfalls.[75] Other practices include the extreme ascetic practices of eating only pine needles, resins, seeds and ultimately self-mummification, while alive, or Sokushinbutsu (miira) in Japan.[79][80][81]

 

In Chinese Buddhism self-mummification ascetic practices were less common but recorded in the Ch'an (Zen Buddhism) tradition there.[82] More ancient Chinese Buddhist asceticism, somewhat similar to Sokushinbutsu are also known, such as the public self-immolation (self-cremation, as shaoshen 燒身 or zifen 自焚)[83] practice, aimed at abandoning the impermanent body.[note 1] The earliest-documented ascetic Buddhist monk biography is of Fayu (法羽) in 396 CE, followed by more than fifty documented cases in the centuries that followed including that of monk Daodu (道度).[86][87] This was considered as evidence of a renunciant bodhisattva, and may have been inspired by the Jataka tales wherein the Buddha in his earlier lives immolates himself to assist other living beings,[88] or by the Bhaiṣajyaguruvaiḍūryaprabhārāja-related teachings in the Lotus Sutra.[89] Historical records suggest that the self-immolation practices were observed by nuns in Chinese Buddhism as well.[90]

 

The Chinese Buddhist asceticism practices, states James Benn, were not an adaptation or import of Indian ascetic practices, but an invention of Chinese Buddhists, based on their unique interpretations of Saddharmapuṇḍarīka or Lotus Sūtra.[91] It may be an adoption of more ancient pre-Buddhist Chinese practices,[92][93] or from Taoism.[90] It is unclear if self-immolation was limited primarily to Chinese asceticism tradition, and strong evidence of it being a part of a large scale, comprehensive ascetic program among Chinese Buddhists is lacking.[85]

 

Hinduism

See also: Tapas (Sanskrit), Sannyasa, and Ataptatanu

 

A female ascetic of the Vaishnavism tradition, 19th century India

Renunciation from the worldly life, and a pursuit of spiritual life either as a part of monastic community or a hermit, has been a historic tradition of Hinduism since ancient times. The renunciation tradition is called Sannyasa, and this is not the same as asceticism—which typically connotes severe self-denial and self-mortification. Sannyasa often involved a simple life, one with minimal or no material possessions, study, meditation and ethical living. Those who undertook this lifestyle were called Sannyasi, Sadhu, Yati,[94] Bhiksu, Pravrajita/Pravrajitā[95] and Parivrajaka in Hindu texts.[96] The term with a meaning closer to asceticism in Hindu texts is Tapas, but it too spans a spectrum of meanings ranging from inner heat, to self-mortification and penance with austerities, to meditation and self-discipline.[66][97][98]

 

Asceticism-like practices are hinted in the Vedas, but these hymns have been variously interpreted as referring to early Yogis and loner renouncers. One such mention is in the Kesin hymn of the Rigveda, where Keśins ("long-haired" ascetics) and Munis ("silent ones") are described.[99][100] These Kesins of the Vedic era, are described as follows by Karel Werner:[101]

 

The Keśin does not live a normal life of convention. His hair and beard grow longer, he spends long periods of time in absorption, musing and meditating and therefore he is called "sage" (muni). They wear clothes made of yellow rags fluttering in the wind, or perhaps more likely, they go naked, clad only in the yellow dust of the Indian soil. But their personalities are not bound to earth, for they follow the path of the mysterious wind when the gods enter them. He is someone lost in thoughts: he is miles away.

 

— Karel Werner (1977), "Yoga and the Ṛg Veda: An Interpretation of the Keśin Hymn"[101]

The Vedic and Upanishadic texts of Hinduism, states Mariasusai Dhavamony, do not discuss self-inflicted pain, but do discuss self-restraint and self-control.[102] The monastic tradition of Hinduism is evidenced in first millennium BCE, particularly in its Advaita Vedanta tradition. This is evidenced by the oldest Sannyasa Upanishads, because all of them have a strong Advaita Vedanta outlook.[103] Most of the Sannyasa Upanishads present a Yoga and nondualism (Advaita) Vedanta philosophy.[104][105] The 12th-century Shatyayaniya Upanishad is a significant exception, which presents qualified dualistic and Vaishnavism (Vishishtadvaita Vedanta) philosophy.[105][106] These texts mention a simple, ethical lifestyle but do not mention self-torture or body mortification. For example:

 

These are the vows a Sannyasi must keep:

 

Abstention from injuring living beings, truthfulness, abstention from appropriating the property of others, abstention from sex, liberality (kindness, gentleness) are the major vows. There are five minor vows: abstention from anger, obedience towards the guru, avoidance of rashness, cleanliness, and purity in eating. He should beg (for food) without annoying others, any food he gets he must compassionately share a portion with other living beings, sprinkling the remainder with water he should eat it as if it were a medicine.

 

— Baudhayana Dharmasūtra, II.10.18.1–10[107]

Similarly, the Nirvana Upanishad asserts that the Hindu ascetic should hold, according to Patrick Olivelle, that "the sky is his belief, his knowledge is of the absolute, union is his initiation, compassion alone is his pastime, bliss is his garland, the cave of solitude is his fellowship", and so on, as he proceeds in his effort to gain self-knowledge (or soul-knowledge) and its identity with the Hindu metaphysical concept of Brahman.[108] Other behavioral characteristics of the Sannyasi include: ahimsa (non-violence), akrodha (not become angry even if you are abused by others),[109] disarmament (no weapons), chastity, bachelorhood (no marriage), avyati (non-desirous), amati (poverty), self-restraint, truthfulness, sarvabhutahita (kindness to all creatures), asteya (non-stealing), aparigraha (non-acceptance of gifts, non-possessiveness) and shaucha (purity of body speech and mind).[110][111]

 

The 11th century literary work Yatidharmasamuccaya is a Vaishnava text that summarizes ascetic practices in Vaishnavism tradition of Hinduism.[112] In Hindu traditions, as with other Indian religions, both men and women have historically participated in a diverse spectrum of ascetic practices.[8]

 

Jainism

Main article: Jain monasticism

Asceticism in one of its most intense forms can be found in one of the oldest religions, Jainism. Ascetic life may include nakedness symbolizing non-possession of even clothes, fasting, body mortification, penance and other austerities, in order to burn away past karma and stop producing new karma, both of which are believed in Jainism to be essential for reaching siddha and moksha (liberation from rebirths, salvation).[113][114][115] In Jainism, the ultimate goal of life is to achieve the liberation of soul from endless cycle of rebirths (moksha from samsara), which requires ethical living and asceticism. Most of the austerities and ascetic practices can be traced back to Vardhaman Mahavira, the twenty-fourth "fordmaker" or Tirthankara who practiced 12 years of asceticism before reaching enlightenment.[116][117]

 

Jain texts such as Tattvartha Sutra and Uttaradhyayana Sutra discuss ascetic austerities to great lengths and formulations. Six outer and six inner practices are most common, and oft repeated in later Jain texts.[118] According to John Cort, outer austerities include complete fasting, eating limited amounts, eating restricted items, abstaining from tasty foods, mortifying the flesh and guarding the flesh (avoiding anything that is a source of temptation).[119] Inner austerities include expiation, confession, respecting and assisting mendicants, studying, meditation and ignoring bodily wants in order to abandon the body.[119]

 

The Jain text of Kalpa Sūtra describes Mahavira's asceticism in detail, whose life is a source of guidance on most of the ascetic practices in Jainism:[120]

 

The Venerable Ascetic Mahavira for a year and a month wore clothes; after that time he walked about naked, and accepted the alms in the hollow of his hand. For more than twelve years the Venerable Ascetic Mahivira neglected his body and abandoned the care of it; he with equanimity bore, underwent, and suffered all pleasant or unpleasant occurrences arising from divine powers, men, or animals.

 

— Kalpa Sutra 117

Both Mahavira and his ancient Jaina followers are described in Jainism texts as practicing body mortification and being abused by animals as well as people, but never retaliating and never initiating harm or injury (ahimsa) to any other being.[121] With such ascetic practices, he burnt off his past Karma, gained spiritual knowledge, and became a Jina.[121] These austere practices are part of the monastic path in Jainism.[122] The practice of body mortification is called kaya klesha in Jainism and is found in verse 9.19 of the Tattvartha Sutra by Umaswati, the most authoritative oldest surviving Jaina philosophical text.[123][124]

 

Monastic practice

 

Five Mahavratas of Jain ascetics

In Jain monastic practice, the monks and nuns take ascetic vows, after renouncing all relations and possessions. The vows include a complete commitment to nonviolence (Ahimsa). They travel from city to city, often crossing forests and deserts, and always barefoot. Jain ascetics do not stay in a single place for more than two months to prevent attachment to any place.[125][126] However, during the four months of monsoon (rainy season) known as chaturmaas, they stay at a single place to avoid killing life forms that thrive during the rains.[127] Jain monks and nuns practice complete celibacy. They do not touch or share a sitting platform with a person of the opposite sex.[citation needed]

 

Jain ascetics follow a strict vegetarian diet without root vegetables. Prof. Pushpendra K. Jain explains:

 

Clearly enough, to procure such vegetables and fruits, one must pull out the plant from the root, thus destroying the entire plant, and with it all the other micro organisms around the root. Fresh fruits and vegetables should be plucked only when ripe and ready to fall off, or ideally after they have fallen off the plant. In case they are plucked from the plants, only as much as required should be procured and consumed without waste.[128]

 

The monks of Shvetambara sub-tradition within Jainism do not cook food but solicit alms from householders. Digambara monks have only a single meal a day.[129] Neither group will beg for food, but a Jain ascetic may accept a meal from a householder, provided that the latter is pure of mind and body and offers the food of his own volition and in the prescribed manner. During such an encounter, the monk remains standing and eats only a measured amount. A routine feature of Jain asceticism are fasting periods, where adherents abstain from consuming food, and sometimes water, only during daylight hours, for up to 30 days. Some monks avoid (or limit) medicine and/or hospitalization out of disregard for the physical body.[128]

 

Śvētāmbara monks and nuns wear only unstitched white robes (an upper and lower garment), and own one bowl they use for eating and collecting alms. Male Digambara sect monks do not wear any clothes, carry nothing with them except a soft broom made of shed peacock feathers (pinchi) to gently remove any insect or living creature in their way or bowl, and they eat with their hands.[129] They sleep on the floor without blankets, and sit on wooden platforms. Other austerities include meditation in seated or standing posture near riverbanks in the cold wind, or meditation atop hills and mountains, especially at noon when the sun is at its fiercest.[130] Such austerities are undertaken according to the physical and mental limits of the individual ascetic.

 

When death is imminent from an advanced age or terminal disease, many Jain ascetics take a final vow of Santhara or Sallekhana, a fast to peaceful and detached death, by first reducing intake of and then ultimately abandoning all medicines, food, and water.[131] Scholars state that this ascetic practice is not a suicide, but a form of natural death, done without passion or turmoil or suddenness, and because it is done without active violence to the body.[131]

 

Sikhism

While Sikhism treats lust as a vice, it has at the same time unmistakingly pointed out that man must share the moral responsibility by leading the life of a householder. What is important is to be God-centred. According to Sikhism, ascetics are certainly not on the right path.[132] When Guru Nanak visited Gorakhmata, he discussed the true meaning of asceticism with some yogis:[133]

 

Asceticism doesn't lie in ascetic robes, or in walking staff, nor in the ashes. Asceticism doesn't lie in the earring, nor in the shaven head, nor blowing a conch. Asceticism lies in remaining pure amidst impurities. Asceticism doesn't lie in mere words; He is an ascetic who treats everyone alike. Asceticism doesn't lie in visiting burial places, It lies not in wandering about, nor in bathing at places of pilgrimage. Asceticism is to remain pure amidst impurities.

 

— Guru Nanak[133]

Other religions

Inca religion

In Inca religion of medieval South America, asceticism was practiced.[134] The high priests of the Inca people lived an ascetic life, which included fasting, chastity and eating simple food.[135] The Jesuit records report Christian missionaries encountering ascetic Inca hermits in the Andean mountains.[136]

 

Taoism

Historical evidence suggest that the monastic tradition in Taoism practiced asceticism, and the most common ascetic practices included fasting, complete sexual abstinence, self-imposed poverty, sleep deprivation, and secluding oneself in the wilderness.[137][138] More extreme and unnatural ascetic Taoist practices have included public self-drowning and self-cremation.[139] The goal of these spectrum of practices, like other religions, was to reach the divine and get past the mortal body.[140] According to Stephen Eskildsen, asceticism continues to be a part of modern Taoism.[141][142]

 

Zoroastrianism

In Zoroastrianism, active participation in life through good thoughts, good words and good deeds is necessary to ensure happiness and to keep the chaos at bay. This active participation is a central element in Zoroaster's concept of free will. In the Avesta, the sacred scriptures of Zoroastrianism, fasting and mortification are forbidden.[143]

 

Sociological and psychological views

Early 20th century German sociologist Max Weber made a distinction between innerweltliche and ausserweltliche asceticism, which means (roughly) "inside the world" and "outside the world", respectively. Talcott Parsons translated these as "worldly" and "otherworldly"—however, some translators use "inner-worldly", and this is more in line with inner world explorations of mysticism, a common purpose of asceticism. "Inner- or Other-worldly" asceticism is practised by people who withdraw from the world to live an ascetic life (this includes monks who live communally in monasteries, as well as hermits who live alone). "Worldly" asceticism refers to people who live ascetic lives but do not withdraw from the world:

 

Wealth is thus bad ethically only in so far as it is a temptation to idleness and sinful enjoyment of life, and its acquisition is bad only when it is with the purpose of later living merrily and without care.

 

— Max Weber[144], The Protestant Ethic and the Spirit of Capitalism

Weber claimed this distinction originated in the Protestant Reformation, but later became secularized, so the concept can be applied to both religious and secular ascetics.[145]

 

The 20th century American psychological theorist David McClelland suggested worldly asceticism is specifically targeting worldly pleasures that "distract" people from their calling and may accept worldly pleasures that are not distracting. As an example, he pointed out Quakers have historically objected to bright-coloured clothing, but wealthy Quakers often made their drab clothing out of expensive materials. The color was considered distracting, but the materials were not. Amish groups use similar criteria to make decisions about which modern technologies to use and which to avoid.[146]

 

Nietzsche's and Epicurus's view

 

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In the third essay ("What Do Ascetic Ideals Mean?")[147] from his 1887 book On the Genealogy of Morals, Friedrich Nietzsche[148] discusses what he terms the "ascetic ideal" and its role in the formulation of morality along with the history of the will. In the essay, Nietzsche describes how such a paradoxical action as asceticism might serve the interests of life: through asceticism one can overcome one's desire to perish from pain and despair and attain mastery over oneself. In this way one can express both ressentiment and the will to power. Nietzsche describes the morality of the ascetic priest as characterized by Christianity as one where, finding oneself in pain or despair and desiring to perish from it, the will to live causes one to place oneself in a state of hibernation and denial of the material world in order to minimize that pain and thus preserve life, a technique which Nietzsche locates at the very origin of secular science as well as of religion. He associated the "ascetic ideal" with Christian decadence.[149][150][151]

 

Asceticism is not always life-denying or pleasure-denying. Some ascetic practices have actually been carried out as disciplines of pleasure. Epicurus taught a philosophy of pleasure, but he also engaged in ascetic practices like fasting. This may have been done in the service of testing the limits of nature, of desires, of pleasure, and of his own body. In the eighth of his Principal Doctrines, Epicurus says that we sometimes choose pains if greater pleasures ensue from them, or avoid pleasures if greater pains ensue, and in the "autarchy" portion of his Letter to Menoeceus, he teaches that living frugally can help us to better enjoy luxuries when we have them.

 

See also

Ascetics (category)

Aesthetism

Altruism

Anatta

Anti-consumerism

Arthur Schopenhauer

Cenobite

Ctistae

Cynicism

Desert Fathers

Desert Mothers

Egoism

Epicureanism

Flagellant

Gustave Flaubert

Hermitage

Lent

Mellified man

Minimalism

Monasticism

Nazirite

Paradox of hedonism

Ramadan

Rechabites

Simple living

Siddha

Stoicism

Straight edge

Temperance (virtue)

Notes

/əˈsɛtɪsɪzəm/; from Ancient Greek ἄσκησις (áskēsis) 'exercise, training'

Alternate practices included cutting off a part of one's body.[84][85]

 

en.wikipedia.org/wiki/Asceticism

Relics and Regeneration

4th August-14th August

 

A three part exhibition at Holy Trinity Church combining a video installation by Victoria Lucas, photographs by Andy Graham and material provided by Trinity Leeds (developers) illustrating what will be our future legacy.

In this transitional phase, moments caught between nostalgia and anticipation the

layers are peeled away and the church comes sharply into focus. Relics and

re-generation explores the role of the church within this new context; a historic relic or a

living, breathing community of artists and worshippers, injecting spirit into the heart of

a land of shopportunity?

  

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

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

The Postcard

 

A postally unused Salmon Cameracolour postcard published by J. Salmon Ltd. of Sevenoaks. The card was printed in England.

 

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."

 

J. Salmon Ltd.

 

Alas, J. Salmon no longer produce postcards. Having churned out small coloured rectangles of card from its factory in Kent for more than 100 years, the company stopped publishing postcards in 2017.

 

The fifth-generation brothers who still ran the company sent a letter to their clients in the autumn of 2017, advising them that the presses would cease printing at the end of 2017, with their remaining stock being sold off throughout the following year.

 

The firm’s story began in 1880, when the original J. Salmon acquired a printing business on Sevenoaks high street, and produced a collection of twelve black and white scenes of the town.

 

In 1912, the business broke through into the big time by commissioning the artist Alfred Robert Quinton (1853 - 1934), who produced 2,300 scenes of British life for them up until his death.

 

From Redruth to King’s Lynn, his softly coloured, highly detailed watercolours of rosy milkmaids, bucolic pumphouses and picturesque harbour towns earned him a place in the hearts of the public, despite references to Alfred's 'chocolate-box art' by some art critics.

 

J. Salmon also produced photographs and cheery oils of seaside imagery captioned with a garrulous enthusiasm: “Eat More Chips!”, “Sun, Sand & Sea”, “We’re Going Camping!”

 

J. Salmon also produced photographs and cheery oils of seaside imagery titled with a garrulous enthusiasm: “Eat More Chips!”, “Sun, Sand & Sea”, “We’re Going Camping!”

 

It commissioned the comic artist Reg Maurice (who often worked under the pseudonym Vera Paterson), to produce pictures of comically bulbous children with cutesy captions, alongside the usual stock images of British towns.

 

It was this century’s changing habits – and technology – that did for Salmon. Co-managing director Charles Salmon noted:

 

“People are going for shorter breaks,

not for a fortnight, so you’re back home

before your postcards have arrived."

 

He barely needed to say that Instagram and Facebook had made their product all but redundant, almost wiping out the entire industry in a decade.

 

Michelle Abadie, co-director of the John Hinde Collection, said:

 

“When I heard the news, I was

actually surprised they still existed."

 

John Hinde was once J Salmon’s biggest rival; it sold 50-60 million postcards a year at its peak in the 1960's, but it, too, shuttered four years previously. The licensing for its rich archive of images was sold off, and repurposed in art books.

 

However, in one sense, the death of the postcard is overstated. Like vinyl records, our fetish for the physical objects we left behind is already making its presence felt.

Michelle Abadie points out:

 

“If you go into Waterstones now, they

sell lots of postcards of book covers.

The idea itself isn’t dead – as a

decorative object, people still want

them.”

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

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

Genest stack cut three puzzles for a group project - this is my first progress report. Bob finished in August and Mike in late December. It took me about two and a half hours to lay out the pieces and this is after 8hrs of assembly work.

 

The 1576pc puzzle will measure 60 x 46.5cm when complete. When I started all I knew about the image was that it was a period painting and religious - but not Bosch or the Temptation of St Anthony. Spreading the pieces out I thought there was only one figure, a woman, and possibly a dragon, plus lots of wooden frame. I remember getting a little panicky - what have I done - about 20minutes in!

 

Working through the most colourful tray I spotted another face - so a two-person image, probably an Annunciation. I also spotted an old man (who turned out to be God in the sky - instead of the usual Dove representing the Holy Spirit). There is also a small woman and a dog. Rather worryingly I appear to have five hands!

The whole time I went to church as a youth. Never had I heard that Jesus was in fact, GOD! You'd think that bit of information would be vastly important to people claiming to be presenting truth to their audience?

 

That Fact had to be revealed to me by the Holy Spirit himself, much like many other facts the so-called clergy seemed to have no knowledge of whatsoever. I mean, God tells us this in the scripture, why is that left out of the sermons?

 

God the Father, God the Son, and God the Holy Spirit. It's the trinity of the God head. God has a name, it's Jesus. Is that not important? No, what's important is filling buildings to capacity so they can collect and offering of forced tithes and offerings to keep the clergy in the lap of luxury. And they also don't want us to know that there is NO TITHING under the New Covenant in the blood of Jesus. Because tithing was for the sole purpose of supporting the Levitical Priesthood. Because the Levite's weren't allowed to own anything, or work to support themselves or their families out side serving the Lord both day and night. So all they had was what the rest of the Israelites gave them in offerings. Another little fact left out of the sermons.

 

People today are also not told that the way churches, religious clubs and entertainment centers are made up is in no way representative of what the Church was originally. We aren't told that the Roman Emperor Constantine I, in the third century made the Christian Religion the State religion, forcing people into buildings they called church. It wasn't an option, you either went or suffered the consequences. Some times that could be death. But that's all man's idea, has NOTHING to do with God. Does anybody care? Not much it would seem. Why, because it is so much easier to extract money from people when they are all gathered together in a holding pen.

 

Originally Churches were in homes where families worshipped God, and were actual Christians, children of God. They met daily from house to house to hear the Apostle teaching, fellowship and prayer. That's how the gospel was spread. Christianity was a personal one, one on one with the God that created the Universe. But we've come to this herd mentality today because of the traditions of men, thinking the only way to worship God is by having giant buildings where people are herded into by the thousands, and robbed of the truth, and robbed of whatever income God has given them to support not a building of hierarchy "clergy elite" depleted of the truth, creating wonderful religious stories to keep those in attendance as ignorant about God as they were when they arrived.

 

The only biggies in the Church were it's original hand picked disciples and apostles by Jesus himself. They alone where the church fathers, they actually penned the Bible or an amanuensis of an Apostle, such as St. Luke. But when St. John died, the cannon was closed and there is no more Apostles to be heard from. No further information to he had. It's all in God's word, the Holy Bible. And I'm not sure why anybody would want to get there information second hand from somebody who went to a seminary being brainwashed into some particular denomination of men, with their distorted view of what it means to be a Christian. When you can get it first hand, from the Holy Scripture being taught by the Holy Spirit that Lives in a believer. God said that "HE" would lead us into ALL truth, not some self-serving guru of men, which wouldn't really tell you the truth if he actually knew what it was? Because if he was telling you TRUTH he would be destroying your need of Him.

 

Jesus came to set the captives Free from all Religious trappings of men. Jesus himself wants a personal relationship with YOU! He doesn't want YOU to have a middleman, that serves to insulate YOU from HIM. Because they want you to support them rest of their lives while they twist the word of God to keep you dependent on them rather than the GOD who lives in you? Does that make any sense to you?

 

Jesus wants his Children dependent on Him and Him alone. Why do you suppose He went to all the trouble to have his words, written down so you could KNOW what TRUTH IS, not guess. But if Jesus doesn't live in you, through the power of the Holy Spirit of God, you won't be able to understand what is written, because it is all Spiritually Discerned. GOD wants to lead YOU into ALL TRUTH, through a personal relationship with the one who created the universe and everything in it, including us. So I have to wonder, why would anybody in their right mind want a middle man that is only there to pick your pockets and rob you of the truth that can set you free?

 

If you can't understand the scripture, that's okay because it is extremely easy to fix. All you have to do is come to real Faith in Jesus Christ and his Gospel, which is as stated in 1 Corinthians 15 through St. Paul the Apostle. Which reads,

 

3 For what I received I passed on to you as of FIRST importance: that CHRIST DIED FOR OUR SINS according to the Scriptures, 4 that HE WAS BURIED, that HE WAS RAISED ON THE THIRD DAY according to the Scriptures, (1 Corinthians 15:3-4)

 

That's the gospel that has the power to save, which is Life to the Spiritually dead, IF you really believe it and put your faith in the fact that YOU ARE FORGIVEN, you don't get forgiven, we were all born forgiven, because Jesus didn't die yesterday or tomorrow. That takes real Faith in Jesus actual work for YOU and I, not something YOU or I can do in the energy of our own flesh. When that occurs, we pass from Death unto Life Everlasting and the Holy Spirit from God comes to live in us, and Lives HIS LIFE IN AND THROUGH US.

 

At that point, with the help of the Sprit from God who lives in you, He it is that will lead YOU into ALL truth and nothing will be hidden from you. So you don't need to hire a guru to explain truth away for you, so he can keep you coming back for more of what he himself is devoid of, as a general rule. Which is Jesus!

 

So I say, come to Jesus, he wants to control you through his LOVE FOR YOU, and he doesn't want you're money, he has no need of money. In fact he has given you the money you have so you can take care of you and you're families needs. Jesus wants YOU! Because He LOVES "YOU" and Gave himself for you, so that he could LIVE HIS LIFE IN AND THROUGH YOU. That's the Christian Life, in a nut shell. Remember, YOU ARE LOVED BY GOD. There's NOBODY JESUS LOVES MORE THAN "YOU". YOU HAVE NO NEED FOR ANYBODY TO PRAY FOR YOU. Because if you Love Jesus, he lives in you and there is NOTHING about you He doesn't know, and you don't need to get hold of somebody that YOU THINK is closer to GOD than YOU ARE and has God's ear, because if God lives in YOU, YOU CAN'T GET ANY CLOSER THAN THAT! AND HE LOVES YOU PERFECTLY, AND WANTS NOTHING BUT THE VERY BEST FOR YOU, AND YOU CAN TRUST "HIM"! Man, not so much, better stick with Jesus. Amen? YOU ARE LOVED, BELIEVE IT! GOD BLESS YOU AS YOU LEARN TO TRUST IN HIM. ❤️ ❤️ ❤️

 

------------------------ 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!

 

For the best Biblical teaching in the last 2 centuries! Please listen to and down load these FREE audio files that were created with YOU in mind. It's ALL FREE, if you like it, please share it with others. ❤️ ✝️ ❤️

 

archive.org/details/PeopleToPeopleByBobGeorgeFREE-ARCHIVE...

 

www.revealedinchrist.com

 

CLICK THE LETTER "L" TO ENLARGE THE IMAGE.

 

My THANK'S to all those who have taken the time to view, fave, comment or share my photo's with others. I really appreciate it! ❤️

Not in a great head space and am very tired from work, but I absolutely had to get outside for a short walk. I don't know whether it helped my mood, but I'm glad I listened to what my body and spirit needed.

 

I like how the sunbeam is cleaving my head.

 

Tonight is hot chocolate + AA meeting night, then Mom's homemade soup and a Gonzaga basketball game. Four big comforting hurrahs for pissy mooded me.

 

Make that five: now I'm going to lay down and read Vita Sackville-West's biography Vita for the hundredth time.

What Is Faith In God | God's Word Only He Who Experiences the Work of God Truly Believes in God "

Introduction

Almighty God says, "When Jesus came into the world of man, He brought the Age of Grace and ended the Age of Law. During the last days, God once more became flesh, and when He became flesh this time, He ended the Age of Grace and brought the Age of Kingdom. All those who accept the second incarnation of God will be led into the Age of Kingdom, and be able to personally accept the guidance of God. Though Jesus did much work among man, He only completed the redemption of all mankind and became man’s sin offering, and did not rid man of all his corrupt disposition. Fully saving man from the influence of Satan not only required Jesus to take on the sins of man as the sin offering, but also required God to do greater work to completely rid man of his disposition, which has been corrupted by Satan. And so, after man was forgiven his sins, God has returned to flesh to lead man into the new age, and begun the work of chastisement and judgment, and this work has brought man into a higher realm. All those who submit under His dominion shall enjoy higher truth and receive greater blessings. They shall truly live in the light, and shall gain the truth, the way, and the life."

 

recommenda to you: plan of salvation

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The lion; symbolic of the Resurrection

  

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

  

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

 

www.ewbchurches.org.uk/eastrychurchhistory.htm

 

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The Representative of Humanity between Lucifer and Ahriman is a wooden sculpture more than 8 m high designed by Rudolf Steiner and created together with the sculptor Edith Maryon for the first Goetheanum in Dornach. It was to be placed in the small domed room, the stage room of the first Goetheanum. When the Goetheanum burned down on New Year's Eve 1922/23, the sculpture had not yet been completed and was therefore spared from the fire.

  

Contents

1The striving of the individual human being for balance

2Connection with the Easter Imagination

3Christ as the Representative of Humanity between the Adversary Powers

4The World Humour

5The artistic work on the group of figures

6Literature

The striving of the individual human being for balance

„The people of the present day have a great need to place Christ in the midst of Ahriman and Lucifer. Christ-power must permeate us. But as human beings we must always seek the balance between that which, in a certain sense, mystically and enthusiastically wants to rise above us, and that which wants to pull us down to the earth in a materialistic, rational, philistine and difficult way. And if we endeavour to seek this balance, then alone can we find the Christ.“ (Lit.:GA 195, p. 40)

 

„I would like to say, I explain it to almost everyone of whom I only believe that he can have some understanding, to everyone who comes before the well-known wooden group in Dornach: "Christ in the middle as representative of humanity, Ahriman and Lucifer on either side", that the human being as we have him before us can really only be imagined by imagining everything about him as a state of equilibrium. On the one side is the supersensible, on the other the sub-sensible. The human being actually always represents only the state of equilibrium between the supersensible and the sub-sensible.“ (Lit.:GA 324a, p. 152)

 

„Until the middle of the 15th century, the single, individual human being did not come into consideration as he has since that time. Since that time, what is most essential in the human being is the striving to be individuality, the striving to unite individual personality forces, to find, as it were, a centre in oneself [...]

 

Through this, however, something becomes particularly important for man in this time, which began in the middle of the 15th century and will only end towards the fourth millennium. With this, something occurs that is of very special importance for this time. For you see, something vague is expressed when one has to say: Every human being strives for his own particular individuality. The group spirit, even if it comprises only smaller groups, is something much more tangible than that which each individual strives for out of the primal source of his individuality. Hence it is that it becomes especially important for this man of the newer times to understand what may be called the balance between the opposite poles: To seek a balance between the opposite poles.

 

The one wants to go beyond the head, so to speak. Everything that leads man to be a dreamer, a fantasist, a maniac, that fills him with indefinite mystical impulses towards some indefinite infinite, yes, that fills him even if he is a pantheist or a theist or something like that, which is so often the case today, that is the one pole. The other pole is that of sobriety, of dryness, trivially speaking, but not unrealistically speaking in relation to the spirit of the present, truly not unrealistically speaking: the pole of philistrosity, the pole of philistinism, the pole which draws us down to earth into materialism. These two poles of force are in the human being, and between them the human being stands, it has to seek the balance. In how many ways can one seek balance? [...]

 

In an infinite number of ways you can seek balance. This corresponds to the infinitely many ways of being an individual human being. That is why it is so essential for the present human being to realise that his being consists in the search for balance between the opposite poles. And the indeterminacy of the search for balance is precisely that indeterminacy of which I spoke to you earlier [...]

 

We are mentally healthy when we find the balance between the rapturously fantastic and the dryly philistine. We are physically healthy when we can live in balance between the fever and the sclerosis, the ossification. And this can happen in an infinite number of ways, in which individuality can live.

 

That is the way in which man, especially in modern times, must feel the old Apollo saying "Know thyself". But "know thyself" not in some abstraction: "Know thyself in the striving for balance." That is why we have to set up in the east of the building that which can make man feel this striving for balance. And this is to be represented in the sculptural wooden group mentioned yesterday, which has as its central figure the figure of Christ, the figure of Christ, which has been attempted to be shaped in such a way that one can imagine it: This is how the Christ really walked in the man Jesus of Nazareth at the beginning of our era in Palestine. The conventional images of the bearded Christ are actually creations of the 5th and 6th centuries, and they are truly not in any way, if I may use the expression, true to the portrait. That is what has been attempted: to create a Christ who is true to the portrait, who is at the same time supposed to be the representative of the searching human being, the human being who strives for balance. (It is drawn).

 

The Representative of Humanity between Lucifer and Ahriman; Plate 17 from GA 194, p 187

You will then see two figures at this group: Here the falling Lucifer, here the ascending Lucifer. Here below, in a certain sense connected with Lucifer, an Ahrimanic figure, and here a second Ahrimanic figure. The representative of humanity is placed between the ahrimanic figure: the philistine, the sober-dry-materialistic; and the luciferic figure: the rapturous, fantastic. The Ahriman figure: all that leads man to petrification, to sclerosis; the Lucifer figure: representation of all that leads man feverishly beyond the measure of that health which he can bear.“ (Lit.:GA 194, p. 183ff)

 

Connection with the Easter Imagination

 

Easter Imagination - Christ between Lucifer and Ahriman

→ Main article: Easter Imagination

The Easter Imagination, which Rudolf Steiner gave, describes how the image of the Christ forms out of the earthly-cosmic events, who stands between the adversary powers of Lucifer and Ahriman and keeps both in balance. In the statue of the representative of humanity between Lucifer and Ahriman, essential parts of this Easter imagination find their artistic-sculptural representation.

 

„In the middle of this group will stand a figure like, I would like to say, the representative of the highest humanity that could unfold on Earth. Therefore one will also be able to feel this figure of the highest human being in the development of the earth as the Christ. It will be the special task to shape this Christ figure in such a way that one will be able to see how this earthly body, in every expression, in everything about it, is spiritualised by that which has moved in from cosmic, from spiritual heights as the Christ. Through the raising of the left arm of the Christ figure, it happens that this descending entity breaks its wings. But it must not look as if the Christ were breaking the wings of this entity (Lucifer), but the whole must be artistically designed in such a way that, as the Christ raises his arm, it is already evident from the whole movement of his hand that he actually has only infinite compassion for this entity. This being, however, cannot bear what flows up through the arm and the hand; one would like to clothe its feeling in the words: I cannot bear that such purity should shine up upon me.

 

And on the other side the rock will be hollowed out. In this hollow is also a figure that has wings. The figure in the cave is literally clinging to the cave, you see it in chains, you see it working down there to hollow out the earth. Christ has his right hand turned downwards. Christ himself has infinite compassion for Ahriman. But Ahriman cannot bear it, he writhes in pain through that which radiates through the hand of Christ. And what radiates there causes the gold veins that are down in the rock cave to wind like cords around Ahriman's body and bind him.“ (Lit.:GA 159, p. 248ff)

 

Christ as the Representative of Humanity between the Adversary Powers

The group of figures in the large wooden sculpture shows Christ striding between two Lucifer figures and two Ahriman figures, which belong together in pairs. One pair of the Lucifer and Ahriman figures is active inside the human being, the other is active outside in nature or in the cosmos, as is also shown in the Easter imagination. At the top left, above the figure of Lucifer, a strongly asymmetrically shaped elemental being grows out of the rock out of inner artistic necessity, looking over the rock with a certain humour - the world humour.

 

„The whole building is arranged, as I said, from west to east, so that the axis of symmetry passes between the columns, from west to east, and it intersects the small cylinder, i.e. the stage space, at its boundary in the east. There, towards the east, between the sixth column on the right and the sixth column on the left, is a sculptural group. This, in turn, is supposed to artistically represent, I would like to say, the most intimate part of our spiritual-scientific world view. It is to represent what must necessarily be integrated into the human spiritual view of the present and into the future. Humanity must learn to understand that everything that is important for the shaping of the world and for human life runs into these three currents: so to speak, the normal spiritual current into which man is woven, then the Luciferic current and the Ahrimanic current. Divine evolution, Luciferic evolution and Ahrimanic evolution are woven into everything, both into the foundations of the physical and into the revelations of spiritual events. This, however, is not to be expressed symbolically, but artistically, in our pictorial group. A wooden group. An idea has arisen which I believe I have grasped as a thought, but the reason for which has not yet become clear to me even in its occult underpinnings; occult research in the future will probably reveal this. But it seems to be absolutely true that all ancient motifs can be better represented in stone or metal, and all Christian motifs - and ours is a Christian motif in the eminent sense - better in wood. I cannot help saying that I have always felt it necessary to rethink the group in St Peter's in Rome, Michelangelo's Pieta, in wood; for then, I believe, it would represent what it is supposed to represent; just as I have had to rethink other Christian groups that I found in stone in wood. There is certainly something at the bottom of this; I have not yet found the reasons. So our group had to be conceived and executed in wood.

 

The main figure is a kind of representative of humanity, an entity that is supposed to represent man in his divine revelation. I am satisfied if someone who looks at this figure has the sensation: it is a representation of the Christ Jesus. But even this seemed inartistic to me if I had based it on the impulse: I want to make a Christ Jesus. I wanted to depict what is there. What the person experiences then, whether it is a Christ Jesus, must first be the consequence. I would be quite happy if everyone experienced that. But that is not the artistic idea of depicting a Christ Jesus. The artistic idea rests purely in the artistic form, in the design; the other is a novellistic or programmatic idea of depicting a Christ Jesus. The artistic lives in the form, at least if it is a pictorial. - A main figure, the whole group is eight and a half metres high, stands somewhat elevated, behind it rocks, under it rocks. At the bottom of the rock, which is hollowing out a little, an Ahriman figure is growing out of it. It is inside a rock cave, half lying down, with its head up. The main figure stands on this somewhat hollowed out rock. Above the Ahriman figure and to the left of the observer is a second Ahriman growing out of the rock, so that the Ahriman figure is repeated. Above the Ahriman figure, again to the left of the observer, is a Lucifer figure. A kind of artistic connection has been created between the Lucifer and the Ahriman below. A little above, above the main figure, to the right of the viewer, there is also a Lucifer figure. Lucifer is therefore also present twice. This other Lucifer is broken in himself, falls through being broken in himself. The right hand of the central figure points downwards, the left hand upwards. This left hand pointing upwards points to the breaking point of Lucifer; there he breaks in two and falls. The right hand and the right arm of the central figure point towards the lower Ahriman and bring him to despair. The whole thing is conceived in such a way - I hope that one will be able to feel it - that this central figure is not in any way aggressive; but in the gesture I have indicated, there is only love in it. But neither Lucifer nor Ahriman can stand this love. The Christ does not fight against Ahriman, but radiates love; but Lucifer and Ahriman cannot let love come near them. Through the proximity of love, one, Ahriman, feels despair, being consumed within himself, and Lucifer falls. So in them, in Lucifer and Ahriman, lies what is expressed in their gestures.

 

Of course, the figures were not easy to create for the reason that one has to create spiritual things - partly spiritual in the case of the main figure, but purely spiritual in the case of Lucifer and Ahriman - and in sculpture it is most difficult to form the spiritual. However, an attempt was made to achieve what was necessary, especially for our aims: to dissolve the form, although it had to remain artistic form, entirely into gesture, entirely into mien. Man is actually only capable of using gesture and mien in a very limited sense. Lucifer and Ahriman are entirely gesture and entirely mien. Spirit forms do not have a finished form, there is no finished spirit form. If you want to shape the spirit, you are in the same position as if you wanted to shape lightning. The form a spirit has at one moment is different from the form it has at the next moment. You have to take that into account. If, however, you wanted to hold on to a spirit's form for one moment, just as you would a resting form, then you would get nothing out of it, you would only have a frozen form. So in such a case one must completely reproduce the gesture. So in the case of Lucifer and Ahriman, the gesture is completely reproduced, and this had to be attempted to some extent also for the middle figure, which is of course a physical figure: the Christ Jesus.

 

Now I would like to show you a few pictures which can give you a small idea of this main group, as best they can. The first is the head of Ahriman, in the form in which it first appeared to me: a human being - think of the threefold division of the human being into head, trunk and extremities - who is entirely head, who is therefore also the instrument of the most perfect cleverness, understanding and cunning. This is to be expressed in the figure of Ahriman. The head of Ahriman, as you see it here, is properly spirit, if I may use the paradoxical expression; but you know how a paradox often comes out when one characterises spiritually. He is indeed after the model, true to spirit, artistically true to nature. Ahriman had to "sit" for that to be brought about.

 

The next is Lucifer, as he appears from the viewer on the left side. In order to understand Lucifer, you must think in a very strange way of what appears as the spirit form of Lucifer. Think of that which is most Ahrimanic in man away from the human form, that is, the head away, but instead think of the ears and the auricles, the outer ear, considerably enlarged, naturally spiritualised and formed into wings and shaped into an organ, but the organ wrapped around its body, the laryngeal wings also enlarged; so that head, wings, ears form one organ together. And the wings, the principal organ, is that which results for the figure of Lucifer. Lucifer is an enlarged larynx, a larynx which becomes the whole form, out of which then develops, through a kind of wing, a connection to the ear, so that one has to imagine: Lucifer is such a form, which receives the music of the spheres, takes it into this ear-wing organism; and without the individuality speaking, the universe, the music of the spheres itself, again expresses itself through the same organ, which is transformed forward into the larynx, thus is another metamorphosis of the human form: larynx-ear-wing organ. Therefore the head is only indicated. With Ahriman you will find, if you will once see the figure in the Dornach building: What you can think of as a figure has been brought out. But what comes out of Lucifer as a head - although you cannot well imagine that it would be the same with yourself as with Lucifer - is something that is beautiful to the highest degree. The Ahrimanic, then, is the intelligent, clever, but ugly thing in the world; the Luciferic is the beautiful thing in the world. Everything in the world contains both the ahrimanic and the luciferic. Youth and childhood are more luciferic, old age more ahrimanic; the past is more ahrimanic, the future more luciferic in its impulses; women more luciferic, men more ahrimanic; everything contains these two currents. The elemental being above Lucifer - the "world humour".

 

The being above Lucifer arose as one that grows out of the rock as an elemental being. We had finished the group we had discussed, and when it was freed from its framework, something quite strange appeared: namely, that, as Miss Waller felt, the centre of gravity of the group lay - for the sake of the view, of course - too far to the right and something had to be created to balance it. This is how we were told by Karma. Now it was a question of not just putting up a lump of rock, but of pursuing the sculptural idea further. This is how this being came into being, which, as it were, grows out of the rock as an elemental being. You will notice one thing about this being, even if it is only expressed in hints: you will see how an asymmetry must immediately take effect as soon as spiritual figures come into consideration. This is expressed in the physical only to a very limited extent: our left eye is different from our right and so on; it is the same with the ear and nose. But as soon as one enters the spiritual realm, the etheric body has a decidedly asymmetrical effect. The left side of the etheric body is quite different from the right; this comes out immediately when you want to form spiritual figures. You can walk around this being, and you will have a different view from every point below. But you will see that the asymmetry works as something necessary, because it is the expression of the gesture with which this being looks over the rock with a certain humour and looks down on the group below. This looking down over the rock with humour has a good reason. It is not at all right to want to rise into the higher worlds with mere sentimentality. If one wants to work one's way up to the higher worlds, one must not do it with mere sentimentality. This sentimentality always smacks of egoism. You will see that often, when the highest spiritual connections are to be discussed, I mix into the contemplation something which is not intended to bring out of the mood, but only to drive away the egoistic sentimentality of the mood. Only then will people truly rise to the spiritual when they do not want to grasp it with egoistic sentimentality, but can enter this spiritual realm in purity of soul, which can never be without humour.

 

Then the head of the central figure in profile, as it emerged with necessity. The head had to be made somewhat asymmetrical because this figure was intended to show that not only the movements of the right hand, the left hand, the right arm and so on reflect the interior of the soul, but because in such a being living entirely in the soul, as is the Christ Jesus, this also takes up the formation of the forehead, for example, and the whole of the rest of the figure, much more than can be the case with the gesture of a human being. We have tried it out, although it does not correspond to reality, that if you put the picture upside down in the apparatus, you have a completely different view just because it is the other way round. The impression is different. But you will only see how this is conceived asymmetrically, artistically, in the finished head of the central figure. - One may well say that in the elaboration of such a thing all artistic questions really come into consideration; the smallest artistic question is always connected with some far-reaching whole. Here, for example, the treatment of the surface came into particular consideration. Life must be generated especially through the surface. The surface simply bent, and the bending bent again: this special treatment of the surface, the double bending of the surface, how this brings life out of the surface itself, you only see when you work through these things. And so you will see that what we wanted lies not only in what is depicted, but also in a certain artistic treatment of the matter. It was not necessary to reach the ahrimanic, the luciferic and again the human in a novellistic way, by mere reproduction, but it was necessary to get it into the fingertips, to get it into the shaping of the surface, it was necessary to get it completely into the artistic shaping. And that expansion which man receives by extending his perception into the spiritual, it also extends on the other side into the artistic.

 

So this group stands below in the east in the stage area. Above it arches the smaller dome, and this again is painted, as I have indicated. Above this group, there is another attempt to paint the same motif. There is the Christ, above Lucifer and Ahriman, and the attempt is made to express through the colours what should be represented through art. It is precisely through the diversity of treatment that one will see how purely out of the means of art the things had to be brought.“ (Lit.:GA 181, p. 312ff)

 

The World Humour

→ Main article: World humour

 

The world humour on the statue of the Representative of Humanity

The World Humour is a figure that sits at the very top of the monumental wooden sculpture of the Representative of Humanity and, as an elemental being, grows with inner artistic necessity out of the rocky outcrop depicted here (Lit.:GA 181, p. 316f).

 

The artistic work on the group of figures

In preparation for the group of figures, several models about 50cm in size were first created and finally also a model on a scale of 1:1, which is still preserved today, made of lime powder, beeswax and plasticine. Edith Maryon prepared the wooden framework and the materials for the construction of the model. The plasticine was prepared according to Rudolf Steiner's instructions and kneaded by hand. This material was chosen because it remains elastically mouldable for a long time and so Rudolf Steiner could continue to work on the model again and again despite his long and frequent absences from Dornach.

 

Literature

Judith von Halle, John Wilkes: Die Holzplastik des Goetheanum - «Der Menschheitsrepräsentant zwischen Luzifer und Ahriman», Vlg. am Goetheanum, Dornach 2008

Judith von Halle: «Das Christliche aus dem Holze herausschlagen...» - Rudolf Steiner, Edith Maryon und die Christus-Plastik, Vlg. am Goetheanum, Dornach 2007

Rudolf Steiner: Das Geheimnis des Todes. Wesen und Bedeutung Mitteleuropas und die europäischen Volksgeister, GA 159 (1980) English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org

Rudolf Steiner: Erdensterben und Weltenleben. Anthroposophische Lebensgaben. Bewußtseins-Notwendigkeiten für Gegenwart und Zukunft, GA 181 (1991), Sechzehnter Vortrag, Berlin, 3. Juli 1918 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org

Rudolf Steiner: Die Sendung Michaels, GA 194 (1994), ISBN 3-7274-1940-7 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org

Rudolf Steiner: Weltsilvester und Neujahrsgedanken, GA 195 (1986), ISBN 3-7274-1950-4 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org

Rudolf Steiner: Die vierte Dimension, GA 324a (1995), ISBN 3-7274-3245-4 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org

 

References to the work of Rudolf Steiner follow Rudolf Steiner's Collected Works (CW or GA), Rudolf Steiner Verlag, Dornach/Switzerland, unless otherwise stated.

Email: verlag@steinerverlag.com URL: www.steinerverlag.com.

Index to the Complete Works of Rudolf Steiner - Aelzina Books

A complete list by Volume Number and a full list of known English translations you may also find at Rudolf Steiner's Collected Works

Rudolf Steiner Archive - The largest online collection of Rudolf Steiner's books, lectures and articles in English.

Rudolf Steiner Audio - Recorded and Read by Dale Brunsvold

steinerbooks.org - Anthroposophic Press Inc. (USA)

Rudolf Steiner Handbook - Christian Karl's proven standard work for orientation in Rudolf Steiner's Collected Works for free download as PDF.

  

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1915-05-18-GA159

introduction to the lecture:

 

In 1914, Rudolf Steiner had begun a scaled-down model of the Christ sculpture that was later to be installed in the Goetheanum.. As the work on the sculpture itself began, he frequently explained its significance in his lectures.

 

One of Rudolf Steiner's lecture tours, May 6 through May 18, 1915, took him to Vienna, Prague and Linz. In all three cities he stressed that the Christ figure in the sculptured group would have to be portrayed as a being in equipoise between the polar forces of Lucifer and Ahriman and that this being was symbol of, and model for, man's own existence here on earth. The Linz lecture, which is here translated, presents the group in a world-historical context and relates the significance of the Lucifer-Christ-Ahriman configuration to the events surrounding World War I. Steiner sees a parallel between Christ's central, but equalizing position and Central Europe's mission in World War I. He implies that Germany's and Austria's militarism and political intransigence alone did not lead to war against the world powers in the East (Russia) and the West (France, England and, since 1917, the United States). According to Steiner, World War I was the earthly expression of a struggle between luciferic forces in the East and ahrimanic forces in the West, and it was Central Europe's destiny to mediate between these forces.

 

quote

 

Some day when the building in Dornach that is dedicated to the spiritual sciences is completed, it will contain, in a significant spot, a sculpture dominated by three figures. In the center of this group a figure will tower as if it were the manifestation of what I would call the most sublime human principle ever to unfold on earth. Hence, one will be able to experience this representation of the highest human principle in the evolution of the earth-the Christ, who in the course of this evolution lived three years in the body of Jesus of Nazareth. A special task in the portrayal of this Christ figure will be to make two ideas visible. Firstly, it will be important to show how the being that we are concerned with dwells in a human body. Secondly, it must also become apparent how this human body, in every facial expression and in every gesture reflects a magnificent degree of spiritual refinement, which descended with the Christ from cosmic and spiritual heights into this body in its thirtieth year. Then there will be the remaining two figures of the group, one to the left and the other to the right of the Christ figure, if that is the proper name for the figure that I have just sketched. This Christ figure is placed in such a way that it seems to be standing in front of a rock that towers noticeably at His left side, with its peak extending over His head. On top of the rock there will be another figure, winged but with his wings broken, who for this reason begins to fall into the abyss. One feature in the Christ figure that must be worked out with special artistic care is the manner in which he raises his left arm, for it is precisely this gesture that precipitates the breaking of the wings. It must not appear, however, as if the Christ Himself were breaking the wings of this being. Rather, the interaction of the two figures must be portrayed artistically to show how the Christ, by the very motion of raising his hand, is expressing his infinite compassion for this being. Yet this being cannot bear the energy flowing upward through arm and hand, an energy that is evidenced by indentations that the fingers of the extended hand seem to leave in the rock itself. When this being comes into proximity with the Christ being, he feels something that may be expressed in the words: I cannot bear the radiation of such purity upon me.

 

This feeling dominates so essentially as to break this upper beings wings and cause his imminent plunge into the abyss. To make this visible will be a particularly important artistic task and you will see how the meaning of this interaction could easily be misunderstood. Imagine, for example, an artistic portrayal of the Christ suggesting that merely by raising His hand He would radiate such power onto the being that his wings would be broken, forcing the plunge into the abyss. In that case it would be the Christ Himself who irradiated this being, as it were, with hatred, and thereby caused his descent. Such an impression must under no circumstances be conveyed. Rather, the being must be portrayed as having caused his own fall, for what is to be shown plunging downward, with broken wings, is Lucifer.

 

Now let us consider the other side of the group, toward the right of the Christ figure. There, the rock will have a ledge and, therefore, will be concave underneath. In this depression there will be another winged figure, who with his arm-like organs turns toward the ledge above. You have to visualize this as follows. To the right is the depression in the rock and in it stands this winged figure with wings entirely different from the figure on top of the rock. The wings of the figure on top of the rock resemble those of an eagle, whereas the figure in the depression has bat-like wings. This figure virtually buries himself in the cave, working in shackles, ever busy undermining the earthly realm.

 

The Christ figure in the middle has his right hand directed downward and the left one upward. Again, it will be an important artistic task not to show the Christ as wanting to shackle this figure; rather, he has infinite compassion for this being, which is Ahriman. Ahriman cannot bear this compassion and he writhes with pain from what the hand of the Christ exudes. This radiance from Christ's hand causes the golden veins down in the rock depression to wind around Ahriman's body like strong cords and shackle him. What is happening to Lucifer is his own doing; the same is true with Ahriman. This concept is going to take form as a sculpture that will be set up in a significant place in the new building. Above the sculptured group we will attempt to express the same motif through the medium of painting, but then the concept must be expressed differently. To summarize, the group of three figures: Christ, Lucifer and Ahriman will stand at the bottom as a sculpture, and above, the same motif will appear as a painting.

 

We are injecting this configuration of a relationship between Christ, Lucifer and Ahriman into our Dornach building because the science of the spirit reveals to us in a certain way that the next task regarding the comprehension of the Christ impulse will be to make man finally understand how the three forces of Christ, Lucifer and Ahriman are related in this world. To this day there has been much talk about Christianity and the Christ impulse, but man has not yet gained a clear understanding of what the Christ impulse has brought into the world as the result of the Mystery of Golgotha. Certainly, it is generally admitted that there is a Lucifer or an Ahriman, but in so doing, it is made to appear that from these two one must flee, as if one wished to say, “I want nothing to do with Lucifer and Ahriman!” — In yesterday's public lecture <1 I described the way in which the divine-spiritual forces can be found. If these forces did not want to have anything to do with Lucifer and Ahriman, either, the world could not exist. One does not gain the proper relationship to Lucifer and Ahriman by saying, “Lucifer, I flee from you! Ahriman, I flee from you!” Rather, everything that man has to strive for as a result of the Christ impulse must be seen as similar to the equilibrious state of a pendulum. In the center, the pendulum is in perfect balance, but it must oscillate to one side or the other. The same applies to man's development here on earth. Man must oscillate to the one side according to the luciferic principle and to the other according to the principle of Ahriman, but he must maintain his equilibrium through the cultivation of Paul's declaration, “Not I, but Christ in me.”

 

1915-06-13-GA159

It is quite indifferent what name we give to this central figure, but we may see in it the representative of Man on earth, man's representative in the highest meaning of the word. And if we see the ideal of humanity in that human being who for three years bore within him the Christ, then we may also see the Christ in this central figure of our plastic group.

 

Yet we should not simply face the statue with the thought: “That is meant to be the Christ”, for this would be wrong.

 

Instead, we should experience everything in an artistic way, that is to say, we should not interpret things symbolically from outside, but everything should result from what the forms themselves reveal.

 

1919-12-13-GA194

It is in this sense that modern man must come to understand, through his feeling, the ancient Apollo-saying: “Know thou thyself.” But “Know thou thyself” not in some abstract way; “Know thou thyself in the struggle for balance.”

 

Therefore we have to set up at the east end of the building what is intended to cause the human being to feel this struggle for balance. That is to be represented in the plastic wood group mentioned yesterday, with the Christ-Form as the central figure — the Christ-Form which we have tried to fashion in such a way that one may imagine: It was really thus that the Christ went about in Palestine at the beginning of our era in the man Jesus of Nazareth.

 

The conventional pictures of the bearded Christ are actually only creations of the fifth or sixth century, and they are really not in any way true portraits, if I may use the expression. That has been attempted here: to produce a true portrait of Christ, Who is to be at the same time the Representative of the seeking human being, the human being striving for balance.

 

You will see then in this group two figures: here the falling Lucifer, here the upward-striving Lucifer; here below, connected with Lucifer, as it were, an Ahrimanic form, and here a second Ahrimanic form. The Representative of Humanity is placed between the Ahrimanic form — the philistine, the insipid, the aridly materialistic — and the Lucifer-form — the ecstatic, the fantastic; between the Ahriman-figure — all that leads to petrifaction, to sclerosis — and the Lucifer-figure — the representation of all that leads man feverishly out beyond the limit of what his health can endure.

 

After we have placed in the center, as it were, the Gothic cathedral, which encloses no image, but either the relics of saints or even the Holy Grail — that is, something no longer directly connected with beings living on earth — then we come back again, I might say, to the idea of the building as enclosing something, but now enclosing the being of man in his struggle for balance.

 

If destiny permits it, and this building can some day be completed, he who sits within it will have directly before him, while he is looking upon the Being who gives meaning to the earth evolution, something which suggests to him to say: the Christ-Being. But this is to be felt in an artistic way. It must not be merely reasoned about speculatively as being the Christ, but it must be felt. The whole is artistically conceived, and what comes to artistic expression in the forms is the most important part. But it is nevertheless intended to suggest to the human being through feeling — I might say to the exclusion of the intellect, which is to be merely the ladder to feeling — that he is to look toward the east of the building and be able to say: “That art thou.” But now, not an abstract definition of man, for balance can be effected in innumerable ways. Not an image of a god is enclosed, for it is true for Christians also that they are to make no image of a God — not an image of a god is enclosed, but that is enclosed which has developed of the qualities of the human group-soul into the individual force-entity of each separate human being. And the working and weaving of the individual impulse is taken into account in these forms. —

 

1932-10 - In Memory of Rudolf Steiner, An Essay By Marie Steiner

In lectures during 1912 a description of the Christ figure was given to us in artistic and picturesque intensity, at a time when even the thought of the possibility of its plastic realisation had not yet been conceived. What we can now look at in a work of art, was conjured up before us by the power of the words:

 

“Yes, this outward plastic representation of the Christ — how He should be pictured outwardly is a question which has still to be solved.”

 

Many feelings will have to flow through human souls before there can be added something new to the many attempts already made in the course of the ages, an attempt which will show in some measure what the Christ is, as the supersensible Impulse which is making itself one with this earthly development. Not even the first beginnings of such a representation of the Christ are to be found in what has been accomplished up till now. For there must appear, embodied in the growing outward form, the organic forces of the impulses of Wonder, of Compassion, and of Conscience gathered there.

 

The Christ-countenance must be so living that its very expression will say: Here in this representation, all that makes man an earth-man, all that has to do with sense desire, has been overcome by the Spirit shining through — by what has spiritualised this face. There must be sublime strength in the face, brought out by causing everything that one can think of as the highest unfolding of conscience to manifest itself in the peculiar form of the chin and mouth ; a mouth, it must be — when one stands before it, when the painter or the sculptor wishes to form it — which gives one the feeling that it is not there to eat with but for the purpose of expressing all that has ever been cultivated in humanity as morality and conscience; and that the whole bony system, the teeth, and the lower jaw, give expression to the same. All this will come to expression in such a countenance. There will be so mighty a force in the form of the lower part of the face that it streams forth, renders and tears to pieces the whole remaining human body, till this in time will become a new form and thereby certain ether forces will be overcome. Thus it will be quite impossible to give to the Christ, who reveals a mouth like this a bodily form in any way similar to that of the physical man of today.

 

On the other hand, one will have to give Him eyes out of which there will speak an almighty compassion, such as alone is capable of seeing inner Being and not eyes which are there to receive impressions, but rather in order to go out, with the whole soul into the joys and sufferings of others.

 

Moreover, this Christ will have a forehead which one could not imagine as harbouring thoughts on sense impressions of earth. It will be a brow that projects somewhat over the eyes, vaulting over that part of the brain; yet, at the same time, it will not be a “thinker's brow” that ponders over what already exists, but rather Wonder will have to express itself from this brow that projects above the eyes and gently arches back over the head, thus expressing what may be called Wonder over the Mysteries of the World. That must be a head such as man cannot meet with in physical humanity.

 

Every portrayal of the Christ should really be something like the Ideal of the Christ-figure. And the feeling which aspires towards this ideal whenever in the course of evolution man struggles to achieve it — in so far as humanity strives artistically to present this Highest Ideal, through the help of Spiritual Science, must there be this feeling: You may not look to something which already exists, if you wish to portray “the Christ”; rather, you must cause to become a power, active in yourself to permeate your whole being, everything that you can achieve through spiritual absorption in the spiritual course of the world, through the three momentous impulses — Wonder, Compassion, and Conscience.

 

on this description, see also: Christ Module 19 - experiencing the Christ#1912-05-08-GA143

 

anthroposophy.eu/Representative_of_humanity

In a niche just outside the front door of All Saints Church in Maldon is a statue of Saint Cedd, who served as the Bishop of London from . It was Cedd that was called upon by Oswiu and King Sigeberht to re-convert the East saxons and strengthen Christianity in the East Saxon kingdom.. He did missionary work and made some conversions. His predecessor Mellitus had earlier been driven out by King Sigeberht. When Saint Cedd came to Essex, he founded a monastery beside the abandoned Roman fort of Othona within the old walls of the Anglo-Saxon fort Ithancester in 653, which survives as the restored chapel of St Peter-on-the-Wall, one of the oldest churches in Britain. From there, he continued the evangelisation of Essex. The old chapel is a popular attraction for pilgrims and tourists, and is the oldest Christain church building in Essex. One can still see the original Romanesque arches in two of the chapel walls.

He is depicted in sculpture here with a Crozier(ornamental shepherd staff symbolising a spiritual shelpherd who keeps their flock) in his left hand, and a bound book of scripture (symbolic of the permanent and binding importance of the Bible as Gods word) in his right hand. He is sitting upon a "Cathedra" (Bishops official seat or chair) with his name on the plinth below. The church where a Bishops Cathedra was placed became known as a cathedral.

Cedd was an Anglo-Saxon monk and bishop from Northumbria. He was an evangelist of the Middle Angles and East Saxons in England and a significant participant in the Synod of Whitby, a meeting which resolved important differences within the Church in England. He is venerated by Anglican, Roman Catholic and Orthodox Christians.

What I found interesting about this moment, is that behind the sitting figure of Cedd ( to the right of his staff) is a solid white Dove nesting upon his left shoulder. I found this to be striking and very symbolic. It reminded me of the biblical story of John the Baptist and Jesus Christ. He came to the river where John was baptising many, and asked to be baptised by John, who relectantly but humbly obeyed.... at the moment Christ arose from the water the Holy Spirit descended from heaven in the form of a dove which alit upon his shoulder. That is why I took this photo, and posted it here.

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

New King James Version (NKJV)

 

The Signs of the Times and the End of the Age

 

Now as He sat on the Mount of Olives, the disciples came to Him privately, saying, “Tell us, when will these things be? And what will be the sign of Your coming, and of the end of the age?” And Jesus answered and said to them: “Take heed that no one deceives you. For many will come in My name, saying, ‘I am the Christ,’ and will deceive many. And you will hear of wars and rumors of wars. See that you are not troubled; for all these things must come to pass, but the end is not yet. For nation will rise against nation, and kingdom against kingdom. And there will be famines, pestilences, and earthquakes in various places. All these are the beginning of sorrows. “Then they will deliver you up to tribulation and kill you, and you will be hated by all nations for My name’s sake. And then many will be offended, will betray one another, and will hate one another. Then many false prophets will rise up and deceive many. And because lawlessness will abound, the love of many will grow cold. But he who endures to the end shall be saved. And this gospel of the kingdom will be preached in all the world as a witness to all the nations, and then the end will come.

  

Romans 8:28

 

New King James Version (NKJV)

 

And we know that all things work together for good to those who love God, to those who are the called according to His purpose.