Truth or Consequences, New Mexico Police

2010 Dodge Charger PP

The National Offender Management Service event, Actions Have Consequences, was delivered to pupils at schools in Oldham, Rochdale, Salford and Bolton by a Her Majesty's Prison (HMP) officer, dog handler Paul McGovern MBE and GMP were there to support the event.

   

Prison Officer Paul McGovern MBE, from HMP Manchester, works within the Prison Community Team which engages with children in local schools to break the cycle of children being peer pressured into local crime gangs and subsequently being imprisoned when they are adults.

   

The aim of the Actions Have Consequences programme is to build bridges between local children, their teachers, local neighbourhood policing teams, school based officers and the youth offending team.

   

The programme is carried out in a fun but serious way and covers 46 subjects, some of which include the realities of knife crime, gang wars, drugs, anti-social behaviour, relationship breakdown, and the a real-life experience of being in prison.

   

Local GMP officers and pupils interact throughout the session and the pupils soon see through the police uniform and see the individual underneath, who are not only there for when they are in trouble but are also there to help them.

   

Since it began in 2010 the programme has been delivered to over one million children throughout the country with the support of the local neighbourhood teams, school based officers and the youth offending teams.

   

GMP is committed to educating young people, engaging with the community and taking part in programmes like these that are vital in helping to shaping people's future.

   

Prison Officer Paul McGovern MBE comments that: "I put a lot of energy into the day so it is quite tiring but if it stops one person from being killed or stops someone being imprisoned, the aim of the programme has worked.

   

"I do have to mention my two prison dogs G and J who also come along on the day. They always receive lots of attention but when I need a volunteer for someone to wear the sleeve - everyone goes strangely quiet.

   

"I have received positive feedback from those schools I have attended so I must be doing something right as I am always asked when I am coming back".

   

Chief Inspector Danny Atherton commented that: "We have worked with Paul and the programme for many years and find it is a valuable input for the young people of Greater Manchester.

   

“It is a powerful way to educate them as they approach adulthood, so they make the right decisions when a situation arises to keep themselves and their friends safe.

   

"I'm proud to support such an inspiring project and I'd like to thank everyone that works hard to make it happen. Sadly, these examples and situations are some people's reality, but by sharing them we hope they will make good choices in the future and speak to ourselves if they need help."

   

Deputy Mayor of Greater Manchester Bev Hughes said: “We are committed, not only to strong enforcement against violent crime, but also to trying to prevent it happening first place. Greater Manchester’s Violence Reduction Unit takes a public health approach to violence reduction; this means focusing on understanding what lies behind the problem, the root causes, on testing and evaluating interventions to find out what works best, then and delivering those interventions more widely.

   

“Interventions such as the Actions have Consequences programme help to build positive relationships between children, their teachers and the police.

   

“By working with young people, families and communities we can understand and address the reasons how and why people, particularly young people, can get drawn into violent crime. If we can turn young people away from violence at the earliest possible opportunity we can make a real difference to them and our communities."

...of spending too much time in the bathroom.

19 April 2016-2016 OECD Integrity Forum, Fighting the Hidden Tariff: Global Trade Without Corruption.

Plenary Session, Corruption and Trade: Risks, Costs, Consequences

left/right

Axel Threlfall, Editor-at-large, Reuters

Cecilia Malmström, Commissioner for Trade, EU

Pascal Lamy, former Director-General of the World Trade Organization and former CommissionerforTrade, EU

Gabriela Ramos, OECD Chief of Staff and Sherpa to the G20

Sergio Mujica, Deputy Secretary-General, World Customs Organisation

David Shark, Deputy Director-General, World Trade Organisation

Klaus Moosmayer, Chair, Business and Industry Advisory Committee Anti-Corruption Task Force and Chief Compliance Officer, Siemens

OECD, Paris, France

Photo: OECD/Michael Dean

I have been trying to get inside Temple Church for some years now. Lat time was in January when the warden assured me it would be open on Saturday, only to find after travelling up from Dover that the door was locked, despite the sign on the door saying it was due to be open.

 

Anyway, all good things come to those that wait.

 

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

 

The Temple Church was consecrated in honour of the Blessed Virgin Mary on 10 February 1185 by Heraclius, Patriarch of Jerusalem.

 

The whole Temple community had moved from an earlier site in High Holborn, considered by the 1160s to be too confined. The church was the chapel serving the London headquarters of the Knights Templar, and from them it took its name. The Templars – as the knights were popularly known – were soldier monks.

 

After the success of the First Crusade, the order was founded in Jerusalem in a building on the site of King Solomon’s temple. Their mission was to protect pilgrims travelling to and from the Holy Land, but in order to do this they needed men and money. For more details of the Templars and this early history of the Church, see The Round Church, 1185.

 

The London Temple was the Templars’ headquarters in Great Britain. The Templars’ churches were always built to a circular design to remind them of the Church of the Holy Sepulchre at Jerusalem, a round, domed building raised over the site of the sepulchre where Jesus was buried. At first, the Templars were liked and respected. St Bernard of Clairvaux became their patron and they gained many privileges from popes and much support from kings.

 

In England, King Henry II was probably present at the consecration of the church; King Henry III favoured them so much that he wished to be buried in their church. As a consequence of this wish, the choir of the church was pulled down and a far larger one built in its place, the choir which we now see. This was consecrated on Ascension Day 1240 in the presence of the king. However, after Henry died it was discovered that he had altered his will, and he was buried in Westminster Abbey.

 

On 10 February 1185 Heraclius, Patriarch of Jerusalem, processed into the Round for the church’s consecration. The King was almost certainly present. A grand church for a grand occasion; for the Round had no such quiet austerity as we see in it today. The walls and grotesque heads were painted: the walls most probably with bands and lozenges of colour. The Round was proudly modern: Heraclius entered through the Norman door to find the first free-standing Purbeck columns ever cut; above them curved in two dimensions Gothic arches rising to the drum. A chancel, some two thirds of the present chancel’s length, stretched to the east. There the Patriach’s procession will have come to rest for Mass. And there the altar stayed. What, then, – on that great day or later – was the function of the Round?

 

Its most important role was played by its shape. Jerusalem lies at the centre of all medieval maps, and was the centre of the crusaders’ world. The most sacred place in this most sacred city was the supposed site of Jesus’ own burial: the Church of the Holy Sepulchre. Here the crusaders inherited a round church. It was the goal of every pilgrim, whose protection was the Templars’ care. This was the building, of all buildings on earth, that must be defended from its enemies.

 

In every round church that the Templars built throughout Europe they recreated the sanctity of this most holy place. Among the knights who would be buried in the Round was the most powerful man of his generation: William the Marshal, Earl of Pembroke (died 1219), adviser to King John and regent to Henry III. His sons’ effigies lie around his own. The Marshal himself (who lies recumbent and still) took the Cross as an old man; his sons (drawing their swords) did not. Their figures lie frozen in stone, forever alert in defence of their father’s long-forgotten cause. Such burial was devoutly to be desired; for to be buried in the Round was to be buried ‘in’ Jerusalem.

 

The Patriarch Heraclius may well have been the most ignorant, licentious and corrupt priest ever to hold his see. Our reports of his character, however, reach us from his enemies. The great Western chronicler of the Crusades, William of Tyre, was for decades Heraclius’ opponent and rival. In 1180 William had (and had been) expected to be appointed Patriarch of Jerusalem. But the king of Jerusalem was swayed by his mother, said to be a mistress of Heraclius – who was duly appointed Patriarch. William himself was honorably reticent in the face of this reverse. His followers were less restrained. ‘Ernoul’ tells (with more indignation, it seems, than accuracy) how his hero William was excommunicated by the new patriarch, went into exile and died at the hands of Heraclius’ own doctor in Rome. William’s narrative was expanded and continued in Old French as L’Estoire d’ Eracles: its story starts with the Emperor Heraclius who recovered the True Cross in 628 – and includes a prophecy that the Cross, secured by one Heraclius, would be lost (as it was) by another.

 

Can anything redeem our Heraclius’ reputation? Far more was at stake on his visit than at first appears. He was in London as part of a larger mission:- King Baldwin IV of Jerusalem was dying. His kingdom was riven by factions and under threat from Saladin. He had drawn up in his will the rules for the succession: if his nephew, due to become the child-king Baldwin V, were to die before the age of ten, a new ruler should be chosen through the arbitration of four potentates: the Pope, the Emperor Frederick Barbarossa, the King of France and Henry II of England. Late in 1184 a deputation headed west from the Kingdom of Jerusalem: Heraclius, the Grand Master of the Templars and the Hospitallers’ Grand Prior. They visited the Pope, Frederick, Philip II Augustus – and finally Henry. The emissaries reached Reading. As credentials they brought the keys of the Tower of David and the Kingdom’s royal standard. According to some English chroniclers, they offered the Kingdom itself to Henry. The incident is hard to analyse. To plead for protection was to offer the power that would make such protection effective. Did that call for the Kingdom itself? The apparent offer of keys and standard may have been misread; for the ambassadors were reworking a performance already presented to Philip of France. (One French chronicler later derides Heraclius: he was offering the keys to any prince he met.) But the Kingdom of Jerusalem was in desperate straits; and behind the pageant may have lain hopes for the subtlest solution of all: to side-step Jerusalem’s factions; and instead to secure one – any one – of Europe’s leaders as king. How strange, to entrust any such delicate mission to the buffoonish Patriarch of myth.

 

The story offered welcome ammunition to Henry II’s enemies. Gerald of Wales, bitterly opposed to the Angevins, sees here the turning-point in Henry’s reign: the king failed to rise to this one supreme test; from then on his own and his sons’ adventures faced ruin. Gerald inherited the topos from an old story with a quite different cast. His new version gave Heraclius a starring role. The Patriarch confronted Henry, Gerald tells us, at Heraclius’ departure from Dover. Here is the king’s last chance. ‘Though all the men of my land,’ said the king, ‘were one body and spoke with one mouth, they would not dare speak to me as you have done.’ ‘Do by me,’ replied Heraclius, ‘as you did by that blessed man Thomas of Canterbury. I had rather be slain by you than by the Saracen, for you are worse than any Saracen.’ ‘I may not leave my land, for my own sons will surely rise against me in my absence.’ ‘No wonder, for from the devil they come and to the devil they shall go.’

 

Gerald’s Heraclius was no coward, and no fool. ‘That blessed man Thomas of Canterbury’ had been killed in 1170. The penance of the four knights who killed him was to serve with the Templars for fourteen years. Henry himself promised to pay for two hundred Templar knights for a year; and in 1172 he undertook to take the Cross himself. Thirteen years had passed. Henry was growing old. Such a vow, undischarged, threatened his immortal soul – as both Heraclius and he knew well. Henry must tread carefully. He summoned a Great Council at Clerkenwell. Surrounded by his advisers, he gave Heraclius his answer: ‘for the good of his realm and the salvation of his own soul’ he declared that he must stay in England. He would provide money instead. Heraclius was unimpressed: ‘We seek a man even without money – but not money without a man.’ Virum appetimus qui pecunia indigeat, non pecuniam quae viro.

 

***

 

Our church’s consecration was deep within the diplomatic labyrinth at whose centre lay the future of Jerusalem. The Templars had come a long way. The Order was founded in 1118-9 by a knight of Champagne, Hugh of Payns, who led a group of his fellow-knights in vows of poverty, chastity and obedience. At their foundation they were deeply suspect: it was unnatural for one man to be soldier and monk together. A handful of such ambivalent knights had little chance, it might seem, of attracting support. In the twelfth century the significance of their seal was well known: Matthew Paris, monk of St Albans, explained that the two knights on one horse recalled their lack of horses and poor beginnings.

 

In Champagne and Burgundy lay the Order’s origin and the seed of its success. Over the course of fifty years a star-burst of spiritual energy illumined all of Europe; and its centre lay in a small area of eastern France. Hugh’s town of Payns was near Troyes, the local city of one Robert, who became a Cluniac monk. In 1075 this Robert, already an abbot, left his monastery with a group of hermits to found a new house: at Molesme. The list of those influenced by Robert and his houses reads as a roll-call of Europe’s spiritual leaders. There was Bruno, who lived briefly as a hermit near Molesme before establishing the most ascetic of all houses, La Grande Chartreuse; Bruno had already been master to Odo, who later became Pope Urban II and preached the First Crusade. When Robert moved again, in search of a yet more rigorous life, he took with him Stephen Harding, later Archbishop of Canterbury. They set up their house at Citeaux.

 

Harding would in time become abbot. The rigour of the house made it few friends among the local nobility. Its future was uncertain. And then arrived as remarkable a monk as any of that remarkable age: Bernard. He spent three years at Citeaux before a local lord, Hugh Count of Champagne, gave him in 1116 an area of inhospitable woodland well to the north, back in the neighbourhood of Payns. It was known as the Valley of Gall. Bernard gave it a new name: Clairvaux, the Valley of Light.

 

Bernard secured single-handed the Templars’ future. Hugh of Champagne became a Templar; so did Bernard’s own uncle Andrew. The Templars’ constitution, the Rule, shows all the marks of Bernard’s influence; at the Council of Troyes in 1129 he spoke up for the Order; and, most influential support of all, at the repeated request of Hugh of Payns Bernard wrote In Praise of the New Knighthood.

 

The New Knighthood’s first half is well-known: in a text advising and praising and warning the knights, Bernard speaks as well to their critics. He is under no illusions: Europe was as glad to be rid of these warring knights as the Holy Land (in Bernard’s eyes) was glad to see them; their army could be a force for good – or for lawless violence. In the tract’s second half Bernard turns to the Holy Land and to Jerusalem itself. Here was his sharpest spur to the pilgrims’ understanding and to the Templars’ own.

Bernard reads Jerusalem itself like a book. In the tradition of Cassian’s fourfold reading of scripture, dominant throughout the Middle Ages, Bernard saw beneath the appearance of the city’s famous sites a far more important spiritual meaning. The land itself invited such a reading:- Bethlehem, ‘house of bread’, was the town where the living bread was first manifest. The ox and ass ate their food at the manger; we must discern there, by contrast, our spiritual food, and not chomp vainly at the Word’s ‘literal’ nourishment. Next, Nazareth, meaning ‘flower’: Bernard reminds us of those who were misled by the odour of flowers into missing the fruit.

And so to Jerusalem itself:- To descend from the Order’s headquarters on the Temple Mount across the Valley of Josaphat and up the Mount of Olives opposite, – this was itself an allegory for the dread of God’s judgement and our joy at receiving his mercy. The House of Martha, Mary and Lazarus offers a moral: the virtue of obedience and the fruits of penance. And above all: in the Holy Sepulchre itself the knight should be raised up to thoughts of Christ’s death and of the freedom from death that it had won for his people: ‘The death of Christ is the death of my death.’ Bernard draws on Paul’s famous account of baptism, and finds in the pilgrims’ weariness the process of their necessary ‘dying’: ‘For we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we should walk in newness of life. For if we have been planted together in the likeness of his death, so we shall be also in the likeness of the resurrection. How sweet it is for pilgrims after the great weariness of a long journey, after so many dangers of land and sea, there to rest at last where they know their Lord has rested!’

 

***

 

The Temple Church is now famous as a backwater, a welcome place of calm. The tides of history have shifted; their currents have dug deep channels far from our own Round Church. It was not always so. The effigies of the Marshal and his sons bear telling witness to the Temple’s role in the court’s and nation’s life. In the 16th century the chronicler Stow described the Templars’ seal. The story of their poverty was by then forgotten or incredible. Stow saw rather an emblem of Charity: a knight on horseback takes a fellow Christian out of danger. Perhaps there had always been romance in that picture of knights sharing a horse. The Order’s Rule, after all, allowed each knight three horses and a squire.

 

The effigies testify as well to a rich ‘reading’ of Jerusalem. The New Knighthood is double-edged: all that Bernard writes in praise of Jerusalem frees the faithful from the need to travel there: it is the spiritual sense of the city that matters – a sense as readily grasped at home. To find ‘Jerusalem’, as Bernard would have it, the faithful should rather come to Clairvaux, and not just on pilgrimage. So resolute a reading was hard to sustain. Bernard might detach Jerusalem from the benefits its contemplation could bring; but those around him sooner attached Jerusalem’s blessings to such places as fostered its contemplation.

 

Our effigies seem to us frozen in stone, their figures forever poised to fight battles that ended 700 years ago. But these knights’ eyes are open. They are all portrayed in their early thirties, the age at which Christ died and at which the dead will rise on his return. The effigies are not memorials of what has long since been and gone; they speak of what is yet to come, of these once and future knights who are poised to hear Christ’s summons and to spring again to war.

 

By 1145 the Templars themselves wore white robes with red crosses. White was linked with more than purity. In the Book of Revelation the martyrs of Christ, clad in white robes washed in the blood of the Lamb (Rev 7.14), are those who will be called to life at the ‘first resurrection’. For a millennium they will reign with Christ; at its end Satan will lead all the nations of the earth against ‘the beloved city’ (Rev 20.9). The final battle will be in Jerusalem. Our knights have good reason to draw their swords. For buried in ‘Jerusalem’, in Jerusalem they shall rise to join the Templars in the martyrs’ white and red. Here in the Temple, in our replica of the Sepulchre itself, the knights are waiting for their call to life, to arms and to the last, climactic defence of their most sacred place on earth.

 

Little more than fifty years after the consecration of the chancel, the Templars fell on evil times. The Holy Land was recaptured by the Saracens and so their work came to an end. The wealth they had accumulated made them the target of envious enemies, and in 1307, at the instigation of Philip IV King of France, the Order was abolished by the Pope. The papal decree was obeyed in England and King Edward II took control of the London Temple.

 

Eventually he gave it to the Order of St John – the Knights Hospitaller – who had always worked with the Templars. At the time, the lawyers were looking for a home in London in order to attend the royal courts in Westminster. So the Temple was rented to two colleges of lawyers, who came to be identified as the Inner and Middle Temples. The two colleges shared the use of the church. In this way, the Temple Church became the “college chapel” of those two societies and continues to be maintained by them to the present day.

 

It was King Henry VIII who brought about the next change in the church. In 1540 he abolished the Hospitallers and confiscated their property. The Temple again belonged to the Crown. It was then for Henry to provide a priest for the church, to whom he gave the title ‘Master of the Temple’.

 

‘Be of good comfort,’ said Hooker: ‘we have to do with a merciful God, rather to make the best of that little which we hold well; and not with a captious sophister who gathers the worst out of every thing in which we err.’

 

Richard Hooker was appointed Master of the Temple in 1585. England was in alarm. The threat from Catholic Europe had revived: there had been rebellion against the Queen and Settlement in 1569; in 1570 the Pope had excommunicated Elizabeth and declared her subjects free from their allegiance; Mary Queen of Scots was linked with ever further conspiracy against her cousin; and the danger of Spanish invasion was growing.

 

England’s radical reformers were convinced: England’s only hope of spiritual and political safety lay in the example of Calvin’s godly state, Geneva. The ‘head and neck’ of English Calvinism were Thomas Cartwright and Walter Travers. Since 1581 Travers had been the Reader (lecturer) of the Temple. In 1584 the Privy Council ordered the Inner Temple to continue his stipend ‘for his public labours and pains taken against the common adversaries, impugners of the state and the authorities under her Majesty’s gracious government.’ Hooker and Travers were to be colleagues. Their differences soon became clear. To recover the purity of the primitive church, Travers would be rid of all that intervened and would forge the English church anew. Hooker was steeped in classical and medieval thought; saw the roots of his own (and Travers’) understanding in Aristotle, Augustine, Thomas and Calvin himself; and acknowledged –even valued – the differences to which such a rich tradition could give rise: ‘Be it that Peter has one interpretation, and Apollos has another; that Paul is of this mind, and Barnabas of that. If this offend you, the fault is yours.’ As then, so now: ‘Carry peaceable minds, and you may have comfort by this variety.’ When Hooker carefully and bravely explored the possibility that individual Catholics could be saved, the scene was set for the most famous public debated of the day. ‘Surely I must confess unto you,’ said Hooker: ‘if it be an error to think that God may be merciful to save men, even when they err, my greatest comfort is my error. Were it not for the love I bear unto this “error”, I would neither wish to speak nor to live.’

 

We hear of Hooker’s preaching at the Temple: ‘his voice was low, stature little, gesture none at all, standing stone still in the pulpit, as if the posture of his body were the emblem of his mind, immovable in his opinions. Where his eye was left fixed at the beginning, it was found fixed at the end of the sermon. …The doctrine he delivered had nothing but itself to garnish it.’ Travers, by contrast, was a natural orator, and he was himself a distinguished thinker; he later became the first Provost of Trinity College, Dublin. Hooker held his ground and deepened his reasoning. It was to disclose and offer the comfort of faith that he spoke: ‘Have the sons of God a father careless whether they sink or swim?’ The Temple sermons that survive stress the simple conditions of salvation: ‘Infidelity, extreme despair, hatred of God and all godliness, obduration in sin – cannot stand where there is the least spark of faith, hope, love or sanctity; even as cold in the lowest degree cannot be where heat in the first degree is found.’

 

The debate was brought to an end by Archbishop Whitgift: In March 1586 Travers was forbidden to preach. In 1591 Hooker resigned, and was appointed vicar of Bishopsbourne in Kent. Here he developed his thought in his masterpiece, Ecclesiastical Polity, the foundational – and still, perhaps, the most important – exploration of doctrine in the history of the Anglican church. Hooker elaborated a theory of law based on the ‘absolute’ fundamental of natural law: this is the expression of God’s supreme reason and governs all civil and ecclesiastical polity. ‘Of Law there can be no less acknowledged, than that her seat is the bosom of God, her voice the harmony of the world: all things in heaven and earth do her homage, the very least as feeling her care, and the greatest as not exempted from her power: both angels and men and creatures of what condition soever, though each in different sort and manner, yet all with uniform consent, admiring her as the mother of their peace and joy.’ Hooker’s influence has pervaded English thought ever since. He was admired by Laud and by the puritan Baxter, extolled by the Restoration bishops, and brought once more to prominence by Keble and the Oxford Movement; he has now been rediscovered (in a recent monograph by Richard Atkinson) within the modern evangelical church. His reach has extended far beyond theologians. Ecclesiastical Polity was the starting-point for Clarendon’s History and seminal for Locke’s philosophy; its self-critical balance touched Andrew Marvell; and Samuel Pepys read it at the recommendation of a friend who declared it ‘the best book, and the only one that made him a Christian.’

   

THE BATTLE OF THE PULPIT

In 1585 the Master of the Temple, Richard Alvey, died. His deputy – the Reader, Walter Travers – expected to be promoted, but Queen Elizabeth I and her advisers regarded his views as too Calvinist, and Travers was passed over.

 

Instead a new Master, Richard Hooker, was appointed from Exeter College, Oxford. On Hooker’s arrival, a unique situation arose. Each Sunday morning he would preach his sermon; each Sunday afternoon Travers would contradict him. People came to call it the Battle of the Pulpit, saying mischievously that Canterbury was preached in the morning and Geneva in the afternoon. There was a lasting result of all this: Hooker published his teaching as Ecclesiastical Polity and came to be recognised as the founding father of Anglican theology.

 

By the end of the 16th century, the two Inns of Court had erected many fine buildings at the Temple, yet their position as tenants was not a secure one. In order to protect what they had built up from any future whims of the Crown, they petitioned King James I for a more satisfactory arrangement. On 13 August 1608 the King granted the two Inns a Royal Charter giving them use of the Temple in perpetuity.

 

One condition of this was that the Inns must maintain the church. The Temple and the church are still governed by that charter. In gratitude, the Inns gave King James a fine gold cup. Some years later, in the Civil war, his son Charles I needed funds to keep his army in the field. The cup was sold in Holland and has never been traced.

 

In February 1683, the treasurers of the two Societies of the Temple commissioned an organ from each of the two leading organ builders of the time, Bernhard Smith (1630-1708) and Renatus Harris (1652-1708). The organs were to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument in the church instead of in one of the halls. It was set on a screen which divided the round from the quire. This advantage was short-lived as Harris sought and obtained approval to place his organ at the opposite end of the church, to the south side of the communion table. It is thought that both organs were completed by May 1684.

 

Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument became more.

 

In 1841 the church was again restored, by Smirke and Burton, the walls and ceiling being decorated in the high Victorian Gothic style. The object of this was to bring the church back to its original appearance, for it would have been brightly decorated like this when first built. Nothing of the work remains, however, for it was destroyed by fire bombs exactly a century after its completion. After the Victorian restoration, a choir of men and boys was introduced for the first time. The first organist and choirmaster was Dr Edward John Hopkins who remained in this post for over 50 years, 1843-96, establishing the Temple Church choir as one of the finest in London, a city of fine choirs. This tradition of high-quality music was maintained by Hopkins’ well-known successor, Henry Walford Davies, who stayed until 1923.

 

In 1923 Dr GT Thalben-Ball was appointed organist and choirmaster. This musician, later world- renowned, was to serve the church even longer than his predecessor, John Hopkins, retiring in 1982 after 59 years in office. One reason for his fame was the record made in 1927 of Mendelssohn’s Hear My Prayer by Thalben-Ball and the boy soloist Ernest Lough. The recording became world-famous and brought visitors to the church from all parts of the globe.

 

In 1941 on the night of 10 May, when Nazi air raids on London were at their height, the church was badly damaged by incendiary bombs. The roof of the round church burned first and the wind soon spread the blaze to the nave and choir. The organ was completely destroyed, together with all the wood in the church. Restoration took a long time to complete. The choir, containing a new organ given by Lord Glentannar, was the first area of the church to be rededicated in March 1954. By a stroke of good fortune the architects, Walter and Emil Godfrey, were able to use the reredos designed by Wren for his 17th-century restoration. Removed by Smirke and Burton in 1841, it had spent over a century in the Bowes Museum, County Durham, and was now re-installed in its original position. The round church was rededicated in November 1958.

 

Probably the most notable feature of today’s church is the east window. This was a gift from the Glaziers’ Company in 1954 to replace that destroyed in the war. It was designed by Carl Edwards and illustrates Jesus’ connection with the Temple at Jerusalem. In one panel we see him talking with the learned teachers there, in another driving out the money-changers. The window also depicts some of the personalities associated with Temple Church over the centuries, including Henry II, Henry III and several of the medieval Masters of the Temple.

 

www.templechurch.com/history-2/timeline/

A personal consequence of BREXIT?

Haus Lange in Krefeld is an address of pilgrimage for architectural studies and those people interested in Ludwig Mies von der Rohe’s style setting early work. Splendid and ageless architecture and garden environment.

Most recently this building became a new home for BREXIT refugee family that felt no longer welcome in England. Has it really become ‘a home’? If you watch the series of photos I took you might feel shocked as I was when I first lingered thru the stylish rooms. The car was still packed. The door was open… I entered as invited, saw valuable furniture, most goods still in boxes, piles of books. The pantechnicon obviously just left. Also very obvious: The landlady, mother and wife also left and will stay absent: ‘You will never see me again’ written on the mirror. That wasn’t a good sign. I felt sorry.

Then to my utmost horror I found the host floating dead in the pool… A husband, a father: dead! And nobody seems to care!

Even more desperate the boy hiding in the dining room – his distressed body language seems to ask: Can this my home? Where is my mother? Who is my mother? Where are my roots?

You may form your own opinion on this photo story – but being uprooted is the worst prerequisite for a new and positive start. Reasons are manifold. But if it comes to politics as a cause: Think before you vote, choose well whom you elect. It might affect your families’ life, too.

 

The artists Michael Elgreen and Ingar Dragset make us think with their fictive story and installation of an unhappy start in Haus Lange, Krefeld.

I as a photographer tried to transfer this mood and the atmosphre into 17 picture series ‘Die Zugezogenen’.

 

Krefeld, February 2017

Thomas Kopf

 

Thean Hou Temple is amongst the largest Chinese temples in South-East Asia. This grand temple has elements of Buddhism, Taoism and Confucianism and indicates a great combination of contemporary architectural techniques and authentic traditional designs.

This is basically what happens if you pour yourself a cup of coffee from the brewer and it is the last drops left and "forget" to brew more.

To view more of my images, of Dinton Pastures Country Park, please click "here" ! Click any image to view large!

  

Runnymede is a water-meadow alongside the River Thames in the English county of Surrey, and just over 20 miles (32 km) west of central London. It is notable for its association with the sealing of Magna Carta, and as a consequence is, with its adjoining hillside, the site of memorials. Runnymede Borough is named after the area, Runnymede being at its northernmost point. The name Runnymede refers to land in public and National Trust ownership in the Thames flood plain south-west of the river between Old Windsor and Egham. The area includes (to the west of A308 road) the Long Mede and Runnymede, which together with Coopers Hill Slopes is managed by the National Trust. There is also a narrower strip of land, east of the road and west of the river, known as the Yard Mede. The landscape of Runnymede is characterised as "Thames Basin Lowland", urban fringe. It is a gently undulating vale of small fields interspersed by woods, shaws, ponds, meadows, and heath. The National Trust area is a Site of Nature Conservation Interest (SNCI) which contains a Site of Special Scientific Interest. Both sites are overseen by Runnymede Borough Council. Long Mede is a meadow north of the ancient "mede" (meadow) of Runnymede towards Old Windsor and has been used for centuries to provide good-quality hay from the alluvial pasture. Runnymede itself lies towards Egham. It is likely that Runnymede proper was the site of the sealing of Magna Carta, although the Magna Carta Memorial stands on Long Mede, and the event is also popularly associated with Magna Carta Island, on the opposite bank of the Thames. Near the Island, on the north-east flood plain, in parkland on the eastern bank of the river, are Ankerwycke and the ruins of the 12th century Priory of St Mary's. The Thames has changed course here occasionally, and these areas may once have been an integral part of Runnymede. Both were acquired by the National Trust in 1998. Runnymede's historical significance has been heavily influenced by its proximity to the Roman Road river crossing at nearby Staines-upon-Thames. The name Runnymede may be derived from the Anglo-Saxon runieg (regular meeting) and mede (mead or meadow), describing a place in the meadows used to hold regular meetings. The Witan, Witenagemot or Council of the Anglo-Saxon Kings of the 7th to 11th centuries was held from time to time at Runnymede during the reign of Alfred the Great. The Council met usually in the open air. This political organ was transformed in succeeding years, influencing the creation of England's 13th century parliament. The water-meadow at Runnymede is the most likely location at which, in 1215, King John sealed Magna Carta. The charter indicates Runnymede by name as "Ronimed. inter Windlesoram et Stanes" (between Windsor and Staines). Magna Carta affected common and constitutional law as well as political representation also affecting the development of parliament. Runnymede's association with ideals of democracy, limitation of power, equality and freedom under law has attracted placement there of monuments and commemorative symbols. The last fatal duel in England took place in 1852, on Priest Hill, a continuation of Cooper's Hill by Windsor Great Park. The National Trust land was donated in 1929 by Cara Rogers Broughton and her two sons. The American-born widow of Urban Hanlon Broughton, she was permitted by letter from George V to join her son's new peerage in tribute to her husband and this gift and be officially styled Lady Fairhaven. The gift was given in memory of Urban Broughton. At the time the New Bedford Standard-Times commented "It must be a source of gratification to all Americans, and especially to us here and in Fairhaven, that the presentation of this historic spot as public ground has been brought about by an American woman, an appropriate enough circumstance considering that the great charter underlies the USA's conception of government and human rights." The British memorial for U.S. President John F. Kennedy was jointly dedicated on 14 May 1965, by Queen Elizabeth II and Jacqueline Kennedy, prior to a reception for the Kennedy family at Windsor Castle. The memorial consists of a garden and Portland stone memorial tablet inscribed with the famous quote from his Inaugural Address:- “Let every Nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend or oppose any foe, in order to assure the survival and success of liberty.” Visitors reach the memorial by treading a steep path of irregular granite steps, intended to symbolise a pilgrimage. There are 50 steps in total. Each step is different from all others, with the entire flight made from 60,000 hand-cut granite setts. Landscape architect Geoffrey Jellicoe designed the garden; sculptor Alan Collins designed and carved the stone inscription. The area of ground on which the memorial is situated was given as a gift to the United States of America by the people of Britain. (Though property ownership was transferred to the federal government of the United States, the area remains under the sovereignty of the United Kingdom.) It is maintained by the Kennedy Memorial Trust, which also sponsors educational scholarships for British students to attend university in the United States. In 1968 the 7-ton stone was damaged by a bomb during a time of anti-Vietnam war demonstrations; it was later repaired by the sculptor Situated in a grassed enclosure, on the lower slopes of Cooper's Hill, this memorial is of a domed classical style monopteros, containing a pillar of English granite on which is inscribed "To commemorate Magna Carta, symbol of Freedom Under Law". The memorial was created by the American Bar Association (ABA) to a design by Sir Edward Maufe R.A., and was unveiled on 18 July 1957 at a ceremony attended by American and English lawyers. Since 1957 representatives of the ABA have visited and rededicated the Memorial, renewing pledges to the Great Charter. In 1971 and 1985 commemorative stones were placed on the Memorial plinth. In July 2000 the ABA came:- “ to celebrate Magna Carta, foundation of the rule of law for ages past and for the new millennium. ” In 2007, on its 50th anniversary, the ABA again visited Runnymede. During its convention it installed as President Charles Rhyne, who devised Law Day, which in the USA represents an annual reaffirmation of faith in the forces of law for peace. In 2008 floodlights were installed to light the memorial at night. In 2015, in anticipation of the 800th anniversary of the sealing of Magna Carta, the two wooden benches at the memorial were replaced by stone benches. On 15 June, the anniversary day, the ABA, accompanied by US Attorney General Loretta Lynch, rededicated the memorial in a ceremony led by HRH The Princess Royal in the presence of Her Majesty the Queen and other members of the Royal family. The Magna Carta Memorial is administered by the Magna Carta Trust, which is chaired by the Master of the Rolls.

 

Extracted from "Wikipedia, the free encyclopaedia

  

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

Following the end of the Second World War, Poland was politically dominated by the neighboring Soviet Union; as a consequence, the Polish aviation industry underwent vast changes at the behest of the Soviets. While the nation's design offices had been liquidated, some former members had joined Poland's Aviation Institute (IL) and performed some limited work on various original projects, even though such efforts were initially officially discouraged. As such, it was at IL that the effort to design would become the first jet aircraft to be developed in Poland originated; however, during the late 1950s, responsibility for the design work on the program was transferred to aircraft manufacturer PZL-Mielec at an early stage in order that IL could resume its primary mission of scientific and technological research. Much of the design work on the program was produced in response to the specified needs of a requirement issued by the Polish Air Force for a capable jet-propelled trainer aircraft, which was seeking a replacement for the piston-engine PZL TS-8 Bies at the time.

 

Polish government officials came to openly regard the project as being of considerable importance to the nation's aviation industry, thus vigorous efforts were made to support the development of the TS-11. The main designer was Polish aeronautical engineer Tadeusz Sołtyk; his initials was the source for part of the type's official designation TS-11. Early on, it was decided to adopt a foreign-sourced turbojet engine to power the aircraft. Quickly, the British Armstrong Siddeley Viper had emerged as the company's favored option; however, reportedly, negotiations for its acquisition eventually broken down; accordingly, work on the project was delayed until a suitable domestically-built powerplant had reached an advanced stage of development.

 

On 5 February 1960, the first prototype conducted its maiden flight, powered by an imported Viper 8 engine, capable of producing up to 7.80 kN (1,750 lbf) of thrust. On 11 September 1960, the aircraft's existence was publicly revealed during an aerial display held over Lodz. The next pair of prototypes, which performed their first flights during March and July 1961 respectively, were instead powered by a Polish copy of the Viper engine, designated as the WSK HO-10. The flight test program that the three prototypes were subjected to had both demonstrated the capabilities of the new aircraft and its suitability for satisfying the Polish Air Force's stated requirements for a trainer jet; as such, it was soon accepted by the Polish Air Force.

 

During 1963, the first production model of the type, designated as the TS-11 Iskra (Spark) bis A, commenced delivery to the service. From about 1966, new-build aircraft were furnished with a newer Polish-designed turbojet engine, designated as the WSK SO-1, which was capable of producing up to 9.80 kN (2,200 lbf) of thrust and reportedly gave the TS-11 a top speed of 497 mph. From 1969 onwards, the improved WSK SO-3 engine became available, offering considerably longer times between overhauls; this engine was later improved into the WSK SO-3W, which was able to generate 10.80 kN (2,425 lbf) of thrust.

 

During the 1960s, the Iskra competed to be selected as the standard jet trainer for the Warsaw Pact, the Soviet Union had given Poland a promise to support its aviation industry and to favor the procurement of suitable aircraft for this purpose from Polish manufacturers. However, the Iskra was not selected for this role, it had lost out to the Czechoslovak Aero L-29 “Delfín”, another newly-designed jet-propelled trainer aircraft. Largely as a result of this decision, Poland became the only Warsaw Pact member to adopt the Iskra while most others adopting the rival Delfin instead, and foreign sales to other countries were highly limited.

 

During 1975, an initial batch of 50 Iskra bis D trainer aircraft were exported to India, and Hindustan Aeronautics Limited acquired license production rights for the aircraft, which became domestically known as the HAL HJT-18 "Dawon". Beyond the basic trainer variant Dawon T.1, India also adapted projected versions of the TS-11 that had never gone into production in Poland, e. g. the Iskra BR 200, locally known as the Dawon GR.2.

 

This variant was a single-seated light attack and reconnaissance aircraft, which used the two-seater airframe but had the rear cockpit faired over. In order to expand the type's performance and ordnance, HAL improved the original design and mounted a more powerful Rolls Royce Viper turbojet with an increased airflow. Wingtip tanks were added, improving range and loiter time, and the cockpit received kevlar armor against small caliber arms for low altitude operations. Instead of the trainer version's optional single 23mm cannon in the nose section the additional space through the empty instructor's seat was used for a pair of 30mm Aden cannon in the lower fuselage flanks and its ammunition, as well as for additional navigation and communication avionics.

 

The Indian Air Force procured 64 of these light aircraft from 1978 onwards, which partly replaced the outdated HAL HF-24 "Marut" fleet. These machines even saw hot combat action in 1984, when India launched Operation Meghdoot to capture the Siachen Glacier in the contested Kashmir region.

  

General characteristics:

Crew: One

Length: 11.15 m (36 ft 7 in)

Wingspan (incl. tip tanks): 11.01 m (36 ft 1 in)

Height: 3.50 m (11 ft 5½ in)

Wing area: 17.5 m² (188 ft²)

Empty weight: 2,760 kg (6,080 lb)

Loaded weight: 4,234 kg (9,325 lb)

Max. takeoff weight: 4,540 kg (10,000 lb)

Powerplant:

1 × Rolls-Royce Viper turbojet, rated at 12.2 kN (2,700 lbf)

 

Performance:

Maximum speed: 760 km/h (419 knots, 472 mph) at 5,000 m (16,400 ft)

Cruise speed: 600 km/h (324 knots, 373 mph)

Stall speed: 140 km/h (92 knots, 106 mph) (power off, flaps down)

Range: 1,500 km (828 nmi, 931 mi)

Service ceiling: 12,000 m (39,300 ft)

Rate of climb: 16.8 m/s (3,300 ft/min)

 

Armament:

2x 30 mm Aden cannon with 120 RPG in the lower nose

4 underwing pylons, up to 1.200 kg (2.640 lb) of bombs, unguided rocket pods or gun packs

  

The kit and its assembly:

I have already butchered several of these former Intech kits from Poland, but never built one as an Iskra. Since the kit comes with optional parts to build the planned Iskra 200 BR single-seater, I gave the kit a try - and had the idea to create an "Indian Tiger" of it, as a part of a bigger plan for a future build project (see below).

 

Building the Mistercraft TS-11 is not a pleasant experience, though. The kit comes cheap, and that's what you get. While it comes with some nice features like an engine dummy, two optional canopies and ordnance loads, the whole thing tends to be crude. There's flash, gaps, a surface finish that partly looks as if the molds had been sand-blasted, mediocre if not poor fit, and the clear parts do not deserve this description – they are utterly streaky. You can certainly make something out of it with lots of effort, but it's IMHO not a good basis for an ambitious build.

 

The biggest issue I had were the parts for the single seat cockpit. There are no locator pins, and when you manage to put the canopy onto the fuselage there remains a considerable hole in the spine where the two-seater canopy would be attached. As a result, lots of PSR was necessary around the optional parts. I also scratched a rear bulkhead for the cockpit (which normally would remain empty and “open”) and added some equipment/boxes behind the pilot's seat. Messy affair.

 

Even though I’d have loved to replace the main wheels (the OOB parts had sinkholes and poorly molded details) I stuck with them because of the complicated cover arrangement, trying to cover the worst flaws under other parts. The jet exhaust was replaced, too, since I saved the engine dummy for the spares box.

 

On the wing tips, the tips were slightly trimmed and I added tanks from an 1:144 Tornado (Dragon) - a small detail that lets the Iskra appear a bit beafier than it actually is. For the same reason I omitted the single cannon in the nose with its characteristic bump, and replaced it with two guns: leftover parts from KP MiG-19 kits, plus a pair of differently shaped, smaller fairings alongside the lower flanks.

 

The ordnance comes from the scrap box, since I wanted a little more muscle than the OOB options. I went for a pair of unguided missile launchers (from a Kangnam Yak-38) and a pair of Soviet iron bombs (KP Su-25).

  

Painting and markings:

Well, the real motivation behind this build is that I used this kit as a proof-of-concept test for a planned build of the Indian Air Force's famous MiG-21 "C 992" of No. 1 Squadron that bore a striking tiger stripe scheme – but, unfortunately, there's no conclusive color picture of the aircraft, and painting suggestions remain contradictive, if not speculative. Some profiles show the aircraft with a grey of silver fuselage underside, while some have the tiger stripes wrapped around the fuselage, or not. Some have the upper camouflage wrapped around the whole fuselage, so that only the wings’ undersides remain in a light color. Some sources also claim that no darker, basic tone had been applied at all to the upper sides, and that the stripes had been directly painted on the bare aluminum surface of the Fishbed.

The worst, color-wise thing I found for this specific aircraft were in the painting instructions of the Fujimi kit: opaque FS 34227 as basic color seems to be totally off to me... But you also find suggestions of a yellowish sand tone, mid-stone, even some greenish slate grey, whatever. Fascinating subject!

 

From what I learned about the aircraft from various sources, the scheme looks like a kind of translucent/thin layer of olive drab/greenish earth or khaki tone over bare metal on all upper surfaces and wrapped around the fuselage – very light, if there was any paint at all. Alternatively, the bare metal must have been very weathered and dull, since pictures of C992 reveal no metallic shine at all.

 

On top of that, the tiger stripes (most probably in black, but there are suggestions of dark brown or green, too…) were applied manually, apparently by at least three painters who were probably working at the same time on different sections of the Indian Fishbed. Since I have the build of this aircraft on my agenda, some day, and a plan to re-create the special paint finish, this Iskra single seater was used as a test bed.

 

External painting started with an overall coat of acrylic aluminum (Revell 99), with some panels on the wings in grey (a protective lacquer, frequently applied on real-life Iskras). Then came a coat of highly thinned FS 34087 (Olive Drab) from Modelmaster, mixed with a little of Humbrol 72 (Khaki Drill) and applied with a soft, flat brush, leaving out areas where later the decals would be placed.

 

Once dry, the camouflaged areas received a wet sanding treatment, so that the edges would become bare metal again, and, here and there, the impression of flaked/worn paint was created.

 

Next came the tiger stripes. I somewhat wanted to create the three-different-painters look of C992, and so I not only used three different brushes for this task, I also used three different shades of black (acrylic “Flat Black”, "Tar Black" and “Anthracite” from Revell). Again, once dry, light sanding created a flaked/worn look.

 

The wings' undersides were left in aluminum, as well as the fuselage. This differs from the C992 benchmark, but I found the Iskra’s low stance to be more conclusive with an all NMF underside.

 

Cockpit and landing gear interior became medium grey (FS 36231). In a wake of Soviet-ism I painted the wheel discs in bright green, as a small color contrast to the otherwise rather murky aircraft.

 

The markings are a mix of IAF roundels for an early MiG-21 from a Begemot sheet, while the tactical code was taken from the Mistercraft OOB sheet. The yellow 10 Squadron badge was created with PC software and printed on white decal sheet – another, nice color highlight.

  

It looks harmless, but building the Mistercraft Iskra was a real PITA - now I know why I formerly only butchered this kit for donor parts... However, with the little modifications I made and some different ordnance the light aircraft sells its "attack/recce" role well, and the tiger livery looks pretty unique and ...Indian. And, once more, the beauty pics reveal that this paint scheme, while looking primarily decorative, is actually quite effective over typical northern Indian landscapes. C 992 can come! :D

Running gets you nowhere

Further into a pit of consequence

Face your fears and they will seem shallow

The sun will shine and your fears will fade

All you need is courage

Courage will carry you home

 

Day two hundred and fifty

“Happiness is the consequence of personal effort. You fight for it, strive for it, insist upon it, and sometimes even travel around the world looking for it. You have to participate relentlessly in the manifestations of your own blessings. And once you have achieved a state of happiness, you must never become lax about maintaining it. You must make a mighty effort to keep swimming upward into that happiness forever, to stay afloat on top of it.” - Elizabeth Gilbert

Also titled The Price of Freedom, Operation Daybreak is a retelling of the terrible consequences attending the assassination of Nazi-occupation leader Richard Heydrich. When Heydrich puts all of Czechoslovakia under his thumb, a group of Czech expatriates parachute into their homeland to kill the man known as "The Hangman." They succeed, and in retaliation the Nazis wipe the tiny Czech village of Lidice off the map, killing its male residents and carting off its women and children to concentration camps. For the purposes of the plot, assassins Timothy Bottoms and Martin Shaw survive the massacre, albeit only briefly. The Heydrich/Lidice tragedy was previously dramatized in two wartime films, Hangmen Also Die (1943) and Hitler's Madman (1943). Operation Daybreak was adapted from Seven Men at Daybreak, a novel by Alan Burgess. ~ Hal Erickson, Rovi

Insertion[edit]

     

Jozef Gabčík

    

Jan Kubiš

Jozef Gabčík and Jan Kubiš were airlifted along with seven soldiers from Czechoslovakia’s army-in-exile in the United Kingdom and two other groups named Silver A and Silver B (who had different missions) by a Royal Air Force Halifax of No. 138 Squadron into Czechoslovakia at 10 pm on 28 December 1941. Gabčík and Kubiš landed near Nehvizdy east of Prague; although the plan was to land near Pilsen, the pilots had problems with orientation.[9] The soldiers then moved to Pilsen to contact their allies, and from there on to Prague, where the attack was planned.

 

In Prague, they contacted several families and anti-Nazi organisations who helped them during the preparations for the targeted kill.[10] Gabčík and Kubiš initially planned to kill Heydrich on a train, but after examination of the logistics, they realised that this was not possible. The second plan was to kill him on the road in the forest on the way from Heydrich’s seat to Prague. They planned to pull a cable across the road that would stop Heydrich’s car but, after waiting several hours, their commander, Lt. Adolf Opálka (from the group Out Distance), came to bring them back to Prague. The third plan was to kill Heydrich in Prague.

 

The attack in Prague[edit]

     

Another of Heydrich's Mercedes 320 Convertible B cars, similar to the one in which he was mortally wounded (currently in the Military History Museum in Prague)

On 27 May 1942, at 10:30, Heydrich proceeded on his daily commute from his home in Panenské Břežany to Prague Castle. Gabčík and Kubiš waited at the tram stop at a tight curve near Bulovka Hospital in Prague 8-Libeň. The spot was chosen because the curve would force the car to slow down. Valčik was positioned about 100 metres north of Gabčík and Kubiš as lookout for the approaching car.

 

As Heydrich’s open-topped Mercedes 320 Convertible B reached the curve two minutes later, Gabčík stepped in front of the vehicle and tried to open fire, but his Sten submachine gun jammed. Heydrich ordered his driver, SS-Oberscharführer Klein, to stop the car. When Heydrich stood up to try to shoot Gabčík with his Luger pistol, Kubiš threw a modified anti-tank grenade[11] (concealed in a briefcase) at the vehicle and its fragments ripped through the car’s right rear bumper, embedding shrapnel and fibres from the upholstery in Heydrich’s body, even though the grenade failed to enter the car. Kubiš was also injured by the shrapnel.[12]

 

Following the explosion, Gabčík and Kubiš fired at Heydrich with their handguns but, shocked by the explosion as well, failed to hit him.[13] Heydrich, apparently unaware of his shrapnel injuries, staggered out of the car, returned fire and tried to chase Gabčík but soon collapsed. Klein returned from his abortive attempt to chase Kubiš, who fled the scene by bicycle. Now bleeding profusely, Heydrich ordered Klein to chase Gabčík on foot.[14] Klein chased him into a butcher shop, where Gabčík shot him twice with his revolver, severely wounding him in the leg, and then escaped to a local safe house via tram.[15][16] Gabčík and Kubiš were initially convinced that the attack had failed.

 

Medical treatment and death[edit]

 

A Czech woman went to Heydrich's aid and flagged down a delivery van. Heydrich was first placed in the driver's cab, but complained that the truck's movement was causing him pain. He was then transferred to the back of the truck, placed on his stomach and taken to the emergency room at Na Bulovce Hospital.[17] He had suffered severe injuries to his left side, with major diaphragm, spleen and lung damage as well as a fractured rib. A Dr. Slanina packed the chest wound, while Dr. Walter Diek, the Sudeten German chief of surgery at the hospital, tried unsuccessfully to remove the splinters. Professor Hollbaum, a Silesian German who was chairman of surgery at Charles University in Prague, operated on Heydrich with Drs. Diek and Slanina's assistance.[17] The surgeons reinflated the collapsed left lung, removed the tip of the fractured eleventh rib, sutured the torn diaphragm, inserted several catheters and removed the spleen, which contained a grenade fragment and upholstery material.[18] Heydrich’s direct superior, Himmler, sent his personal physician, Karl Gebhardt, who arrived that evening. After 29 May, Heydrich was entirely in the care of SS physicians. Postoperative care included administration of large amounts of morphine. There are contradictory accounts concerning whether sulfanilamides were given, but Gebhardt testified at his 1947 war crimes trial that they were not.[18] The patient developed a high fever of 38–39 °C (100.4–102.2 °F) and wound drainage. After seven days, his condition appeared to be improving when, while sitting up eating a noon meal, he collapsed and went into shock. Spending most of his remaining hours in a coma, he died around 4:30 the next morning.[18] Himmler’s physicians officially described the cause of death as septicemia, meaning infection of the bloodstream.[19] One of the theories was that some of the horsehair used in the upholstery of Heydrich’s car was forced into his body by the blast of the grenade, causing a systemic infection.[20] It has also been suggested that he died of a massive pulmonary embolism. In support of the latter possibility, at autopsy particles of fat and blood clots were found in the right ventricle and pulmonary artery, and severe edema was noted in the upper lobes of the lungs, while the lower lobes were collapsed.[18]

 

Botulinum poisoning theory[edit]

 

The authors of A Higher Form of Killing claim that Heydrich died from botulism; i.e. botulinum poisoning.[21] According to this theory, the Type 73 anti-armor hand grenade used in the attack had been modified to contain botulinum toxin. This story originates from comments made by Paul Fildes, a Porton Down botulism researcher. There is only circumstantial evidence to support this allegation[18][22] (the records of the SOE for the period have remained sealed), and few medical records of Heydrich's condition and treatment have been preserved.[18]

 

The general evidence cited to support the theory includes the modifications made to the Type 73 grenade: the upper third part of this British anti-tank grenade had been removed, and the open end and sides wrapped up with tape. Such a specially modified weapon could indicate an attached toxic or biological payload. Heydrich received excellent medical care by the standards of the time. His autopsy showed none of the usual signs of septicemia, although infection of the wound and areas surrounding the lungs and heart was reported.[18] The authors of a German wartime report on the incident stated, "Death occurred as a consequence of lesions in the vital parenchymatous organs caused by bacteria and possibly by poisons carried into them by bomb splinters ... ".

 

Heydrich's condition while hospitalized was not documented in detail, but he was not noted to have developed any of the distinctive paralytic or other symptoms associated with botulism (which have a gradual, progressive onset). Two others were also wounded by fragments of the same grenade: Kubiš, the Czech soldier who threw the grenade, and a bystander, but neither was reported to have shown any sign of poisoning.[18][23] Given that Fildes had a reputation for "extravagant boasts", and that the grenade modifications could have been aimed at making it lighter, the validity of the botulinum toxin theory has been disputed.[18] Two of the six original modified grenades are kept by the Military History Institute in Prague.[24]

 

Consequences[edit]

 

Reprisals[edit]

     

Memorial plaques with names of the victims at the Kobylisy shooting range in Prague, where over 500 Czechs were executed in May and June 1942.

On the very day of the assassination attempt Hitler ordered an investigation and reprisals, suggesting that Himmler send SS General Erich von dem Bach-Zelewski to Prague; according to Karl Hermann Frank's postwar testimony, Hitler knew Zelewski to be even harsher than Heydrich.[25] Hitler favored killing 10,000 politically unreliable Czechs, but after he consulted Himmler, the idea was dropped because Czech territory was an important industrial zone for the German military and indiscriminate killing could reduce the productivity of the region.[26]

 

The Nazi retaliation ordered by Himmler was brutal nonetheless. More than 13,000 were arrested, including Jan Kubiš' girlfriend Anna Malinová, who subsequently died in the Mauthausen-Gusen concentration camp. First Lieutenant Adolf Opálka's aunt, Marie Opálková, was executed in the Mauthausen camp on 24 October 1942;[27] his father, Viktor Jarolím, was also killed.[28] According to one estimate, 5,000 were killed in reprisals.[29]

 

Intelligence falsely linked the assassins to the villages of Lidice and Ležáky. A Gestapo report identified Lidice as the assailants' suspected hiding place since several Czech army officers exiled in England at the time were known to have come from there. In addition, the Gestapo had found a resistance radio transmitter in Ležáky.[30] In the village of Lidice, destroyed on 9 June 1942, 199 men were executed, 95 children taken prisoner (81 later killed in gas vans at the Chełmno extermination camp; eight others were taken for adoption by German families), and 195 women were immediately deported to Ravensbrück concentration camp. All adults, men and women, in the village of Ležáky were murdered. Both towns were burned, and the ruins of Lidice leveled (razed to the ground).[31][32]

 

The possibility that the Germans would apply the principle of "collective responsibility" on this scale in avenging Heydrich's assassination was either not foreseen by the Czech government-in-exile, or else was deemed an acceptable price to pay for eliminating Heydrich and provoking reprisals that would reduce Czech acquiescence to the German administration.

 

Britain’s wartime leader, Winston Churchill, was infuriated enough to suggest leveling three German villages for every Czech village the Nazis destroyed. Two years after Heydrich's death a similar assassination attempt was planned, this time targeting Hitler in Operation Foxley, but not approved.

 

Operation Anthropoid remains the only successful government-organized targeted killing of a top-ranking Nazi. The Polish underground killed two senior SS officers in the General government (see Operation Kutschera and Operation Bürkl); also in Operation Blowup, General-Kommissar of Belarus Wilhelm Kube was killed by Soviet partisan Yelena Mazanik, a Belarussian woman who had managed to find employment in his household in order to assassinate him.[33]

 

Investigation and manhunt[edit]

     

Bullet-scarred window of the Church of Saints Cyril and Methodius in Prague where the attackers were cornered.

In the days following Lidice, no leads on those responsible for Heydrich's death were found despite the Nazis' zealous impatience to find them. During that time, a deadline set for the assassins to be apprehended by 18 June 1942 was publicly issued to the military and the people of Czechoslovakia. If they were not caught by then, the Germans threatened to spill far more blood as a consequence, believing that this threat would be enough to force a potential informant to sell out the culprits. Many civilians were indeed weary and fearful of further retaliations, making it increasingly difficult to hide information much longer. The assailants initially hid with two Prague families and later took refuge in Karel Boromejsky Church, an Eastern Orthodox church dedicated to Sts. Cyril and Methodius in Prague. The Germans were unable to locate the attackers until Karel Čurda of the "Out Distance" sabotage group was arrested by the Gestapo and gave them the names of the team’s local contacts[34] for the bounty of 500,000 Reichsmarks.

 

Čurda betrayed several safe houses provided by the Jindra group, including that of the Moravec family in Žižkov. At 05:00 on 17 June, the Moravec flat was raided. The family was made to stand in the hallway while the Gestapo searched their flat. Mrs. Maria Moravec, after being allowed to go to the toilet, bit into a cyanide capsule and thereby killed herself. Mr. Moravec, unaware of his family's involvement with the resistance, was taken to the Peček Palác together with his 17-year-old son Ata, who though interrogated with torture throughout the day, refused to talk. The youth was finally stupefied with brandy, shown his mother's severed head in a fish tank and warned that if he did not reveal the information they were looking for, his father would be next.[35] That finally caused him to crack and tell the Gestapo what they wanted to know.

 

Waffen-SS troops laid siege to the church the following day but, despite the best efforts of over 700 SS soldiers under the command of Generalleutnant Karl Fischer von Treuenfeld, they were unable to take the paratroopers alive; three, including Kubiš, were killed in the prayer loft (although he was said to have survived the battle, he died shortly afterward from his injuries) after a two-hour gun battle.[36] The other four, including Gabčík, committed suicide in the crypt after repeated SS attacks, attempts to smoke them out with tear gas, and Prague fire brigade trucks brought in to try to flood the crypt.[37] The Germans (SS and police) suffered casualties as well, 14 SS allegedly killed and 21 wounded according to one report[38][39] although the official SS report about the fight mentioned only five wounded SS soldiers.[40] The men in the church had only small-caliber pistols, while the attackers had machine guns, submachine guns and hand grenades. After the battle, Čurda confirmed the identity of the dead Czech resistance fighters, including Kubiš and Gabčík.

 

Bishop Gorazd, in an attempt to minimize the reprisals among his flock, took the blame for the actions in the church and even wrote letters to the Nazi authorities, who arrested him on 27 June 1942 and tortured him. On 4 September 1942 the bishop, the church's priests and senior lay leaders were taken to Kobylisy Shooting Range in a northern suburb of Prague and shot by Nazi firing squads. For his actions, Bishop Gorazd was later glorified as a martyr by the Eastern Orthodox Church.

 

Sometimes your consequences get corrupted....

   

Part II

 

* from the archive =/ took it while waiting fil airport

 

    

www.sonsoflibertytees.com/patriotblog/actions-have-conseq...

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Story thus far: Yoshiko must summon a demon on Halloween in order to join the Sisters of Darkness. She got a spell book from Rin, an accomplished mage, studied it, and cast some spells which summoned animals.

 

Yoshiko realized she was responsible for all the creatures she had summoned. "Where will I keep them? How will I feed them?" Yoshiko began to understand that there is responsibility with casting spells.

- - - - -

Story continues here.

A series of three multilayer plywood artworks, 120x72cm. All the details were laser cut, spray painted and assembled by hand. Available at Lollipop Gallery, London.

In a shocking turn of events, bees have evolved and have begun to strike back against humans in an all-out war. Reports have surfaced that these bees have developed a neuro toxin that can now affect artificial intelligence, making it difficult for humans to fight back. The world government is now planning to destroy their hive and queen with a large hydrogen bomb, but there are concerns that this could also destroy the planet in the process.

 

Many people have died in the war against the bees, as they have been able to commandeer large machines and war assets with their cyber toxin, using a process that is currently unknown. Every time the bees are encountered, they take control of the largest war assets and destroy the remaining war assets with them, leaving humans with little hope of winning the war.

 

However, it is believed that if their hive is destroyed, the war will be won in an instant. Additionally, a large amount of honey has been detected in the hive, weighing in at multiple tons. This honey is believed to have special mind-altering and enhancing properties, which could potentially help with the famine humanity is currently facing. Further studies must be conducted to understand the true potential of this honey, and the evil bees that produce it, if we want to defeat them and bring an end to this devastating war.

It is imperative that people knows about the consequences of leaving unattended water containers because they are a good source of breeding sites.

 

Credits: Joshua E. Cogan.

www.youtube.com/watch?v=6KPQnF-kKFw

The quadruplet 'Sisters of Destruction' are immortal nymphs who fed on human flesh, namely young men. They would seduce, kill and then consume weary travelers. For their acts they were in time punished by the powers that be and sentenced to control each of the four seasons for eternity. Their anger towards their punishers and their sentence explains the sometimes unpredictable weather patterns and natural disasters we see today.

 

Core characters based off the same girl. Full design is a repeating pattern but not currently for sale on any products. These will also be part of a promotional wallpack for my new website, coming soon!

Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called the "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Manor Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe.

 

Ein schmaler Weg schlängelt sich durchs grüne Dickicht, in dem farbenprächtige Vögel ihre paradiesischen Gesänge zum Besten geben. Von einer kleinen Lichtung aus lassen sich Krokodile am Flussufer beobachten. Einige Meter weiter streifen Leoparden durch das hohe Gras und Sie stehen Auge in Auge dem majestätischen Tiger gegenüber. Die tropische Vielfalt der Inselwelt Südostasiens heißt Sie Willkommen im wildesten Dschungel Berlins. Das 2020 nach tiefgreifenden Umbauten und Modernisierungen neu eröffnete Alfred-Brehm-Haus galt bei seiner Eröffnung 1963 mit einer Fläche von 5.000 m² als größtes Tierhaus der Welt. Entworfen hat es der berühmte Architekt Heinz Graffunder. Bei aller Faszination ist die Kernbotschaft dieses Hauses ernst: Diese tropischen Paradiese – die als artenreichsten Lebensräume der Erde gelten – sind bedroht.

 

www.tierpark-berlin.de/de/tiere/regenwaldhaus

 

A narrow path winds through the green thicket where colourful birds sing their paradisiacal songs. From a small clearing, crocodiles can be seen on the riverbank. A few metres further, leopards roam through the tall grass and you come face to face with the majestic tiger. The tropical diversity of the island world of Southeast Asia welcomes you to Berlin's wildest jungle. The Alfred Brehm House, newly opened in 2020 after a profund remodeling, was considered the largest animal house in the world when it opened in 1963 with an area of 5,000 m². It was designed by the famous architect Heinz Graffunder. For all its fascination, the core message of this house is serious: these tropical paradises - considered the most species-rich habitats on earth - are under threat.

 

www.tierpark-berlin.de/de/tiere/regenwaldhaus

 

Storm consequences from the storm in 2013 which hit Zagreb and Medvednica. See more on the following link | ivanklindic.info/2015/08/15/since-the-big-storm-back-in-2...

Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.

‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.

 

Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.

  

The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

 

One consequence of the Buses for Sheffield voluntary partnership would appear to be Wright StreetLites all round, and lots of them. Ah well...

 

Sheffield, Waingate, 10/07/2018.

An Unexpected Consequence

 

Something woke me up around 3:30 am that Saturday morning, not sure what. But something since my head was throbbing, I assumed that was the culprit.

 

I slowly, silently arose, not wishing to disturb the others who had gathered in our suite's living room for a “sleepover after an evening of heavy partying. But by the looks, everyone was still passed out.

 

I wasn’t surprised, judging from the amount of drinks we all had consumed.

 

What happy drunks we had all been.

 

I carefully tiptoed amongst them through the room, deciding to get aspirin from my bathroom.

 

The girls and I had all fallen asleep in the living room instead of retiring to our respective bedrooms that connected to the master suite

 

I was surprised to see my bedroom door was closed.

 

Was someone else inside?

 

I looked around the room, not noticing anyone missing.

 

Shrugging it off, I went inside, closing the door behind me.

 

I saw my reflection in the wall-sized mirror at the end of the room, next to the surprisingly open outside balcony door.

 

“Looking good.” I complimented myself.

 

I was wearing my slinking long pure silk nightgown, coloured a deep chocolate brown. Along with my shiny matching robe. The robe was open and I could see my peaking out chest, my smallish mounds bulging, sexily outlined by my nightgown.

 

I ran my fingers down the front, touching them, feeling a rather pleasant sensation that I was still not awake enough to fully enjoy.

 

There is nothing like the feel of a bit of nice silk lying against one’s naked figure.

 

I took a step back, admiring my figure, clad tightly in shiny silk, with jewels sparkling that were reflected in the hotel suite's mammoth mirror.

 

For, from my evening out, I was still wearing my long diamond earrings(£18,000) and three diamond rings(£12,000,£5,000, £3,000) because I love to sleep with my diamonds on, and they had looked so pretty with my black satin evening gown, along with the rest of my diamonds, that I had worn out for the evening before.

 

They had looked even more delicious worn with my spaghetti strap chocolate silk slinky nightgown as I played with them,and myself, a wee bit more.

 

I guess I kept wearing them because I wanted the feeling to continue on, as it was.

 

We had all been dressed up to the nines, attire, and jewellery, Friday evening, including the three of us girls who were staying in the two connected rooms.

 

Though last night those rooms, like mine, had been empty since all of us were asleep in the living room, sort of an adult storytelling sleepover.

 

Though I will admit deep down a smouldering yearning was felt to have it being a role-playing sleepover.

 

Now as I looked myself over in the mirror I started to have a prickly sensation that I was after all, not alone in the room.

 

I literally jumped because that feeling was immediately confirmed as an unfamiliar male voice commanded:

“Freeze sister, not a peep out of you now!”

 

I froze… not knowing what the hell was going on.

 

Except I was correct in using the word ‘Hell’

 

^^^^

A thin, muscular male comes out of one of the room’s shadowy corners, facing me.

 

I could tell his intentions by the black tight-fitting spandex suit, gloves, and ski mask he was wearing.

 

He nodded his head to me….

“I don’t wish to hurt you, lady, I’m only after the “ice” I was told you were wearing out tonight. Now don’t scream. I will use force and some of your friends may be hurt. You don’t want that to happen, do you? Nod if you’re going to be a good lass.”

 

I nodded yes, feeling my earrings swing against my face.

 

“That’s the girl. Undo your pretty robe, drop it to the floor. Good. Now move it over unto the bed.”

 

I did so and he picked up my robe laying it out onto the end of the bed. Then he picked up my robe's satin sash.

 

“Now ladybird , hold out your hands.”

 

I obeyed. He looked down at my fingers. I could see my rings glistening and saw he was watching also.

 

He pleasurably sighed, then got to business.

 

“Spread out your fingers!”

 

I did and he slowly located, then worked off my three pretty rings. Reaching over, he plopped each onto my chocolate-coloured silk robe.

 

“Now sister, clasp your hands in front of you…”

 

I obeyed and he firmly tied my wrists together with the robe’s silk sash.

 

“Now lay back on the bed”

 

I did so and he lifted my bound wrists and using one of my long black satin gloves tied them to a bedpost. Then he took the other glove gagging my mouth with it.

 

I could see my reflection in the vanity mirror. Almost surreal, like I was watching someone else.

 

He turned on his torch, catching my long diamond earrings in the beam.

 

“Blinding those, lovely to look at, but I’m running out of time aren’t I? Leave them for later, eh luv!”

 

Moving easily like a muscular black panther, he rose and strolled over to the vanity dresser. He opened the pair of jewelry cases belonging to me and my sister-in-law Cadie.

 

The beam caught up with the reflection of the jewellery both contained. I could see them sparkling.

  

He turns, shined the light in my face…

 

I was told you birds were wearing “ice” but there’s much more here. Let’s say I save time by taking it all for sorting later..”

 

It wasn’t a question.

 

With a sigh, I watched as he emptied onto my silk robe, the glimmering contents of first one, then the other of our jewel cases.

 

The pile dazzled with explosive, expensive sparkling.

 

Discarding both emptied cases, he turned his light back on the dresser. There were more of our expensive personal items laid out there. Cadie’s, my husband’s, and mine.

 

Several times he reached in sweeping some of them into his palm. Dumping them onto the chocolate-coloured silk robe

 

My husband’s possessions. Rolex money clip, billfold, silver gunmetal cigarette case, and matching lighter.

 

Cade’s silver comb and mirror, silver makeup compact, and her satin evening clutch.

 

Along with my gold makeup compact kit, gold Lamé clutch purse, gold cigarette case, and gold lighter.

 

He next shined the light carefully around the room.

 

Stopping on the open closet.

 

He went over and rummaged through it.

 

He whistled, and from my close he pulled out my rust-coloured mink jacket, throwing it onto the bed.

 

Then he turned back, fingering through my good skirts, blouses, party dresses, gowns, satins, and silks all of them.

 

He pulled my back satin opera outfit, a long satin skirt with the rhinestone belt and matching rhinestone embellished jacket, that I usually wore with one of my silky long-sleeved high-neck tops.

 

Lovely this he said shingling his light so it sparkled.

 

Then he tossed it on my bed, covering the fur.

 

He happily “dived” back in, and I heard him exclaiming…

 

“This is more like it, good thing I didn’t take a pass on the closet.”

 

He was pulling out the black satin gown with rhinestone trimmings I had worn out this past evening. His light caught my beautiful broach (£38,000), which I had left attached.

 

it came into sparkling life under the torch beam.

 

He whistled as he walked over, eyeing it up.

 

The thief then shined his torch beam in my face

You weren’t going to try and hold this out now were you love? I’ll pretend you were going to point it out.”

He laid it out on the bed, then approached me…

“With that said, lady. Are you holding anything else out!”

 

I shook my head, no, my eyes pleading since my mouth was gagged into silence.

 

Grinning, his torch beam was shined into one ear then the other

“Not quite telling the truth, Lovely sparkler’s them.”

 

He reached up, I was limp, with no fight in me.

 

The thief then laid the torch on the bed…

 

With his teeth the wanker pulled off his thin black gloves, he looked positively evil wearing that ski mask. His eyes are large and I swear, beguilingly, studying me.

 

His mouth opened wide as he reached over with long touching fingers, to begin working off each of my earrings, tossing them onto the valuably shimmering piled out on my beautiful satiny silky robe.

 

Again he stared into my eyes, his own masked lined menacing one’s mere millimeters away.

 

“Not saying I don’t trust you telling your not hiding anything valuable, but, well luv, I’ll be having myself a look anyway. You’ll understand…”

 

I cringed, arching my back as his fingers grasped my arms.

 

He then reached down and squeezed around my bulging chest ,noticing they were hard and perking, pointing up through the sheer fabric of my silky nightgown like a pair of plump fleshy mounds with hard tips.

 

Then I felt his fingers smoothly running over along my silk-clad figure, until he reached my wet pussy and discovers why my “mounds” were so firm under his touch.

 

For yes, I will have to confess having been sinfully aroused throughout the whole wickedly hot experience.

 

You see it started when he was pulling off my rings.

 

No, actually I told a lie…

 

It was when he first grasped me:

The abruptness, the shock, and the surprise, quickly turned to aroused waves of tingling sexually tinged excitement at being held captive, by a thief after my jewels.

 

As he worked at stealing our valuables, a tingling, cringing feeling of helplessness and horror watching a masked man doing that, with the look of pleasure he had in his eyes.

 

Then as he pulled off my rings, well I realized I was growing even more acutely aroused in a quite “horney” role play’esque situation.

 

Arousal that began its stimulating flame, arising from the explosive emerging “kindling” that is one’s own erotica being played out for real when least expected.

 

He could see my struggle against my bonds, and he knew, the Git just instinctively knew why….

 

Then the prat just touched the hairs around my privates

 

Stroking gently, reaching deep enough inside my pussy hairs, just enough to keep me aroused, but not allowing me to come into orgasm.

 

My eyes were opened wide staring at his masked form hovering over me.

 

Then he plunged his fingers deeply inside.

 

My whole figure arched up, fingers tingling.

 

Then the stinking prat, he pulled back. The wanker knew and stopped, just as my figure was trying to come in a full-body arching, explosive orgasm.

 

It was bad enough The bloody thief was stealing my jewels, but adding in robbing me clean of a chance at feeling that titular flame of orgasmic stimulation as I had closed my eyes starting to wince with excitement, that was just bloody rude.

 

^^^^^^

 

Then he was done, all back to business, as he nimbly rose, then picking up his gloves said the chilling words as he put them back on….

 

“Do the other rich dame’s bedrooms have things this nice, as I was told. No answer eh? Well, we will see for me self now won’t I!”

 

He picked back up his torch, letting the beam play down the long chocolate-silken night gown I was wearing over my naked figure.

 

He nodded his head in disbelieving approval.

 

Turning it off, he pocketed the torch, then reaching down he rolled up my satin robe with our valuables in it.

 

Picking up a black backpack he purred…

 

“The lads that were following you birds around last night, they put me onto this job saying to just to snatch the shiny jewels you and your girlfriends wearing out this evening. But lady you have enough here I could make a bit extra for me self!”

 

He stuffed the chocolate satin robe inside his jogger's pack. Followed by cramming in my black gown with the broach.

 

Then lifting my mink he said

But I better see how much of the good stuff your lady friends have in their rooms first. But I’ll take this item in case I have the storage space.”

 

Extinguishing his torch, He started to walk out, then looked back at me and came to my bedside.

 

“And don’t worry about this”

he said touching my now still prickly, damp crotch.

 

"Your not the first broad I’ve tied up to rob whose felt this way, now we’re you!?”

 

Snickering, he confidently opened the door, slipping without a look back

 

He was now in the living room where the others were all sleeping!

 

^^^^

That night thief thoroughly cleaned us out of all our jewels and various other items of high value we had in our bedrooms.

 

Though it was a very nasty thing to have happened to all of us. I did feel a wee bit guilty.

 

For to tell the truth, since I had been erotically aroused by the entire incident that occurred in my bedroom under the thief’s hands whole robbing me, I didn’t quite feel as sad about it as my equally jewel-relieved girlfriends.

 

Fini

 

Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.

‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.

 

Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.

  

The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

 

Thus the consequences for ignoring the rules. I love to break rules. I am not the type to read a sign like this and ponder whether I would get into trouble or any potential health risk. The first immediate thought that comes to mind is “FUN”. This beach to me is a much more interesting place with it taped off with caution tape and “KEEP OUT” signs surrounding it. To me that is like screaming “GO GO GO GO GO”.

 

I love doing things I shouldn’t be doing. I love being places I shouldn’t be going. I’m always raring to go if something someone suggests to me is against the norm. I want to go where other people don’t. I will always be the willing participant for something that others don’t want to try. Bring in some weird shit that no one else will eat? Let Ryan try. Who the hell will jump from there? I bet Ryan will. Why in the fuck would I want to go THERE? Ryan will go.

 

Never say never. I’m willing to try almost anything once. I’m a risk taker. I'm a god damn daredevil. I love change. I need excitement. I don’t want to live the same stupid boring life day after day after day after day after . . . . you get my point. Give me something no one else will dare do and I promise you I’ll do it, within reason. I don’t care what people think for the most part. And worryingly enough, I don’t usually take into account death or a potential hazard. That really makes for all the better reason to do something. I love it. If I could be a movie character I’d be Indiana Jones. But instead of the whip I’d have nunchucks, because they are just cooler.

 

I guess I’ll just settle for exploring contaminated beaches for now.

 

March 11th, 2009

Here is my fan art for the Planet of the Apes Motion Book Series & Fan Art Challenge

go.deviantart.com/journal/Planet-of-the-Apes-638108031

 

I made the apes, the background was made by Genzoman Genzoman

 

This is a fan art as a derivative work of the copyrights and trademarks owned by Twentieth Century Fox Film Corp. and/or Madefire, Inc. (“Fox” and “Madefire”) in and to the Planet of the Apes movies, motion books and other associated works (the “POTA Assets”)

   

Este es mi fan art para el reto Motion Book Series & Fan Art Challenge del Planeta de los Simios

go.deviantart.com/journal/Planet-of-the-Apes-638108031

 

Yo hice los monos, el fondo fue hecho por Genzoman Genzoman

 

Este es un fan art derivado de los derechos de autor y marcas registradas propiedad de Twentieth Century Fox Film Corp. y/o Madefire, Inc. ("Fox" y "Madefire") en, y para las películas, libros y otros trabajos asociados con el Planeta de los Simios

  

Deviantart Polux McLion

 

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Dangerous consequences will follow when politicians and rulers forget moral principles. Whether we believe in God or karma, ethics is the foundation of every religion.

 

There can be no peace as long as there is grinding poverty, social injustice, inequality, oppression, environmental degredation, and as long as the weak and small continue to be trodden by the mighty and powerful.

 

--Dalai Lama

 

Explore #468

 

A consequence of too many of South Croydon Garage's fleet of Optare MetroCity EV's for the 312 sitting on charging points back at the garage means other buses stepping off the substitutes bench for them.

 

Here's Arriva's DW259 filling in on a trip to Norwood Junction while stablemate HV54 picks up passengers on the 466 to Addington Village.

Ash has just spent a week in hospital after being shot by Nio, and is out in her wheelchair when she sees Ember...

 

Ashur Kentoku blinks owlishly at Em as she aproaches...

 

Emberen Twine's anger dissapates at the sight of Ash, tears silently gathering and pooling before streaming down her cheeks. "Ash?" she says, her voice shaky..."You alright?"

 

Ashur Kentoku's face is pale from her exertions and the pain, and a light sheen of sweat causes a few strands of hair to stick to her cheeks...she nods slowly, eyes brimming with tears now too at the sight of Em..."yes,' she mews in a small voice. "I'll live....are you okay?"

 

Emberen Twine nods, her lips curving downward into a pained frown. "I'll live," she says, her voice quivering, before breaking out into sobs as she toddles over to Ash and sits by her . She grasps her hand and looks up at her, eyes wide, cheeks glistening.

 

Ashur Kentoku bends painfully over and rests her cheek against Em's, trying to purr, although it hurts her to do so..."Then everything's gonna be all right," she merrs. She clings to Em, sniffling....but she's smiling....

 

Emberen Twine: "Oh Ash...I was so scared...and I couldn't remember most of what happened after you got to the hospital. AndI thought I was gooing to lose my only family...I thought you were gonna die! I...I...." She just stops talking....stops breathing...only sobs, shaking her head as she thinks about it all, overwhelmed, and unable to take it all in at one time.

 

Ashur Kentoku: "Shhh," she meers, petting Em, trying to soothe her..."I might have died but I didn't...I'm here....we're here." She swallows, and lifts her face away and brushes tears from Em's cheek, the faint smile still on her face.

 

Emberen Twine sniffles and rests her forehead on Ash's knee, still shaking it back and forth. "It was all just so awful...There was so much blood." She takes a deep breath and brings a hand up to her cheeks, blotting away the tears. "I never left you Ash...I didn't leave," at least that she remembers.

 

Ashur Kentoku strokes her fiery red hair..."Yeah...amazing how much blood there is in a person, huh?" She tilts her head..."Yeah, one of the nurses told me you refused to leave my side..." She smiles..."Love ya, kitten. Won't ever forget that..."

 

Emberen Twine: "But you left mine," she whispers as she raises her eyes to study Ashur's. "You wouldn't even listen to me...wouldn't wait to get just a little better. It was like you didn't care if you died." She swallows hard her face contorting with a pained grimace.

 

Ashur Kentoku blinks..."Maybe I don't."

 

Emberen Twine sucks up a soggy breath, startled at Ashur's answer. "So..." she looks down, assembling her thoughts, raising her eyes once again to Ash with confusion. "So I get spend my nights worried sick about you, end up with unexplained wounds and a bloody axe....and you don't even care enough about me to live?" She gapes, her eyes searching for some sort of sense that could come from all of this.

 

Ashur Kentoku shakes her head..."No...I dont mean it that way...just that I didnt expect Nio to try murder me. I know you care and I dont want you to have to suffer...dammit I wanna live as much as the next person..." She sighs.

 

Emberen Twine: "But...when you regained conciousness in the hospital...you ...you wouldn't even lay down. You...wouldn't even let the doctor clear you before you left! I...I was so worried that you would bleed again. AndI was hurt that you would jeopardise your life again for...for a meeting. "

 

Ashur Kentoku nods..."I just had to do something normal...show them they can't keep me down. I went baaaack for a while afterwards,' she says defensively.

 

Emberen Twine stares at her, remaining quiet for a while. Her brows knit together with grief, slight relief that her friend, her family, is still alive. "Gods Ash...I would lose my mind if anything ever happened to you." Hell, she already did. "You're gonna heal now right? You are gonna take it easy and not endanger yourself again?"

 

Ashur Kentoku nods again, another glassy blink..."Yes...the Oracle gave me some nanites...should heal me up faster than normal. And then I can pay Nio a visit..." She smiles.

 

Emberen Twine: "Ash...." she says, her tone measured, brow furrowing. "Revenge isn't going to make things any better. Don't you know that? It's only going to wind up in more blood on the pavement. Please don't. Please don't meet her violence with your own." This is what she had been fearing...retribution. "I talked to her...and she admited her mistake. She knows that what she did was wrong."

 

Ashur Kentoku perks her ears..."Oh, I've not decided whether I'll return her attempt at murdering me in kind," she merrs. "I very well may...but I am certainly going to pay her a visit. What transpires will be determined mostly from her behaviour...and judging from her last psychotic response, it may well be blood again, yes. But not mine, this time."

 

Emberen Twine: "Ash! Gods...you totally goaded her into it! She had no right to do what she did...but I got the feeling you wanted to push her into a reaction. You just weren't counting on her reaction being so...overblown!" That anger that she felt the day it happened spikes, making itself known with a burn in her chest. Tears, now dried, stain her cheek, and a resolve to call Ash on her shit sets in.

 

Ashur Kentoku's face becomes expressionless and she withdraws from Em..."I told the furball to get lost because the furball was goading me, Em. you know s well as I do that the corner I was standing on is disputed territory at best, and that often non-Catwalkers hang out there. You have, yourself. She deliberately used it as an excuse to try murder me. She aimed for my head after shooting me in the chest," she growls. "Don't think I didnt see that...or forget it. So don't talk to me about goading..."

 

Emberen Twine: "You could have given in to her...that corner, or standing your ground wasn't worth a chest full of holes. Did you really think that battle would win the war? At best it gave you an excuse to start one. Let them protect their prison with their lives. Let them rot in it! As long as you aren't dying along with them for some "cause" which will never be one you can win!" She stares at Ash intently as she speaks, unwilling to back down, unwilling to let her retreat.

 

Ashur Kentoku: "That wasn't a battle, Em," she whispers quietly. "if it was, it would have been Nio you'd have been visiting in hospital, not me...."

 

Ashur Kentoku: "But you're right about their prison...nevertheless, I AM going to pay Nio a visit. Nothing you can say will change that. What happens during that visit, happens. As I've said."

 

Emberen Twine: "So you mean to tell me you had no intention of getting her to shoot you by mouthing off like that? You want me to believe that...that your refusal to move was in no way designed to get her to lose her shit on you?" She shakes her head, realizing she can't change Ash's mind, before shuddering at the sound of shots fired.

 

Ashur Kentoku: "I mean to tell you that it's time certain people in this city learned that there are consequences to their actions, and that Nio is learning that. And I intend to make sure the point is driven home...to see that for myself. Because trying to murder someone for standing where you don't want them to stand is wrong, and carrying a big gun doesnt mean it grants you the right to behave that way."

 

Emberen Twine sighs...unable to disagree with that logic. It's so much easier to argue with Ash when she isn't being rational. But the blood lust was absent from her...this night. "Ash," she says softly..."Just...just be careful. I..." Tears yet again.."I just don't want a life without you in it."

 

OLYMPUS DIGITAL CAMERA

Before elaborating whatever we want to say under this subheading, please keep it in mind that we don’t have any intention to let you feel worried or sad. We are here to educate you and to assist you in developing a better understanding of #Tax related matters. It is quite a disturbing fact that the #IRS have exclusive rights to audit any of the #Taxpayers. Everything will remain pure and excellent for you as far as there is not anything in your case that can lead the #IRS experts into suspicions.

#SantaClaritaTaxAttorney

goo.gl/YpTKao

Consequence of employing goats for purposes of wildfire prevention, they leave the land barren, invasive species inevitably take root.

Great Sampford, Essex

 

The beautiful church of St Michael the Archangel at Great Sampford is not the first church to stand on the rising ground at the centre of the village overlooking the cornfields along the valley of the river Pant. It is possibly sited on an ancient place of cult or religious significance. The proximity of the Stow farm may be of some importance, for the word ‘Stow’ in Old English can mean a ‘holy place’ or ‘place of assembly’. A pre-Conquest church, presumably of timber and thatch construction, followed perhaps, by a simple stone-built church, was replaced by the 13c on the same site by a major church building of which one of the transepts remains as the vestry of the present church which was built between 1320 and 1350. The original dedication of the church, if different, is not known as the first documentary reference to St Michael occurs as late as 1540 in a Sampford will. Dedications were sometimes changed and the use of the proper style, St. Michael the Archangel, is in fact quite rare. However, dedications to St. Michael or St. Michael and All Angels are numerous and were popular as the Archangel is an important figure in Christian tradition and art, symbolising the victory of God over evil, as an intercessor for the sick and as a leader of the Church militant. Churches dedicated to him, as at Great Sampford, are often found on hill—top sites or on high ground .a possible allusion to St. Michael’s pre-eminence in the Angelic Host of Christian belief. His Feast Day is 29th September.

 

Knowledge of the origins of the Christian Church in Essex relies largely on the fragile but growing evidence of archaeology and landscape interpretation. An ill-defined and mobile pattern of contemporaneous pagan and early Christian practices in the Roman era comes into historical focus with the missionary endeavours of the Roman and Celtic Churches when such names as Augustine, Mellitus and Cedd are prominent in Essex history. Within that tradition there are various, as yet unproven, theories about the establishment of a church at Great Sampford.

 

On entering the church the first impression that the visitor receives is of its elegant dignity; the next, the incongruence of its scale in such a tiny rural community. An interesting aspect of this enigma is the search for a convincing explanation of its status, from the mid-13c until 1907, as a deanery church serving twenty-one surrounding parishes in the Freshwell Hundred and in part of Uttlesford. It may have been a consequence of an early ‘minster’ (i.e.: missionary) role or as the result of a parochial compromise in an area with more important communities such as (Saffron) Walden. We do not know. However, it is a fact that the missionary work of the early minsters often extended to and beyond the boundaries of the administrative hundreds and became the sites of the hundredal centres themselves. There may well be historic linkages, not yet understood, between the Freshwell and Uttlesford Hundreds and the Sampford Deanery that relate to the early status of the church at Great Sampford.

 

The earliest historical fact about St. Michael’s is the grant by William Rufus, son and successor of William the Conqueror, of the church at Sampford along with the subordinate chapel at Hempstead with their lands and tithes to Battle Abbey in 1094. According to Philip Morant, the most famous of Essex historians, this was a formal confirmation of the Conqueror's original royal grant. This act of confirmation was a necessary and regular practice in regard to the efficacy of grants and early charters which were frequently forged. The church at Hempstead was within the jurisdiction of the vicar of Great Sampford until as late as 1979. Great Sampford remained in the hands of Battle Abbey until the Dissolution of the Monasteries in 1539 when it was transferred to the Dean and Chapter of Canterbury. In 1836 it passed to the newly-established Church Commissioners. In 1982 Great Sampford was combined with the parish of Little Sampford.

 

For perhaps a thousand years, even more, the Church at Sampford pursued its mission and, like others of medieval foundation, did not escape the consequences of religious, political and parochial events or circumstances. An astonishing flowering of spiritual faith and social commitment led to the building and re-building of these lovely churches. This phase was followed by the painful disruption of the Reformation, the Commonwealth and the Restoration, all of which led to anxious change and despoliation. In the course of these events much of the magnificence of the church at Great Sampford and its furnishings was lost or abandoned. All his was compounded by periods of neglect and the chronic problems of maintaining a great building in a small village bereft of wealthy resident patrons.

 

The loss, confiscation or sale of the rood, images, church plate and "such other goods as could be spared" was mirrored by decay of the fabric as is evident from the Parochial Inventories and Visitations of the l6c and l7c. The l7c saw the introduction of new arrangements for the railing of the Lord’s Table and seating for the congregation, a school was held in the south transept and the village musicians performed in a gallery under the tower. The inevitable ‘restorations’ by the Victorians led to the removal of furnishings, the installation of new pews, patterned floor tiling and the stripping of the stucco from the exterior walls of the church to expose the original flint and rubble surfaces. In more recent times the spiral staircase in the tower was removed and the roof structure of the south aisle replaced. We are, fortunately, left with a church of beauty and distinction.

 

It is hoped that the following brief notes on the architectural features and minor objects and details of interest in the church will help visitors to enjoy their visit.

  

The significance of St. Michael the Archangel in the village scene is apparent from the scale of the building, its strong profiles and conspicuous English Gothic idiom of the Decorated period. Internally, the major architectural theme is that of a restrained, uncomplicated elegance that is enhanced by the ample light admitted by plain glass windows. A dominant feature is the fine range of trefoiled, cinquefoiled and sexfoiled lights of the nave, chancel and aisle windows all dating from the period c. 1320-50. The cusped tracery of the windows is complemented by the symmetrical refinement of the arcading which is only lightly embellished by mouldings and carved capitals, typical of the period, and among the best in the county. Although not devoid of interesting detail, there is nothing to detract from the simple elegance and spatial qualities with which the fenestration and graceful arcading endow this fine building.

 

In 1769 Peter Muilman referred to the church at Great Sampford which "stands pleasantly on a small eminence by the roadside". Pleasantly indeed, the church is handsomely set in the Essex cornfields and seen to advantage from the high ground on the opposite side of the river. Close to, the sturdy profiles and somewhat severe external textures, relieved by some decorative areas of knapped flint flushwork, offer little hint of the quality of its Gothic interior. The main structure is built with random-faced flint and rubble set in lime mortar with limestone and clunch dressings. The roof is tiled and slated. The prominent west tower was built in the mid-l4c and, like the south aisle, has an embattled parapet. The south porch is of the same period. Unhappily, the window tracery of the 13c transept has been lost and is now disfigured by brickwork of two phases which seem to date from the late-18c to early-19c. Conspicuous in the churchyard are the fine lime trees planted in about 1835. The only monument of significance is the obelisk near the east wall of the churchyard which commemorates members of the Watson Family of Sampford. Colonel Jonas Watson was a distinguished soldier who was killed in action at the siege of Cartagena in 1741. But spare a moment to look at the adjacent grave stone of William Ruffle who died in 1881, a village worthy who served Great Sampford as shopkeeper, constable, clerk and in other public offices for over half a century.

 

External details of note are a rare series of consecration crosses of varying designs around the church, an early scratch dial, now displaced and seen on a doorstep in the north wall, a benchmark and the slot for the surveyor’s bench on the south-west buttress of the tower and miscellaneous graffiti mainly in the porch. Other details of interest include the rainwater heads, the vigorous carvings on the label of the south transept and niches in the south transept and the north and west walls. The clock on the church tower was installed in l9ll to mark the coronation of King George V.

 

On entering, visitors will appreciate the impressive dimensions and architectural refinement of this handsome village church. Standing in the centre of the nave the dominant curvilinear idiom of the Gothic styling will be apparent. The nave is flanked by north and south arcaded aisles with plain two-centred arches datable to the l4c. The piers of the north arcade are quatrefoil in plan with slender engaged shafting; those of the south arcade are octagonal in plan. All of the piers have moulded bases and capitals.

 

The 14c west tower is constructed in four stages. Internally it is open to the nave under a two-centred moulded arch. There is access to the belfry but, sadly, the brick-built circular Tudor staircase was removed about fifty years ago. The carved head of a woman recovered from this staircase, although it presumably originated from elsewhere in the church, can be seen in the vestry. But the finest aspects of this church are to be seen in the early chancel which is remarkable for its size and the splendour of its architectural expression. It dates from the first decades of the l4c. This fine chancel is framed by an exceptionally large east window of five cinquefoiled lights, the curvilinear bar tracery and verticality of which enhance the powerful impact of this aspect of the building. Most interesting, and presumably deriving from the deanery status of the church, there is a series on the north and south walls of twenty-one stalls recessed under a canopied arcade with mouldings and cusping. At the east end of the south arcade there are the piscina and sedilia. The chancel arch, of the same period and sprung from the capitals of clustered shafts, shows residual traces, near the base on either side of the step, of a former stone screen which is possibly significant in view of the rare stone screens in the nearby churches of Stebbing and Great Bardfield. Note also the small blocked low window by the north side of the arch. The panels behind the altar on which the Creed, Lords Prayer and Commandments are painted were made in 1837 for the church at Danbury and brought to Great Sampford in 1894.

 

The vestry, formerly a chapel, is of great interest as a surviving major element of the previous church of the late - 13c (however when I visited this was locked). In the east wall there are good coupled windows of two trefoiled lights with two quatrefoil and sexfoil circular openings, interesting examples of pierced plate-tracery. The large brick-filled window in the south wall is of the mid-13c with good mouldings and the surviving arch and shafting in the splays. Below this window, fragments of medieval glass were found buried in the ground outside. The contemporary archway in the west wall has some intriguing carved capitals richly adorned with robust oak-leaf foliage and vibrant figures including an owl, snail, pig and a human face in a good state of preservation. One is assumed to be a representation of a ‘Green Man’ a symbolic figure of English folklore. The north wall has four quatrefoil openings. There is, under the south window, a triple gabled recess with crockets and linear moulding, pinnacles and a neat acanthus motif which was probably once a fine tomb of an important local family, perhaps a member of the de Kemesek family. It is said to have served as a fireplace in the time when the vestry housed the village school! The battened and studded oak door leading into the chancel is 16c.

 

The open church roof structures are well worth close study. The best is in the vestry which is roofed with twelve pairs of collared scissor-braced trusses supporting the steep-pitched rafters on moulded wall plates. The chancel roof is also of trussed-rafter construction of seven cants, as is that of the nave roof which also has three tie-beams which may have been installed at a later date, perhaps when, as we know from church records, the roof was repaired in the 16c. The lean-to roof of the north aisle is attractively braced with graceful curved members sprung from a good moulded wall-plate. Unfortunately, the original roof of the south aisle has been replaced by a modern structure, but three of the amusing stone corbels which supported it remain. The trussed-rafter roof of the south porch with seven cants should be noted as it rests on extremely fine early moulded plates. Visitors should not miss the intriguing carved medieval wooden head which is fastened onto the wall above the chancel arch at the north-west corner facing the nave. This appears to have been repositioned, perhaps from a figure that was once part of church statuary. On the south side in the clerestory will be seen an attractive 15c Perpendicular style rectilinear and cinquefoiled window of three ogee lights which was devised to throw light onto the former rood.

 

Originally the church would have been resplendent with a comprehensive range of wall paintings for visual instruction depicting scenes of biblical or religious significance. A few fragments survive, having been discovered during restoration work in 1979, above the arches on the walls of the north arcade. Although faint and incomplete the two remaining paintings are of interest. One represents the seven deadly sins in the form of a diagrammatic tree which is comparatively rare. The other may be of St. Christopher, a saintly figure normally positioned, as possibly here, opposite the church entrance as a reassuring gesture to the worshippers. There are traces, too, possibly of another period, that suggest a dragon was depicted which would imply an association with St. Michael to whom the church is dedicated or, possibly, St. Margaret. Traces of colour in the wall plaster of the vestry may eventually yield further paintings.

 

Worthy of note are some special features beginning with the door at the church entrance. This is thought to be contemporary with the building of the church in the early l4c and, although damaged at the base, is still a fine example and retains the original wrought iron strap-work and studding. According to expert opinion it is the most elaborate of all saltire-braced doors in Essex. The boards of which it is constructed are pegged together. The font in the south aisle has a plain moulded octagonal bowl of the 15c. Its stem is earlier and has complex decoration which combines ogee-headed panels with intricate tracery on a chamfered 14c plinth. The Victorian pews were recently detached and the nave flooring paved. The beautiful series of kneelers worked with flower motifs were recently embroidered by local people. The lovely embroidered runner on the step of the sanctuary was made in 1990 and is an exact copy of the Victorian runner it replaced.

 

It is valid to observe that St. Michael’s benefits aesthetically from the absence of monumental clutter which, although sometimes historically useful, can be detrimental to the architectural purity of the building as a whole. The only remaining monuments of antiquity in the church are the tomb slabs (Calthorp and Burrows) of the 17c and 18c in the chance]. They commemorate a family whose name persists at a local farm and another of textile merchants who lived opposite the church. There is another (Gretton) in the south aisle. The pulpit, the provenance of which is unknown, is Victorian. There are also a few notable pieces of furniture. These include a 17c desk with a writing slope and cupboard which once served the school in the church. There is also a standing cupboard or hutch of the late 16c and a 16c church chest, iron-banded with strap hinges and an interior ‘till’ which may have been built-in as a response to a Parochial Visitation of 1686 which ordered it to be provided and lockable. The modern portable altar at the east end of the north aisle was given to the church by an anonymous donor in 1991. The small bronze of the Madonna and Child is of German provenance.

 

The five church bells which were once rung for church services as well as for special village occasions like harvest and gleaning can no longer be pealed. This is because of structural weaknesses in the belfry though they are still hung on the original stocks. Nowadays one is chimed for church services, as a Sanctus bell and used to ring the hours for the clock. The first, third and fourth bells were cast by William Land in 1624; the second (which bears the Royal Arms and a medallion with a bust of Charles II) by Henry Yaxley in 1684; the fifth by John Hodson in 1664. The church plate includes an interesting early Elizabethan silver cup of 1562 with a paten cover of c1567 and another paten dated 1630. None of these is inscribed although they carry makers' marks. An electro-plated flagon of 1854 was purchased by the vicar for five guineas in 1856. The organ, installed in 1976, is said to have come from a nonconformist chapel and to have been built in c1830 by G.M. Holdich. The eagle lectern in the south aisle was placed in the church in 1909 as a tribute to the incumbency of the Rev. Robert Eustace, vicar from 1850 to 1905.

 

Almost every ancient church has a range, most of which cannot be satisfactorily explained, of markings and graffiti, ostensibly symbolic figuring, idle scratchings and numerous initials and dates. Great Sampford has a generous quota of such. Of genuine interest is a 3-men’s (or 9-men's) Morris cut into the second stall on the north side of the chancel inside the altar rail. These are gaming boards of some antiquity, the play having affinities with ludo and allegedly used to relieve the boredom of long sermons or tedious ritual. On the opposite side one of the sedilia has a set of unexplained grooves, possibly another game.

 

This guide has so far been concerned mostly with events, architecture and objects of beauty or interest. More important are the people, clergy, church officers and villagers who have worked for and worshipped in the church. They all emerge from the obscurity of the past through the church records and the village archives as personalities or in human situations which help us to share their hopes, commitment or despair. The clergy, ever since Thomas de Sampford, dean in 1163, have served the church and ministered to the people throughout the ages and struggled with the traumas of turbulent and anxious times. The churchwardens, like Richard Petytt and John Mylner in the l6c and their successors, have striven to preserve the church from decay and neglect and carried out their onerous and multifarious duties with devotion if not always with alacrity. There have been too the countless parishioners whose recurring family names fill the registers recording the joy of marriage and birth and the sadness of illness and death. They are all part of the story and the reality of the church and its life in the village. They too were familiar with the building we admire. They sat in the pews and looked upon the beauty that is now our heritage. Their responsibility has passed to successive generations, and now to us. We hope that they would have approved of this little booklet and that it will play its part in safeguarding the continuity of that inheritance.

A consequence of using my truck on a daily basis means it gets subjected to all the rigours of day to day driving.

Including this!

For my troubles I also gained two fractured ribs in the ensuing chaos! Ouch!

Now I feel silly, selfish and dizzy.

 

GoodMourning at Formspring

    

Had the whole "bubbles" all to myself last night.

The consequences were quite tangible today. :s

consequences of a weekend with lots of fun and alcohol hahah