Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Le cimetière chinois de Nolette est un cimetière situé le territoire de la commune française de Noyelles-sur-Mer où sont inhumés les travailleurs civils chinois employés par l'armée britannique pendant la Première Guerre mondiale.

Il s'agit du plus grand cimetière chinois de France et d'Europe

Pendant la Première Guerre mondiale, Noyelles abrita une importante base arrière britannique dont un grand camp de coolies (travailleurs immigrés chinois). Ils furent recrutés par l'armée britannique entre 1917 et 1919 dans le cadre du corps de travailleurs chinois (en anglais, Chinese Labour Corps), pour des tâches de manutention à l'arrière du front mais certains connaitront les zones de combat.

Ils représentent l'une des premières immigrations chinoises en France. Ils avaient l'interdiction de se mêler à la population civile du lieu. Certains resteront en France après la Grande Guerre.

Chinois en France

L'entrée du cimetière chinois de Nolette.

Ils étaient affectés à des tâches pénibles et dangereuses comme le terrassement de tranchées, le ramassage des soldats morts sur le champ de bataille, le déminage des terrains reconquis, la blanchisserie, les services de santé auprès des malades, en particulier ceux atteints de la grippe espagnole...

En 1921, le gouvernement britannique décida l'édification du cimetière chinois à Nolette. Le Major Truelove est chargé de sa réalisation sous l'autorité d'Edwin Lutyens.

Depuis 2002, le cimetière de Nolette est le lieu de célébration de la Fête de Qing Ming (Fête des Morts chinoise) en France organisée par le Conseil pour l'intégration des communautés d'origine chinoise en France.

On trouve dans le département de la Somme des tombes de coolies dans les cimetières d'Abbeville, Albert, Daours, Gézaincourt, Tincourt-Boucly et Villers-Carbonnel.

Propriété de l'État français et gérée par la Commonwealth War Graves Commission, la nécropole située près du hameau de Nolette dans la commune de Noyelles-sur-Mer a été inaugurée en 1921 par le Préfet de la Somme. 849 travailleurs chinois sont inhumés à Noyelles-sur-Mer. La plupart travaillait au camp chinois de l'armée britannique situé sur la commune entre 1917 et 1919.

Tombe de Yang Shiyue 楊十月 originaire du Shandong, mort le 12 janvier 19191.

Beaucoup sont morts d'une épidémie de choléra qui a sévi dans le camp, de la grippe espagnole en 1918-1919 ou de la tuberculose, voire tués dans les zones de combat.

Le site est caractérisée par le portail d'entrée, les inscriptions sur les tombes et les essences d'arbres (pins, cèdres...) qu'on ne rencontre pas dans les autres cimetières du Commonwealth ainsi que par l'absence de croix du Sacrifice et de pierre du Souvenir.

Les tombes de ce cimetière sont constituées de 849 stèles en marbre blanc, avec sur chacune d'elle gravée une inscription en anglais « Faithful unto Death » ou « Though dead he still liveth » ou encore « A good reputation endures for ever » ainsi que des idéogrammes chinois et parfois, très rarement, le nom en anglais ou le matricule du défunt.

Le porche monumental et le mur de l'entrée tiennent lieu de mémorial pour la quarantaine de Chinois morts sur terre ou sur mer sans tombes connues.

Des statues de lions offerts par la République populaire de Chine sont situées, non loin de la nécropole, à l'entrée de la rue qui mène au cimetière de Nolette

Children at Amani Nature Reserve Base Camp, Tanzania.

Photo by Carol Colfer/CIFOR

cifor.org

blog.cifor.org

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Went out "owling" with a local expert and we got very lucky to see a pair of Spotted Owls (pretty rare bird around here).

Tech/processing on my blog as usual.

----

Prints available: http://artinnaturephotography.com/

Adventures for your entertainment and edification: artinnature.wordpress.com/

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Community-Based Fire Prevention and Peatland Restoration Phase 2. Kayu Ara Permai Village, Siak.

Photo by Perdana Putra/CIFOR-ICRAF

www.cifor-icraf.org

forestsnews.cifor.org

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and a.sanjaya@cgiar.org

Community-Based Fire Prevention and Peatland Restoration Phase 2. Kayu Ara Permai Village, Siak.

Photo by Perdana Putra/CIFOR-ICRAF

www.cifor-icraf.org

forestsnews.cifor.org

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and a.sanjaya@cgiar.org

"You goin' down Mad 'Arry's, then?" enquired a youth sitting across the gangway on the top deck of the no. 4 as it made its way down Fishponds Road. I felt like replying, in tones of freezing hauteur, "I should most certainly hope not!", or simply cutting the fellow dead, but in my spineless, wishy-washy way I merely mumbled some negative response. Mad Harry's was a penny-in-the-slot amusement arcade in Nelson Street, cannily sited opposite the city's main Labour Exchange. It had an exclusively skinhead clientèle drawn from Bristol's less favoured council housing estates. I had long hair, was an obvious cissy and had once caught some sort of derisive remark addressed to me from its threshold as I'd walked past. I mean ...did I look the sort of person who'd spend his time there?

I can't remember where I was going on that particular occasion, but my usual haunts when I went "in town" were the Central Library, Georges Bookshop and the Museum and Art Gallery. I was also keen on this sort of thing ...wandering alone around the sub-rural edges of the city looking for industrial remains. I had lately read Buchanan & Cossens's Industrial Archaeology of the Bristol Region and Colin Maggs's book about the Avon and Gloucestershire Railway, a horse-drawn tramway, dating back to the 1830s and used to take coal from the collieries of Coalpit Heath and east Bristol to a wharf opposite Keynsham. It was a dead loss almost as soon as it was constructed. It was promoted by the Kennett & Avon Canal Co. and intended to feed water transport. It was hoped, by way of the canal, to supply London with local coal. But the railway age was just coming along; it is thought the horse tramway was entirely disused by the 1860s.

When I was young it had been little known and its course mostly obliterated. None of it had ever been a public Right of Way, of course, and what remained of the trackbed was waterlogged and heavily overgrown. It had to be searched for, investigated and explored ...and I was one of the few people who knew about it. It was mine. Others might have gone to Mad Harry's and experienced more in the way of amusement, which is always a short-lived thing, but I can't help feeling that I gained in happiness, which, though fugitive, can, with husbandry, be more enduring.

All that has changed now, of course, and such experience is no longer available to any young person who might have been susceptible to it. As "The Dramway" (I have always had doubts about the etymology of this term) the line has become a People's democratic leisureological amenity, publicised in local authority pamphlets (available from council offices, libraries and tourist information centres) described on interpretive boards in easily digested, bite-size info-morsels for the edification of passing walkers, and its course indicated at every "access point" by brown "heritage" signs. One senses that solitary exploration would now be somehow frowned upon ...tainted with eccentricity and crankishness. No one can find out for himself or arrive at his own thoughts ...at least, such things are not encouraged.

When the photograph was taken, on Sunday 8th March 1970, this part of the line was about the only substantial length that was passable. I think it must always have been used unofficially as a bridleway and footpath by local people. My pal Tommy Tuppence and I used to come here after school, messing about and getting into mischief. This cutting and the little bridge made it apparent that the path had once been a railway, obviously a fairly small-scale one. For what purpose? How long ago? How recently? The line to Bath Green Park (also by this time disused) followed a parallel course only a few yards away to the right of this picture. Why both? All this had aroused my curiosity. Note the chimneys of the brick and tile works at Warmley, above and just left of the bridge, and the capped shaft of Siston Colliery, just right of the telegraph pole.

Variegated lichens on stratified rock. Please view large for the full impact, and take a second to explore the connections beyond the splashes of color :)

2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN

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Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Yogyakarta III School in Indonesia: Technology, innovation and communication are vital to Asia’s future. An $85 million ADB loan benefited 388,000 madrasah school students, many from low-income households.

Selexyz Dominicanen, a bookstore in Maastricht, is located in the city’s old Dominican Church. November 2009, Maastricht, Netherlands.

Wolfgang Staudt

The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.

The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.

The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.

View on the carpentry structure.

Central spire supporting the carpentry.

Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.

The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.

The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.

From Wikipedia, the free encyclopedia

Johann Nepomuk-Statue, statua del Giovanni Nepomuceno, estatua de Juan Nepomuceno (santo), statue de Jean Népomucène, statue of John of Nepomuk, Jan Nepomucen (duchowny)

(further pictures and information you can see by clicking on the link at the end of page!)

Chronicle of the parish | parish church | parsonage

Parish Centre | Lourdes Chapel

History of the parish

1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.

Parish Church

The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).

Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.

The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.

On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.

From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.

On the right side of the ascent there are statues

of saint Charles Borromeo, who was regarded as the patron saint against the plague.

of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above

of st. Florian, who was popular as a patron of the fire and the forge.

On the left side there are the statues

of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,

the Mother of God as immaculately received Virgin who crushes the serpent's head, and above

of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).

Vicarage

The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.

Parish centre

By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.

Lourdes Chapel

At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.

In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.

www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Working groups meetings in the Kade, Kwaebibirem Municipality.

Photo by CIFOR

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La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.

Elle a été classée monument historique par liste de 1862.

La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.

La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.

La nef et le chœur :

La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.

La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.

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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.

Historia:

La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.

Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.

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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.

The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).

The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).

The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.

While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.

In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).

(further pictures and information you can see by clicking on the link at the end of page!)

Chronicle of the parish | parish church | parsonage

Parish Centre | Lourdes Chapel

History of the parish

1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.

Parish Church

The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).

Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.

The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.

On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.

From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.

On the right side of the ascent there are statues

of saint Charles Borromeo, who was regarded as the patron saint against the plague.

of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above

of st. Florian, who was popular as a patron of the fire and the forge.

On the left side there are the statues

of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,

the Mother of God as immaculately received Virgin who crushes the serpent's head, and above

of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).

Vicarage

The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.

Parish centre

By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.

Lourdes Chapel

At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.

In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.

www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Selexyz Dominicanen, a bookstore in Maastricht, is located in the city’s old Dominican Church. November 2009, Maastricht, Netherlands.

Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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

A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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

CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

What a cheek, i was mistaken for one of the gargoyles lol. Tradition has it that Notre-Dame’s first stone was laid in 1163 in the presence of Pope Alexander III. Four major construction campaigns, led by four builders, were the highlight of this period: 1163-1182 : construction of the choir and its double deambulatory. The choir’s high altar was dedicated on 19 May 1182 by Henri de Château-Marçay, the Papal legat, assisted by the bishop Maurice de Sully. (first builder). 1182-1190 : construction of the last three bays in the nave, the side aisles and the tribunes. (second builder). 1190-1225 : edification of the façade courses and the first two bays in the nave, connection of the two bays to the upper façade and the Gallery of Kings. (third builder). 1225-1250 : upper gallery and two towers on the façade, modification and expansion of the upper windows and fitting out the nave side chapels between the flying buttresses’ abutments (fourth builder).

This picture was taken from a cruise boat on the river Seine. It was 25 degrees on the Sunday and the banks were full of semi naked parisians enjoying the unusually hot weather. Sorry, no pictures of them !

Lesson at UNIKIS, Kisangani - DRC.

Photo by Axel Fassio/CIFOR-ICRAF

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If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: news@cifor-icraf.org and a.sanjaya@cifor-icraf.org

duration: 58 extra dull secs. - mercifully silent

WARNING! Contains mild to moderate boredom and sustained ennui from the outset.

One of the bars of the Brighton Dome was transformed into a raucous Kafkaesque drinking hall with slowly colour changing lights - of the LED kind, no doubt. Not my cup of tea, but hugely popular with some, none the less. The effect is re-created for your entertainment and edification here (and watchable in HD).

Viewers wishing to prolong the experience beyond a minute must re-click on the "play" button (which can be found conveniently located in the bottom left hand corner of the image) at 60 second intervals.

It is to tackle just this sort of outrage that flickr wisely and sensibly chose to time limit flickr videos to 90 seconds.

Younger viewers (who by the way are not allowed to drink alcoholic beverages of any kind, a prohibition mandated by law) may be interested to know that the stupid "silly triangle" play button logo harks back to olden times when video and audio was recorded using magnets onto incredibly flimsy plastic tape with rust glued onto it. (I kid you not). The tape was very, very, long, and had to be stored on reels. To play the tape, it was dragged over something technical called a tape head. A tape head is a type of anlogue computer. It serves two functions: firstly to remove annoying high audio frequencies above about 2 to 3 kilohertz; and secondly to synthesise a pleasant hissing noise to accompany the music or - in the case of video - to make it look like it is snowing.

The ubiquitous "silly triangle" play icon is in fact an arrow, that was used to indicate the direction of tape travel past the tape heads.

Part of a set / slideshow documenting in photographs and video the White Night / Nuit Blanche festival held in Brighton and Hove at the end of October 2010.

See also these related flickr galleries: White Night Brighton +Silhouettes +Light +Colours +People and from the sister festival in Picardie Nuit Blanche Amiens.

The set description contains additional related external links.

abandoned in an examination room, waiting endlessly for an appointment, began photographing the greusome posters put there for my edification. I love the colors. Ah, the sensuous emerald bile duct... or maybe that's the appendix. Whatever.

Visit to IIAP Carbon monitoring site, Quistococha.

Photo by Junior Raborg/CIFOR-ICRAF

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If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org

May 9, 2012 - Arlington, Virginia, USA - National Bike to School Day, Key School Escuela Key Elementary (Credit Image: © Dasha Rosato)

English

Saint-Malo Cathedral (Cathédrale Saint-Vincent-de-Saragosse de Saint-Malo) is a Roman Catholic cathedral dedicated to Saint Vincent of Saragossa, and a national monument of France, in Saint-Malo, Brittany.

It was formerly the seat of the Bishop of Saint-Malo. This see was created in 1146 when Jean de Châtillon, Bishop of Aleth, transferred his bishopric to the growing town of Saint-Malo on a more secure site across the river. The monastery of Saint Malo, founded in 1108, became the home of the bishopric and its church the new cathedral, replacing Aleth Cathedral.

It was abolished under the Concordat of 1801 and its territory divided between the dioceses of Rennes, Saint-Brieuc and Vannes.

FRENCH

La cathédrale Saint-Vincent-de-Saragosse de Saint-Malo est une ancienne cathédrale catholique romaine dédiée à saint Vincent de Saragosse, situé à Saint-Malo en Bretagne. Son architecture mélange les styles roman et gothique, et elle est classée monument historique de France1.

Elle a été le siège de l'ancien évêché de Saint-Malo depuis l'année 1146. Ce dernier fut supprimé par le concordat de 1801, et son territoire réparti entre les diocèses de Rennes, de Saint-Brieuc et de Vannes.

L'évêché de Saint-Malo fut créé en 1146, lorsque Jean de Châtillon, évêque d'Aleth depuis 1144, transféra son évêché à Saint-Malo, ville en croissance continue à l'époque, qui constituait en outre un site beaucoup plus sûr. Il fallut attendre 1146 et l'agrément du pape Eugène III, pour que le transfert puisse s'effectuer. Le monastère de Saint-Malo, fondé en 1108, devint la résidence de l'évêque et son église monastique devint cathédrale, remplaçant ainsi la cathédrale Saint-Pierre d'Aleth. Des transformations furent réalisées dont l'édification du chœur, ce qui en fit un monument totalement de style roman.

De cet édifice de style roman du XIIe siècle subsistent la nef, la croisée du transept et une travée des croisillons nord et sud, ainsi qu'une partie du cloître. Le chœur a été reconstruit au XIIIe siècle, la tour commencée au XIIe fut surélevée au XVe, de même que le collatéral sud et trois chapelles du chœur. À la fin du XVIe siècle et au début du XVIIe siècle (entre 1583 et 1607), on reconstruisit le collatéral nord, tandis que le transept nord fut agrandi. L'aile du rosaire au sud fut commencée dans les années 1620. En 1695, les canons de la flotte anglo-hollandaise détruisirent la rosace du chevet, laquelle fut remplacée par trois baies en plein-cintre.

Au XVIIIe siècle, on édifia la chapelle sud, et la tour du clocher fut surélevée. La façade fut reconstruite peu après, en style néoclassique (1772-1773).

Au XIXe siècle, Napoléon III se laissa convaincre par le curé de l'époque de faire coiffer la tour d'une grande flèche ajourée, laquelle fut entourée de quatre clochetons ajourés, construite par Frangeul Père et Fils. (Cette flèche remplaçait un petit dôme d'ardoise).

Au XXe siècle enfin, la cathédrale fut endommagée lors des combats de l'été 1944. La flèche fut pilonée par un destroyer Allemand, croyant qu'elle pourrait servir de repère aux Américains, et elle s'écroula sur la chapelle dite « du Sacré-Cœur ». Les dégâts nécessitèrent une restauration importante qui débuta dès 1944, dirigée par l'architecte Raymond Cornon, et se termina en 1972. La flèche de la cathédrale fut reconstruite en un style plus proche de celui de l'ensemble de l'édifice par l'architecte Prunet et abrite quatre cloches, ce clocher a été vivement contesté par les Malouins à l'époque, et aujourd'hui encore beaucoup de Malouins regrettent l'ancienne flèche.

Suite à la grande restauration de 1944-1972 et aux derniers embellissements, on peut dire que la cathédrale Saint-Vincent-de-Saragosse à Saint-Malo a retrouvé toute sa splendeur.

Une nouvelle grande rosace conçue par Raymond Cornon, a remplacé les trois baies du chevet et restitue le visage de la cathédrale tel qu'il était avant les destructions anglaises de 1695. Jean Le Moal orna de vitraux les fenêtres des bras du transept et du chœur réalisés par Bernard Allain. Les nouveaux vitraux de la nef ont quant à eux été réalisés par Max Ingrand.

Les grandes orgues réalisées par les facteurs Koenig, père et fils, construites en 1977 et inaugurées en 1980. Il est composé de 4 claviers et 1 pédalier et 35 jeux, cet orgue remplace celui de Louis Debierre construit en 1893 de style romantique qui fut détruit en 1944.

Le mobilier du sanctuaire comporte notamment un maître-autel, un siège de présidence et un baptistère en bronze. Ce sont des œuvres d'Arcabas père et fils.

La cathédrale abrite également les restes de l'évêque fondateur Jean de Châtillon, de Jacques Cartier et du corsaire René Duguay-Trouin.

Depuis 2003, elle abrite la statue de la Vierge à l'Enfant dite Notre-Dame de la Grand'Porte. Celle-ci restaurée se trouvait initialement au dessus de la Grand-Porte de Saint-Malo intra-muros où elle pour des raisons de protection et des intempéries remplacée par une copie.

português

A Catedral de São Vicente de Zaragoza Saint-Malo é um ex-catedral católica romana dedicada a São Vicente de Saragoça, localizado em Saint-Malo, na Bretanha. Sua arquitetura mistura os estilos românico e gótico, e é classificada como um monumento histórico na França 1.

Era o local do bispado ex-St. Malo dos 1146 anos. O último foi suprimido pela Concordata de 1801, e seu território dividido entre as dioceses de Rennes, Saint-Brieuc e Vannes.

O bispado de St. Malo foi criado em 1146, quando Jean de Châtillon, Bispo de Aleth desde 1144, transferiu sua sede em Saint-Malo, o crescimento da cidade continua na época, que era também um local muito mais seguro . Não foi até 1146 ea aprovação do Papa Eugênio III, a transferência pode ter lugar. O mosteiro de Saint-Malo, fundada em 1108, tornou-se a residência do bispo e da igreja monástica tornou-se uma catedral, substituindo a Catedral de St. Pierre Aleth. Transformações foram realizadas com a construção do coro, que fizeram um total de monumentos românicos.

Este edifício românico do século XII, permanecem a nave, o transepto e cintas abrangem o norte eo sul, e parte do claustro. A capela-mor foi reconstruído no século XIII, a torre foi iniciada no décimo segundo ao décimo quinto levantadas, bem como o corredor sul do coro e três capelas. No final do século XVI e início do século XVII (entre 1583 e 1607), que reconstruiu o corredor norte, enquanto o transepto norte foi alargada. A ala sul do Rosário foi iniciada na década de 1620. Em 1695, as armas da frota anglo-holandesa destruiu a rosácea da abside, que foi substituído por três baía semicircular.

No século XVIII, construiu a capela ao sul, ea torre sineira foi levantada. A fachada foi reconstruída logo depois, em estilo neoclássico (1772-1773).

No século XIX, Napoleão III foi persuadido pelo sacerdote do tempo para tampar a torre de uma grande seta perfurado, que foi cercado por quatro torres perfurado, Frangeul construído pelo Pai e Filho. (Esta seta substituiu uma pequena cúpula de ardósia).

Finalmente no século XX, a catedral foi danificada durante o conflito no verão de 1944. A seta foi pilonée um destróier alemão, acreditando que ele poderia servir como uma referência para os americanos, e ela caiu sobre a capela chamada de "Sagrado Coração". O dano exigiu uma grande restauração, que começou em 1944, liderado pelo arquiteto Raymond Cornon, e terminou em 1972. A torre da catedral foi reconstruída em um estilo mais próximo ao de todo o edifício pela Prunet arquiteto e casas quatro sinos, o sino foi fortemente contestada pelo St. Malo na época, e hoje grande parte do Malouins seta velha arrependimento.

Após a grande restauração de 1944-1972 e as últimas melhorias, podemos dizer que a Catedral de São Vicente de Saragoça, em Saint-Malo recuperou toda a sua glória.

Uma janela nova rosa grande desenhado por Raymond Cornon, substituiu os três baías da abside e restaura o rosto da catedral como era antes da destruição da Inglaterra em 1695. Jean Le Moal adornado com vitrais na transeptos e coro conduzido por Bernard Allain. As novas janelas na nave foram entretanto feitas por Max Ingrand.

O grande órgão feito por fatores Koenig, pai e filho, construído em 1977 e inaugurado em 1980. Tem 4 teclados e um pedal e 35 jogos, este órgão substitui o Debierre Louis construída em 1893 em estilo romântico, que foi destruída em 1944.

A mobília do santuário deve incluir um altar, um assento de cadeira e um batistério bronze. Estas são obras de Arcabas pai e filho.

A catedral também abriga os restos mortais do fundador Jean Bispo de Chatillon, Jacques Cartier e corsário René Duguay-Trouin.

Desde 2003, abriga a estátua da Virgem com o Menino conhecida como Nossa Senhora de Porte do Grand '. Ele foi inicialmente restaurados pela Grande Porte de Saint-Malo intra muros, onde por razões de protecção dos elementos e substituído por uma cópia.

I spent the last three evenings watching the Republican National Convention, more (it turns out) for amusement than for edification.

While standing in line this morning to pick up a birthday card at Walgreens, I was thinking about Clint Eastwood's fifteen minute bit last night, and the reaction to it, so I was surprised, when I glanced up, to see Clint glaring back at me, from the cover of LIFE/ICONS.

Eastwood's performance at the convention had amused and bemused me, while doing nothing to diminish my respect for his talent and my enjoyment of his films.

I can't find a verb for iconoclasty, specifically self-iconoclasty, but there should really be one... and don't try to tell me you can't do that to yourself...

Oh, go ahead. Make my day.

I passed a sign pointing to Woodbastwick every day for five years once posted to Coltishall, and so commuting between there and Oulton Broad via the back roads and Reedham Ferry.

These days I know Woodbastwick as the home of Woodforde's Brewery, makers of fine ales even available in places as far flung as Kent.

I was in the village mainly to buy some fine bottled ales, but then I knew the church was here is usually open, so what could go wrong?

It being locked, or me being unable to open the door, which amounts to the same thing. I am pretty sure it was locked, despite the sign outside claiming otherwise.

So, over to Simon:

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Woodbastwick sits on the edge of one of the loveliest parts of Norfolk - but we had come to it in late winter through the grim flat fields and workaday villages to the east of Norwich, so it was doubly a surprise to arrive suddenly at the pretty village green with its thatched well house, and Sir George Gilbert Scott's tower of St Fabian and St Sebastian beyond. All around are pleasing 19th century estate cottages, some with biblical texts on their frontages. And, this being the Broads, the church was open, as they all seem to be around here - a welcome change from Postwick, Little Plumstead and Great Plumstead.

St Fabian and Sebastian is one of Norfolk's three nationally unique dedications (the others are at Bixley and Little Plumstead) and seems to be a 19th century Anglo-catholic affectation, the two Saints have nothing in common other than a shared feast day, Fabian being an early Pope, and Sebastian the martyr whose life was rather colourfully portrayed by the late Derek Jarman.

Woodbastwick was the home of the Cator family, the Anglo-catholic enthusiasts suggested above, and in the 1870s they paid for a massive rebuilding here. There had been a stump of a tower, and the nave had rather attractive stepped gables, which have been retained, as has much of the window tracery. The budget was a massive £5,000, about a million in today's money; by contrast, the 1890s rebuilding of nearby Great Plumstead cost a mere £1,500, and that was after the rampant inflation of the 1880s.

Scott's tower is pretty rather than massive, and the thatched roofs are very attractive in a sort of Olde Englande way.

Inside, even on this dark day, we could see the glimmer and sparkle of the best that the Anglo-catholic movement had to offer. Rather annoyingly, a security light at the back of the church came on every time one of us moved, going off again five seconds later to plunge the nave back into gloom. It is possible to switch it off during your visit, but I had probably better not suggest this as there is a notice telling you that you shouldn't.

Pretty much everything is renewed. The font went to Salhouse (although the lovely churchwarden at Salhouse said I shouldn't mention this, in case they want it back) and virtually all the woodwork was replaced, although the lower part of the screen is the medieval one, and we found a couple of old benches stacked up in the vestry.

Considering the budget, the glass is not great, considering that that in the chancel is by Clayton and Bell, and that in the nave by Lavers, Barraud and Westlake. It may just be that these attempts to replicate small scale 14th century glass are not as fashionable nowadays as thorough-going Victorian style work like the lovely set in the vestry of St Cecilia, the Virgin Mother of God, and St Catherine, probably also by Clayton and Bell. The reredos is better than any of the glass, I think. Best of all in any case is the superb art nouveau war memorial in the nave, one of the best I've seen in Norfolk.

There are some very good 20th century memorials to the Cator family on the north wall of the nave, and generally this is a well-kept, cherished building that is usually open and welcoming. I liked it a lot.

Simon Knott, February 2005

www.norfolkchurches.co.uk/woodbastwick/index1.html

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At the survey the King had 30 acres of land, 2 acres and a half, a carucate of meadow, valued at 16d. of which a freeman had been deprived; (fn. 1) the Conqueror had also the land of which a socman (of Gert as I take it) had been deprived, viz. 27 acres of land, a carucate and 3 acres of meadow, these Godric his steward took care of. (fn. 2)

This came by a grant from the Crown to the family of Le Veile. (fn. 3) In the 6th of Richard I. Emma, widow of Richard Le Veile, gave 15 marks for liberty to marry whom she would, and to have custody of her heir, and their land during the King's pleasure.

In the 10th of King John, Thomas Le Veile, conveyed by fine 40 acres of land to Walter, son of Robert Briton.

Sir Roger le Veile in the 4th of King Edward I. grants several lands here to his son John, and in Laringsete, &c. reserving an estate for life to himself, and John was returned to have a lordship in the 9th of Edward II.

John Veile, Esq. was living here in the 9th of Henry IV. and in the 6th of Henry VI. William Le Veile died lord of this manor, and of Laringset in Norfolk; and John was his son and heir, aged 16, and John le Veile was lord in the 5th of Edward IV.

Philip Curson, Gent. alderman of Norwich, by his will in 1502, appoints that Agnes his wife should have all her father's lands in this town, called Levyle's, for her life, and all his lands purchased here in Radworth and Sallows, to his son John, and his heirs male.

This Agnes was daughter and heir of John Le Veile, and John Curson and Frances his wife, convey it to John Walpole, Ao. 32 Henry VIII.

The abbey of St. Bennet at Holm, had a lordship at the survey, given as is said, to that convent, by King Edward the Confessor, consisting in King Edward's reign, of one carucate of land, and 20 acres, and 9 villains, one servus, with a carucate in demean, and one among the tenants, 14 acres of meadow, one runcus, and 20 sheep.

Nine socmen had also 46 acres, and a carucate, and 3 acres of meadow, valued at 20s. but at the survey at 40s. It was half a leuca long, and half a one broad, and paid 16d. gelt.

In 1250, the rent of assise of this manor was 41s. 5d. ob. and there were 61 acres of arable land at 4d. per acre. (fn. 4)

In the 15th of Edward I. the abbot had the assise of bread and beer, in the view of the King's bailiff of the hundred, and held the town as part of his barony.

The temporalities of the abbey in 1428, were valued at 10l. 6s. 1d. ob. On the exchange of lands between King Henry VIII. and Bishop Rugg, this manor of Wood Bastwick is not mentioned.

On October 12, 1545, this manor with the rectory, &c. was by way of exchange granted by Bishop Rugg, to John Corbet, Esq. for his manor of Bacon's in Ludham by the King's license; he was also lord of the manor of Le Veile's in this town; and Miles his son had livery of it in the first of Queen Elizabeth. In this family it continued till the death of Sir Thomas Corbet, Bart. who dying without issue, soon after the restoration of Charles II. it came to Elizabeth, one of his sisters, married to Robert Houghton, Esq. of Ranworth; and in 1698, there was an act of parliament to vest the estate of John Houghton, Esq. in Wood-Bastwick in trustees, for payment of his debts.

H. Harbord, Esq. patron in 1740, and lord.

The Church was dedicated to St. Fabian, and was appropriated to the abbey of St. Bennet of Holm, first by William Tarbe Bishop of Norwich, next by Bishop William Raleigh, and after by William de Suffield, Bishop, in 1249, and a vicarage was settled, valued with the appropriated rectory at 12 marks. (fn. 5) Peter-pence 16d. carvage 3d. The present valor is 3l. 6s and is discharged.

In the fourth year of King John, Ralph, abbot of Holm, was petent, Thomas Rydel and Cecilia his wife deforciants, of the 3d part of the advowson of this church, acknowledged to belong to the abbot, who gave to them half a mark of silver.

Ralph Goodwyn in 1518, gave to the edification of the steeple here, 13s. 4d.

Vicars.

In 1311, Henry Syward instituted vicar, presented by the abbot, &c. of Holm.

Thomas Herod, vicar.

1346, Walter Chervile.

1349, Jeffrey Josep, presented by the King, the abbey being void.

1400, John Parys, by the abbot.

On the exchange abovementioned, between Bishop Rugg and Corbet, the impropriated rectory and the patronage of the vicarage came to Corbet.

John Cowper vicar, Ao. 2d Edw. VI. occurs.

William Estwell, vicar,

Andrew Clerk vicar.

Thomas Pott, about 1600.

Benjamin Young, to Wood-Bastwick cum Panxford, by the Bishop.

1736, William Gerard, ditto, on Young's death.

¶Ralph de Beaufoe had a lordship here on the Conquest, of which Godric a freeman was deprived, 4 socmen belonging to Gresham had 7 acres of land, and one villain had 15 acres. Beaufoe had also a grant of the lands of Ulketel and Witheri, 2 freemen of King Herold's, who had 4 socmen, and the moiety of another, and 6 borderers, with 11 acres of land, and one of meadow, and half a carucate, valued in Gresham, and Ulketel held 40 acres of land, and 4 of meadow, valued in the same village of Gresham. (fn. 6) Of this see in Tunstal.

Nicholas Bond aliened to the prior of Beeston, in the 3d of Richard II. 2 messuages, 39 acres of land, 8 of heath, and 57s. rent in Wood Bastwick, Randworth, Panksford, &c.

Carhow priory temporalities were valued at 11s. and 4d. in 1428.

The tenths were 2l. 4s. Deducted 6s. 8d.

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

Coney Island, Brooklyn, New York City, New York, United States

The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.

The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.

DESCRIPTION AND ANALYSIS

Coney Island

Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.

Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”

By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.

It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.

The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.

The Coney Island Theater Building

This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”

By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,

The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.

These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,

These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.

The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.

Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”

The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.

Chanin Construction Company

The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.

Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.

The Loew’s Corporation

From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.

During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.

Reilly & Hall

Paul C. Reilly, (1890 – 1984)

Douglas Pairman Hall (1880 – 1945)

Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.

Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.

Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.

Neo Renaissance Revival Style and the Movies

The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.

Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.

History of the Loew’s Theater

The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.

Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.

The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.

By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.

It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.

Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.

Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.

Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.

The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.

At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.

The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.

- From the 2010 NYCLPC Landmark Designation Report

English

Saint-Malo Cathedral (Cathédrale Saint-Vincent-de-Saragosse de Saint-Malo) is a Roman Catholic cathedral dedicated to Saint Vincent of Saragossa, and a national monument of France, in Saint-Malo, Brittany.

It was formerly the seat of the Bishop of Saint-Malo. This see was created in 1146 when Jean de Châtillon, Bishop of Aleth, transferred his bishopric to the growing town of Saint-Malo on a more secure site across the river. The monastery of Saint Malo, founded in 1108, became the home of the bishopric and its church the new cathedral, replacing Aleth Cathedral.

It was abolished under the Concordat of 1801 and its territory divided between the dioceses of Rennes, Saint-Brieuc and Vannes.

FRENCH

La cathédrale Saint-Vincent-de-Saragosse de Saint-Malo est une ancienne cathédrale catholique romaine dédiée à saint Vincent de Saragosse, situé à Saint-Malo en Bretagne. Son architecture mélange les styles roman et gothique, et elle est classée monument historique de France1.

Elle a été le siège de l'ancien évêché de Saint-Malo depuis l'année 1146. Ce dernier fut supprimé par le concordat de 1801, et son territoire réparti entre les diocèses de Rennes, de Saint-Brieuc et de Vannes.

L'évêché de Saint-Malo fut créé en 1146, lorsque Jean de Châtillon, évêque d'Aleth depuis 1144, transféra son évêché à Saint-Malo, ville en croissance continue à l'époque, qui constituait en outre un site beaucoup plus sûr. Il fallut attendre 1146 et l'agrément du pape Eugène III, pour que le transfert puisse s'effectuer. Le monastère de Saint-Malo, fondé en 1108, devint la résidence de l'évêque et son église monastique devint cathédrale, remplaçant ainsi la cathédrale Saint-Pierre d'Aleth. Des transformations furent réalisées dont l'édification du chœur, ce qui en fit un monument totalement de style roman.

De cet édifice de style roman du XIIe siècle subsistent la nef, la croisée du transept et une travée des croisillons nord et sud, ainsi qu'une partie du cloître. Le chœur a été reconstruit au XIIIe siècle, la tour commencée au XIIe fut surélevée au XVe, de même que le collatéral sud et trois chapelles du chœur. À la fin du XVIe siècle et au début du XVIIe siècle (entre 1583 et 1607), on reconstruisit le collatéral nord, tandis que le transept nord fut agrandi. L'aile du rosaire au sud fut commencée dans les années 1620. En 1695, les canons de la flotte anglo-hollandaise détruisirent la rosace du chevet, laquelle fut remplacée par trois baies en plein-cintre.

Au XVIIIe siècle, on édifia la chapelle sud, et la tour du clocher fut surélevée. La façade fut reconstruite peu après, en style néoclassique (1772-1773).

Au XIXe siècle, Napoléon III se laissa convaincre par le curé de l'époque de faire coiffer la tour d'une grande flèche ajourée, laquelle fut entourée de quatre clochetons ajourés, construite par Frangeul Père et Fils. (Cette flèche remplaçait un petit dôme d'ardoise).

Au XXe siècle enfin, la cathédrale fut endommagée lors des combats de l'été 1944. La flèche fut pilonée par un destroyer Allemand, croyant qu'elle pourrait servir de repère aux Américains, et elle s'écroula sur la chapelle dite « du Sacré-Cœur ». Les dégâts nécessitèrent une restauration importante qui débuta dès 1944, dirigée par l'architecte Raymond Cornon, et se termina en 1972. La flèche de la cathédrale fut reconstruite en un style plus proche de celui de l'ensemble de l'édifice par l'architecte Prunet et abrite quatre cloches, ce clocher a été vivement contesté par les Malouins à l'époque, et aujourd'hui encore beaucoup de Malouins regrettent l'ancienne flèche.

Suite à la grande restauration de 1944-1972 et aux derniers embellissements, on peut dire que la cathédrale Saint-Vincent-de-Saragosse à Saint-Malo a retrouvé toute sa splendeur.

Une nouvelle grande rosace conçue par Raymond Cornon, a remplacé les trois baies du chevet et restitue le visage de la cathédrale tel qu'il était avant les destructions anglaises de 1695. Jean Le Moal orna de vitraux les fenêtres des bras du transept et du chœur réalisés par Bernard Allain. Les nouveaux vitraux de la nef ont quant à eux été réalisés par Max Ingrand.

Les grandes orgues réalisées par les facteurs Koenig, père et fils, construites en 1977 et inaugurées en 1980. Il est composé de 4 claviers et 1 pédalier et 35 jeux, cet orgue remplace celui de Louis Debierre construit en 1893 de style romantique qui fut détruit en 1944.

Le mobilier du sanctuaire comporte notamment un maître-autel, un siège de présidence et un baptistère en bronze. Ce sont des œuvres d'Arcabas père et fils.

La cathédrale abrite également les restes de l'évêque fondateur Jean de Châtillon, de Jacques Cartier et du corsaire René Duguay-Trouin.

Depuis 2003, elle abrite la statue de la Vierge à l'Enfant dite Notre-Dame de la Grand'Porte. Celle-ci restaurée se trouvait initialement au dessus de la Grand-Porte de Saint-Malo intra-muros où elle pour des raisons de protection et des intempéries remplacée par une copie.

português

A Catedral de São Vicente de Zaragoza Saint-Malo é um ex-catedral católica romana dedicada a São Vicente de Saragoça, localizado em Saint-Malo, na Bretanha. Sua arquitetura mistura os estilos românico e gótico, e é classificada como um monumento histórico na França 1.

Era o local do bispado ex-St. Malo dos 1146 anos. O último foi suprimido pela Concordata de 1801, e seu território dividido entre as dioceses de Rennes, Saint-Brieuc e Vannes.

O bispado de St. Malo foi criado em 1146, quando Jean de Châtillon, Bispo de Aleth desde 1144, transferiu sua sede em Saint-Malo, o crescimento da cidade continua na época, que era também um local muito mais seguro . Não foi até 1146 ea aprovação do Papa Eugênio III, a transferência pode ter lugar. O mosteiro de Saint-Malo, fundada em 1108, tornou-se a residência do bispo e da igreja monástica tornou-se uma catedral, substituindo a Catedral de St. Pierre Aleth. Transformações foram realizadas com a construção do coro, que fizeram um total de monumentos românicos.

Este edifício românico do século XII, permanecem a nave, o transepto e cintas abrangem o norte eo sul, e parte do claustro. A capela-mor foi reconstruído no século XIII, a torre foi iniciada no décimo segundo ao décimo quinto levantadas, bem como o corredor sul do coro e três capelas. No final do século XVI e início do século XVII (entre 1583 e 1607), que reconstruiu o corredor norte, enquanto o transepto norte foi alargada. A ala sul do Rosário foi iniciada na década de 1620. Em 1695, as armas da frota anglo-holandesa destruiu a rosácea da abside, que foi substituído por três baía semicircular.

No século XVIII, construiu a capela ao sul, ea torre sineira foi levantada. A fachada foi reconstruída logo depois, em estilo neoclássico (1772-1773).

No século XIX, Napoleão III foi persuadido pelo sacerdote do tempo para tampar a torre de uma grande seta perfurado, que foi cercado por quatro torres perfurado, Frangeul construído pelo Pai e Filho. (Esta seta substituiu uma pequena cúpula de ardósia).

Finalmente no século XX, a catedral foi danificada durante o conflito no verão de 1944. A seta foi pilonée um destróier alemão, acreditando que ele poderia servir como uma referência para os americanos, e ela caiu sobre a capela chamada de "Sagrado Coração". O dano exigiu uma grande restauração, que começou em 1944, liderado pelo arquiteto Raymond Cornon, e terminou em 1972. A torre da catedral foi reconstruída em um estilo mais próximo ao de todo o edifício pela Prunet arquiteto e casas quatro sinos, o sino foi fortemente contestada pelo St. Malo na época, e hoje grande parte do Malouins seta velha arrependimento.

Após a grande restauração de 1944-1972 e as últimas melhorias, podemos dizer que a Catedral de São Vicente de Saragoça, em Saint-Malo recuperou toda a sua glória.

Uma janela nova rosa grande desenhado por Raymond Cornon, substituiu os três baías da abside e restaura o rosto da catedral como era antes da destruição da Inglaterra em 1695. Jean Le Moal adornado com vitrais na transeptos e coro conduzido por Bernard Allain. As novas janelas na nave foram entretanto feitas por Max Ingrand.

O grande órgão feito por fatores Koenig, pai e filho, construído em 1977 e inaugurado em 1980. Tem 4 teclados e um pedal e 35 jogos, este órgão substitui o Debierre Louis construída em 1893 em estilo romântico, que foi destruída em 1944.

A mobília do santuário deve incluir um altar, um assento de cadeira e um batistério bronze. Estas são obras de Arcabas pai e filho.

A catedral também abriga os restos mortais do fundador Jean Bispo de Chatillon, Jacques Cartier e corsário René Duguay-Trouin.

Desde 2003, abriga a estátua da Virgem com o Menino conhecida como Nossa Senhora de Porte do Grand '. Ele foi inicialmente restaurados pela Grande Porte de Saint-Malo intra muros, onde por razões de protecção dos elementos e substituído por uma cópia.

Assisted Natural Renegeration demonstration plot.

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April 2021 acacia plantation near the village of Moussa, Yangambi - DRC.

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Coney Island, Brooklyn, New York City, New York, United States

The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.

The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.

DESCRIPTION AND ANALYSIS

Coney Island

Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.

Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”

By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.

It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.

The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.

The Coney Island Theater Building

This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”

By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,

The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.

These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,

These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.

The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.

Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”

The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.

Chanin Construction Company

The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.

Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.

The Loew’s Corporation

From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.

During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.

Reilly & Hall

Paul C. Reilly, (1890 – 1984)

Douglas Pairman Hall (1880 – 1945)

Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.

Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.

Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.

Neo Renaissance Revival Style and the Movies

The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.

Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.

History of the Loew’s Theater

The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.

Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.

The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.

By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.

It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.

Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.

Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.

Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.

The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.

At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.

The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.

- From the 2010 NYCLPC Landmark Designation Report

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Down the hill from Challock and Kings Wood, sitting on the junction of two ancient high roads, but now split in half by the A20, Charing is delightful.

It is nine years perhaps since I was last here. I took two shots outside, and four inside.

How could I have been so blind?

Charing is a tangle of narrow lanes and timber framed houses, with the church at the end of a narrow lane which ends in what used to be the market place. To the north of the square sits what used to be the Bishop's Palace, still an impressive collection of buildings, although now a private dwelling and a farm.

I found the church open, and was first struck by its fine decoration and impressive size.

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A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

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

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CHARING

IS the adjoining parish to Westwell north-westward. It is written in Domesday, Cheringes, and in other antient records, Cerringes and Cherring.

It lies partly below and partly above the upper range of chalk hills, where there is much woodland. It is a healthy, though not a very pleasant situation, from the nature of the soils in it, all which are but poor; about the town or village, and to the summit of the hill it is chalky; above the hill a red cludgy earth covered with slints, and below the town mostly a sand. At the western boundary, next to Lenham, is Charing heath; it is watered by several small streamlets, which rising near the foot of the hills, direct their course southward into the Stour, which runs towards Ashford just below the boundary of it. The village, or town of Charing, as it is more usually called, stands at the foot of the hill, called from it Charing-hill, over which the high road leads through it from Faversham, through Smarden and Biddenden, and thence to Cranbrooke and Tenterden in the Weald. The high road likewise from Ashford, since the new turnpike has been completed, is made by new cuts to pass through this town and Lenham, instead of its former more southern circuit by Chilson park and Sandway towards Maidstone, shortening its distance considerably. Notwithstanding these roads, there is no great matter of traffic through it, the town is unpaved, and has a clean countryfied look, there is a good house in it, formerly belonging to the Poole's, whose arms were, Azure, a lion rampant, argent, semee, of fleur de lis, or. Afterwards to Dr. Ludwell, who bore for his arms, Gules, on a bend, argent, three eagles, azure, between two castles of the second; and then to the Carter's, one of whom sold it to George Norwood, esq. who resides in it. Not far from it is an antient mansion, which has been modernized formerly, called Peirce-house, now belonging to Mr. James Wakeley, who resides in it; at a small distance from the street eastward is the ruinated palace, the church and the vicarage, a pleasant habitable dwelling.

There are large ruins of the archiepiscopal palace still remaining; the antient great gateway to it is now standing, and much of the sides of the court within it, on the east side of which seems to have been the dining-room, the walls of which remain, and it is converted into a barn. On the opposite side to this are many of the offices, now made into stables. Fronting the great gateway above-mentioned, seems to have been the entrance into the palace itself, part of which, on the east side, is fitted up as a dwelling-house, at the back of which, northward, are the remains of the chapel, the walls of which are standing entire, being built of squared stone, mixed with slints; on the side wall of it are three windows, with pointed arches, and at the east end a much larger one, of the same form. Sir Nicholas Gilborne, hereafter mentioned, as having resided here in king James I.'s reign, was son of William Gilborne, esq. of London, who lies buried in St. Catherine's Creechurch, London, descended from the Gilbornes, of Ereswike, in Yorkshire, and bore for their arms, Azure, on a chevron, or, three roses gules, within a bordure of the second. (fn. 1) Sir Nicholas had two sons and several daughters; one of whom, Anne, married Charles Wheler, esq. of Tottenham, grandfather of Sir George Wheler, D. D. and prebendary of Durham, the purchaser afterwards of this manor and palace, as will be further mentioned.

The two sairs which were granted in the 21st year of king Henry VI. are now held on April 29, and October 29, for horses, cattle, and pedlary.

The parish has in it the boroughs of Town, Sandpit, East Lenham, part of Field, and Acton.

Several of our antiquaries have supposed the Roman station, mentioned in the 2d iter of Antonine by the name of Durolevum, corruptly for Durolenum, to have been in this neighbourhood; and Dr. Plot mentions his discovery of a Roman way, which seemed to have passed the Medway at Teston, and crossing Cocksheath, pointed towards Lenham hither. Most of those who have contended for this station having been hereabouts, have fixed it at Lenham. Only two of them, Mr. Talbot and Dr. Stukeley, after much hesitation, where to place it, were for its having been here at Charing; the latter founded his opinion on the Roman antiquities, which he says, have been found all about here, which Horsley accounts for, from a supposition of this having been only a notilia way, and indeed there is but little, if any, foundation for any supposition that the station above-mentioned was here at Charing; that it was a notitia way, there is great reason to suppose, as has been already mentioned before, in the description of Lenham, to which may be added, that there is in this parish, about a mile S. S. W. from the town a hamlet called Stone-street, a name, which is a certain indication of its note in former times.

Mr. Jacob, in his Plantœ Favershamienses, has taken notice of several scarce plants in this parish, to which account the reader is referred from them.

There was a family who took their name from this parish, one of whom, Adam de Cherringes, was excommunicated by archbishop Becket, and, as it should seem, to blot out the heinousness of this offence, afterwards, in the time of archbishop Baldwin, the next successor but one to Becket, founded an hospital for leprous persons, at Romney, in honour of St. Stephen and St. Thomas Becket.

Anno 26 Edward I. the king granted licence to shut up a high road leading from Charing to Ashford.

¶The vulgar tradition, that Charing cross, in Westminster, was so called from a cross, which once stood on the summit of the hill here, which being taken from hence, was carried and set up there, is entirely without foundation; for the cross, which stood where the figure of king Charles on horseback now is at Charing-cross, in the centre of the three highways, as was then usual, was made and erected there in the year 1292, anno 21 Edward I. in that village which long before had been called Cheringes, and Charing, but which afterwards was universally called, from thence, Charing-cross. (fn. 2)

CHARING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name, and is exempt from the jurisdiction of the archdeacon.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of one isle and a transept, a high chancel and one small one on the south side of it. The tower, having a small beacon turret at one corner, is at the west end. There is only one bell in it. This tower was begun to be built of stone (for it was before of wood) at the latter end of king Edward IV.'s reign, as appears by the several legacies to the rebuilding of it, in the wills in the Prerogative-office, Canterbury, from 1479 to 1545, about which time only it seems to have been finished. On the stonework at the outside of it, are the arms of Brent, and a coat, being a star of many points, still remaining. In the year 1590 this church was consumed by fire, to the very stones of the building, which happened from a gun discharged at a pidgeon, then upon the roof of it; by which the windows and gravestones of the family of Brent were desaced. John Brent, sen. of Charing, in 1501, was buried in this church, before the door of the new chapel of the blessed Virgin Mary, where no burial had as yet been; and Amy Brent, of Charing, gentlewoman, by will in 1516, was buried within that chapel of her own edification. This chapel, now called Wickins chancel, was much defaced by the fire as above-mentioned. In the south cross was Burleigh chantry, mentioned before, which being burnt down in 1590, was repaired by John Darell, esq. of Calehill, then proprietor of it, whose arms are on the pews of it, as mentioned below. In king Richard II.'s time, the block on which St. John the Baptist was said to have been beheaded, was brought into England, and kept in this church. In the high chancel is a memorial for Samuel Belcher, gent. of Charing, obt. 1756, æt. 6l. and for his two wives. In the little chancel, now called Wickins chancel, are memorials for the Nethersoles and Derings; in the middle isle, for Peirce, Henman, and Ludwell; in the north cross monuments for Sir Robert Honywood, of Pett, and the Sayer family; in the south cross, memorials for Mushey Teale, M.D. in 1760, and for Mary his wife; his arms, Azure, a cockatrice regardant, sable; in chief, three martlets of the second. The pews in it are of oak, and much ornamented at their ends next the space with carvework, among which are these arms, a coat quarterly, first and sourth, A lion rampant, crowned; second, A fess indented, in chief, three mullets; third, Three bugle-horns stringed, impaling a fess, between three cross-croslets, fitchee. Another, Three bugle-horns stringed. Another, A lion rampant, crowned, or. Another, the crest of a Saracen's head, 1598.

The church of Charing was antiently appendant to the manor, and was part of the possessions of the see of Canterbury, to which it was appropriated before the 8th year of king Richard II. and it remained with it till archbishop Cranmer, anno 37 Henry VIII. granted that manor, and all his estates within this parish, and the advowsons of this rectory and vicarage, to the king; (fn. 10) and these advowsons remained in the crown till Edward VI. granted them, together with the advowson of the chapel of Egerton, and other premises in Essex, in exchange, in his first year, to the dean and chapter of St. Paul's, London. In which state they continue at this time, the dean and chapter of St. Paul's being now proprietors of this rectory appropriate, together with the advowson of the vicarage of this church.

¶King Henry VIII. in his 38th year, demised this rectory, and the chapel of Egerton, to Leonard Hetherington, gent. for twenty-one years, and the lease of it continued in his descendants till one of them sold his interest in it, in king James I.'s reign. to John Dering, esq. of Egerton, but by some means, long before his death in 1618, it had passed into the possession of Edward, lord Wotton. How long it continued in his family I have not found; but it afterwards was demised to the family of Barrell, of Rochester, with whom the demise of it remained for many years; and in one of their delcendants it remained down to the Rev. Edmund Marthall, vicar of this parish, who died in 1797, possessed of the lease of it.

This vicarage is valued in the king's books at thirteen pounds, and the yearly tenths at 1l. 6s. and is now of the clear yearly certified value of seventy-two pounds. In 1588 it was valued at fifty pounds. Communicants three hundred and twenty-six. In 1640, at eighty pounds. Communicants three hundred and seventy; and in 1700 it was valued at one hundred and ten pounds.

In 1535 this church was accounted a sinecure, which accounts for its having been formerly called a prebend.

www.british-history.ac.uk/survey-kent/vol7/pp429-448

Students of SDN 04 Jongkong at Pengerak village (distance class) go home after class. During the wet season the basin of Lake Sentarum will be flooded, West Kalimantan, Indonesia, May, 2010.

Photo by Ramadian Bachtiar/CIFOR

cifor.org

blog.cifor.org

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

(further pictures and information you can see by clicking on the link at the end of page!)

Chronicle of the parish | parish church | parsonage

Parish Centre | Lourdes Chapel

History of the parish

1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.

Parish Church

The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).

Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.

The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.

On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.

From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.

On the right side of the ascent there are statues

of saint Charles Borromeo, who was regarded as the patron saint against the plague.

of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above

of st. Florian, who was popular as a patron of the fire and the forge.

On the left side there are the statues

of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,

the Mother of God as immaculately received Virgin who crushes the serpent's head, and above

of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).

Vicarage

The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.

Parish centre

By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.

Lourdes Chapel

At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.

In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.

www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...

Wolkersdorf, Lower Austria, Kloster Maria Lourdes, Monastero di Maria Lourdes, Monasterio de María Lourdes, Monastère de Marie Lourdes, Monastery of Mary Lourdes

(further pictures and information you can see by clicking on the link at the end of page!)

Chronicle of the parish | parish church | parsonage

Parish Centre | Lourdes Chapel

History of the parish

1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.

Parish Church

The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).

Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.

The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.

On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.

From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.

On the right side of the ascent there are statues

of saint Charles Borromeo, who was regarded as the patron saint against the plague.

of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above

of st. Florian, who was popular as a patron of the fire and the forge.

On the left side there are the statues

of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,

the Mother of God as immaculately received Virgin who crushes the serpent's head, and above

of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).

Vicarage

The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.

Parish centre

By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.

Lourdes Chapel

At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.

In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.

www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...

English

Saint-Malo Cathedral (Cathédrale Saint-Vincent-de-Saragosse de Saint-Malo) is a Roman Catholic cathedral dedicated to Saint Vincent of Saragossa, and a national monument of France, in Saint-Malo, Brittany.

It was formerly the seat of the Bishop of Saint-Malo. This see was created in 1146 when Jean de Châtillon, Bishop of Aleth, transferred his bishopric to the growing town of Saint-Malo on a more secure site across the river. The monastery of Saint Malo, founded in 1108, became the home of the bishopric and its church the new cathedral, replacing Aleth Cathedral.

It was abolished under the Concordat of 1801 and its territory divided between the dioceses of Rennes, Saint-Brieuc and Vannes.

FRENCH

La cathédrale Saint-Vincent-de-Saragosse de Saint-Malo est une ancienne cathédrale catholique romaine dédiée à saint Vincent de Saragosse, situé à Saint-Malo en Bretagne. Son architecture mélange les styles roman et gothique, et elle est classée monument historique de France1.

Elle a été le siège de l'ancien évêché de Saint-Malo depuis l'année 1146. Ce dernier fut supprimé par le concordat de 1801, et son territoire réparti entre les diocèses de Rennes, de Saint-Brieuc et de Vannes.

L'évêché de Saint-Malo fut créé en 1146, lorsque Jean de Châtillon, évêque d'Aleth depuis 1144, transféra son évêché à Saint-Malo, ville en croissance continue à l'époque, qui constituait en outre un site beaucoup plus sûr. Il fallut attendre 1146 et l'agrément du pape Eugène III, pour que le transfert puisse s'effectuer. Le monastère de Saint-Malo, fondé en 1108, devint la résidence de l'évêque et son église monastique devint cathédrale, remplaçant ainsi la cathédrale Saint-Pierre d'Aleth. Des transformations furent réalisées dont l'édification du chœur, ce qui en fit un monument totalement de style roman.

De cet édifice de style roman du XIIe siècle subsistent la nef, la croisée du transept et une travée des croisillons nord et sud, ainsi qu'une partie du cloître. Le chœur a été reconstruit au XIIIe siècle, la tour commencée au XIIe fut surélevée au XVe, de même que le collatéral sud et trois chapelles du chœur. À la fin du XVIe siècle et au début du XVIIe siècle (entre 1583 et 1607), on reconstruisit le collatéral nord, tandis que le transept nord fut agrandi. L'aile du rosaire au sud fut commencée dans les années 1620. En 1695, les canons de la flotte anglo-hollandaise détruisirent la rosace du chevet, laquelle fut remplacée par trois baies en plein-cintre.

Au XVIIIe siècle, on édifia la chapelle sud, et la tour du clocher fut surélevée. La façade fut reconstruite peu après, en style néoclassique (1772-1773).

Au XIXe siècle, Napoléon III se laissa convaincre par le curé de l'époque de faire coiffer la tour d'une grande flèche ajourée, laquelle fut entourée de quatre clochetons ajourés, construite par Frangeul Père et Fils. (Cette flèche remplaçait un petit dôme d'ardoise).

Au XXe siècle enfin, la cathédrale fut endommagée lors des combats de l'été 1944. La flèche fut pilonée par un destroyer Allemand, croyant qu'elle pourrait servir de repère aux Américains, et elle s'écroula sur la chapelle dite « du Sacré-Cœur ». Les dégâts nécessitèrent une restauration importante qui débuta dès 1944, dirigée par l'architecte Raymond Cornon, et se termina en 1972. La flèche de la cathédrale fut reconstruite en un style plus proche de celui de l'ensemble de l'édifice par l'architecte Prunet et abrite quatre cloches, ce clocher a été vivement contesté par les Malouins à l'époque, et aujourd'hui encore beaucoup de Malouins regrettent l'ancienne flèche.

Suite à la grande restauration de 1944-1972 et aux derniers embellissements, on peut dire que la cathédrale Saint-Vincent-de-Saragosse à Saint-Malo a retrouvé toute sa splendeur.

Une nouvelle grande rosace conçue par Raymond Cornon, a remplacé les trois baies du chevet et restitue le visage de la cathédrale tel qu'il était avant les destructions anglaises de 1695. Jean Le Moal orna de vitraux les fenêtres des bras du transept et du chœur réalisés par Bernard Allain. Les nouveaux vitraux de la nef ont quant à eux été réalisés par Max Ingrand.

Les grandes orgues réalisées par les facteurs Koenig, père et fils, construites en 1977 et inaugurées en 1980. Il est composé de 4 claviers et 1 pédalier et 35 jeux, cet orgue remplace celui de Louis Debierre construit en 1893 de style romantique qui fut détruit en 1944.

Le mobilier du sanctuaire comporte notamment un maître-autel, un siège de présidence et un baptistère en bronze. Ce sont des œuvres d'Arcabas père et fils.

La cathédrale abrite également les restes de l'évêque fondateur Jean de Châtillon, de Jacques Cartier et du corsaire René Duguay-Trouin.

Depuis 2003, elle abrite la statue de la Vierge à l'Enfant dite Notre-Dame de la Grand'Porte. Celle-ci restaurée se trouvait initialement au dessus de la Grand-Porte de Saint-Malo intra-muros où elle pour des raisons de protection et des intempéries remplacée par une copie.

português

A Catedral de São Vicente de Zaragoza Saint-Malo é um ex-catedral católica romana dedicada a São Vicente de Saragoça, localizado em Saint-Malo, na Bretanha. Sua arquitetura mistura os estilos românico e gótico, e é classificada como um monumento histórico na França 1.

Era o local do bispado ex-St. Malo dos 1146 anos. O último foi suprimido pela Concordata de 1801, e seu território dividido entre as dioceses de Rennes, Saint-Brieuc e Vannes.

O bispado de St. Malo foi criado em 1146, quando Jean de Châtillon, Bispo de Aleth desde 1144, transferiu sua sede em Saint-Malo, o crescimento da cidade continua na época, que era também um local muito mais seguro . Não foi até 1146 ea aprovação do Papa Eugênio III, a transferência pode ter lugar. O mosteiro de Saint-Malo, fundada em 1108, tornou-se a residência do bispo e da igreja monástica tornou-se uma catedral, substituindo a Catedral de St. Pierre Aleth. Transformações foram realizadas com a construção do coro, que fizeram um total de monumentos românicos.

Este edifício românico do século XII, permanecem a nave, o transepto e cintas abrangem o norte eo sul, e parte do claustro. A capela-mor foi reconstruído no século XIII, a torre foi iniciada no décimo segundo ao décimo quinto levantadas, bem como o corredor sul do coro e três capelas. No final do século XVI e início do século XVII (entre 1583 e 1607), que reconstruiu o corredor norte, enquanto o transepto norte foi alargada. A ala sul do Rosário foi iniciada na década de 1620. Em 1695, as armas da frota anglo-holandesa destruiu a rosácea da abside, que foi substituído por três baía semicircular.

No século XVIII, construiu a capela ao sul, ea torre sineira foi levantada. A fachada foi reconstruída logo depois, em estilo neoclássico (1772-1773).

No século XIX, Napoleão III foi persuadido pelo sacerdote do tempo para tampar a torre de uma grande seta perfurado, que foi cercado por quatro torres perfurado, Frangeul construído pelo Pai e Filho. (Esta seta substituiu uma pequena cúpula de ardósia).

Finalmente no século XX, a catedral foi danificada durante o conflito no verão de 1944. A seta foi pilonée um destróier alemão, acreditando que ele poderia servir como uma referência para os americanos, e ela caiu sobre a capela chamada de "Sagrado Coração". O dano exigiu uma grande restauração, que começou em 1944, liderado pelo arquiteto Raymond Cornon, e terminou em 1972. A torre da catedral foi reconstruída em um estilo mais próximo ao de todo o edifício pela Prunet arquiteto e casas quatro sinos, o sino foi fortemente contestada pelo St. Malo na época, e hoje grande parte do Malouins seta velha arrependimento.

Após a grande restauração de 1944-1972 e as últimas melhorias, podemos dizer que a Catedral de São Vicente de Saragoça, em Saint-Malo recuperou toda a sua glória.

Uma janela nova rosa grande desenhado por Raymond Cornon, substituiu os três baías da abside e restaura o rosto da catedral como era antes da destruição da Inglaterra em 1695. Jean Le Moal adornado com vitrais na transeptos e coro conduzido por Bernard Allain. As novas janelas na nave foram entretanto feitas por Max Ingrand.

O grande órgão feito por fatores Koenig, pai e filho, construído em 1977 e inaugurado em 1980. Tem 4 teclados e um pedal e 35 jogos, este órgão substitui o Debierre Louis construída em 1893 em estilo romântico, que foi destruída em 1944.

A mobília do santuário deve incluir um altar, um assento de cadeira e um batistério bronze. Estas são obras de Arcabas pai e filho.

A catedral também abriga os restos mortais do fundador Jean Bispo de Chatillon, Jacques Cartier e corsário René Duguay-Trouin.

Desde 2003, abriga a estátua da Virgem com o Menino conhecida como Nossa Senhora de Porte do Grand '. Ele foi inicialmente restaurados pela Grande Porte de Saint-Malo intra muros, onde por razões de protecção dos elementos e substituído por uma cópia.

Irlam and Cadishead Advertiser 1980s

Life in Lancashire during the 1920s.

I know a man with a cauliflower ear who never did anything more violent than pull a Christmas cracker and even then, he did it at arms length. I saw him having a quiet pint in the local the other night when I overheard someone asking him how he came to acquire such a lovely 'cauly'. He paused momentarily as he raised the glass to his lips and said "Thrust"!

The stranger, thinking this was a new addition to the usual pub toasts of 'Cheers', 'Down the hatch', 'It's time tha' paid', and so on, raised his glass and replied 'Aye, and Thrust to thee too'! and emptied his glass. Our thick-eared friend spluttered as he unsuccessfully tried to laugh and drink a pint at the same time. I would have loved to have heard the outcome, but I had to leave in a hurry - I'm sure some of these traffic wardens have watches which are constantly fast.

You know what he meant didn't you? Of course you did; the enquirer must have been a real ignoramus not to know how the ear became flattened at 'Thrust'! It got a clog iron in it!

For the edification of those who like the man in the pub, do not know what 'Thrust' is (although they must be in a minority), it is merely another name for 'Jump-a-backs'.

In case it had another name as well, let me make it perfectly plain once and for all. It was a polular game in the school playground long before such establishments had school dinners and sex lessons.

Lads would form two teams of four, five, or six. One group would lean against the school wall, snake like, so as to form one long back onto which the others would in turn jump one on top of the other. The team that collapsed lost. As your opponent came hurtling on to your shoulders, it was wise to get your head tucked well down and protect your ears, by your elbows, otherwise you could get a brass-capped wooden-soled iron shod clog in your earhole. Our friend in the pub obviously forgot!!

Gets you thinking, doesn't it? What happened to games like 'Thrust!'; what about the others of that era? Gone and almost forgotten? Perhaps we adults in our wisdom have given them something better - like watching television, youth clubs, discotheques, or doing away with evening recreation altogether by substituting English for excersice and Theorems for 'Thrust' in a frantic effort to pass the G.C.E. examinations.

The long summer evenings and the short winter nights will come and go and I feel sorry for them. The kids will have lost hours of fun which can never be recaptured. I would be the first to agree that many of the games we played, if not criminally delinquent, did not subscribe to the peace and tranquility of unsuspecting house holders.

Take 'Caplatch' for example. Most doors had the old-fashioned latch - usually brass and highly polished. The first two priorities in house cleanliness were - 1. the doorstep and 2. the latch (in that order).

A street would be selected with long rows of latches. Starting at the first door, we would doff our caps, get to our marks, and then run like the clappers, 'batting' our caps on each latch, and one by one, men and women would open their doors to their unexpected visitors, only to see and hear pairs of clogs going like the bats of hell up the street to safety.

My! my! what some of those people shouted! They'd even make a TV play producer blush!!

TATHAM'S; Cadishead and Irlam Guardian Advert 1920.

English

Saint-Malo Cathedral (Cathédrale Saint-Vincent-de-Saragosse de Saint-Malo) is a Roman Catholic cathedral dedicated to Saint Vincent of Saragossa, and a national monument of France, in Saint-Malo, Brittany.

It was formerly the seat of the Bishop of Saint-Malo. This see was created in 1146 when Jean de Châtillon, Bishop of Aleth, transferred his bishopric to the growing town of Saint-Malo on a more secure site across the river. The monastery of Saint Malo, founded in 1108, became the home of the bishopric and its church the new cathedral, replacing Aleth Cathedral.

It was abolished under the Concordat of 1801 and its territory divided between the dioceses of Rennes, Saint-Brieuc and Vannes.

FRENCH

La cathédrale Saint-Vincent-de-Saragosse de Saint-Malo est une ancienne cathédrale catholique romaine dédiée à saint Vincent de Saragosse, situé à Saint-Malo en Bretagne. Son architecture mélange les styles roman et gothique, et elle est classée monument historique de France1.

Elle a été le siège de l'ancien évêché de Saint-Malo depuis l'année 1146. Ce dernier fut supprimé par le concordat de 1801, et son territoire réparti entre les diocèses de Rennes, de Saint-Brieuc et de Vannes.

L'évêché de Saint-Malo fut créé en 1146, lorsque Jean de Châtillon, évêque d'Aleth depuis 1144, transféra son évêché à Saint-Malo, ville en croissance continue à l'époque, qui constituait en outre un site beaucoup plus sûr. Il fallut attendre 1146 et l'agrément du pape Eugène III, pour que le transfert puisse s'effectuer. Le monastère de Saint-Malo, fondé en 1108, devint la résidence de l'évêque et son église monastique devint cathédrale, remplaçant ainsi la cathédrale Saint-Pierre d'Aleth. Des transformations furent réalisées dont l'édification du chœur, ce qui en fit un monument totalement de style roman.

De cet édifice de style roman du XIIe siècle subsistent la nef, la croisée du transept et une travée des croisillons nord et sud, ainsi qu'une partie du cloître. Le chœur a été reconstruit au XIIIe siècle, la tour commencée au XIIe fut surélevée au XVe, de même que le collatéral sud et trois chapelles du chœur. À la fin du XVIe siècle et au début du XVIIe siècle (entre 1583 et 1607), on reconstruisit le collatéral nord, tandis que le transept nord fut agrandi. L'aile du rosaire au sud fut commencée dans les années 1620. En 1695, les canons de la flotte anglo-hollandaise détruisirent la rosace du chevet, laquelle fut remplacée par trois baies en plein-cintre.

Au XVIIIe siècle, on édifia la chapelle sud, et la tour du clocher fut surélevée. La façade fut reconstruite peu après, en style néoclassique (1772-1773).

Au XIXe siècle, Napoléon III se laissa convaincre par le curé de l'époque de faire coiffer la tour d'une grande flèche ajourée, laquelle fut entourée de quatre clochetons ajourés, construite par Frangeul Père et Fils. (Cette flèche remplaçait un petit dôme d'ardoise).

Au XXe siècle enfin, la cathédrale fut endommagée lors des combats de l'été 1944. La flèche fut pilonée par un destroyer Allemand, croyant qu'elle pourrait servir de repère aux Américains, et elle s'écroula sur la chapelle dite « du Sacré-Cœur ». Les dégâts nécessitèrent une restauration importante qui débuta dès 1944, dirigée par l'architecte Raymond Cornon, et se termina en 1972. La flèche de la cathédrale fut reconstruite en un style plus proche de celui de l'ensemble de l'édifice par l'architecte Prunet et abrite quatre cloches, ce clocher a été vivement contesté par les Malouins à l'époque, et aujourd'hui encore beaucoup de Malouins regrettent l'ancienne flèche.

Suite à la grande restauration de 1944-1972 et aux derniers embellissements, on peut dire que la cathédrale Saint-Vincent-de-Saragosse à Saint-Malo a retrouvé toute sa splendeur.

Une nouvelle grande rosace conçue par Raymond Cornon, a remplacé les trois baies du chevet et restitue le visage de la cathédrale tel qu'il était avant les destructions anglaises de 1695. Jean Le Moal orna de vitraux les fenêtres des bras du transept et du chœur réalisés par Bernard Allain. Les nouveaux vitraux de la nef ont quant à eux été réalisés par Max Ingrand.

Les grandes orgues réalisées par les facteurs Koenig, père et fils, construites en 1977 et inaugurées en 1980. Il est composé de 4 claviers et 1 pédalier et 35 jeux, cet orgue remplace celui de Louis Debierre construit en 1893 de style romantique qui fut détruit en 1944.

Le mobilier du sanctuaire comporte notamment un maître-autel, un siège de présidence et un baptistère en bronze. Ce sont des œuvres d'Arcabas père et fils.

La cathédrale abrite également les restes de l'évêque fondateur Jean de Châtillon, de Jacques Cartier et du corsaire René Duguay-Trouin.

Depuis 2003, elle abrite la statue de la Vierge à l'Enfant dite Notre-Dame de la Grand'Porte. Celle-ci restaurée se trouvait initialement au dessus de la Grand-Porte de Saint-Malo intra-muros où elle pour des raisons de protection et des intempéries remplacée par une copie.

português

A Catedral de São Vicente de Zaragoza Saint-Malo é um ex-catedral católica romana dedicada a São Vicente de Saragoça, localizado em Saint-Malo, na Bretanha. Sua arquitetura mistura os estilos românico e gótico, e é classificada como um monumento histórico na França 1.

Era o local do bispado ex-St. Malo dos 1146 anos. O último foi suprimido pela Concordata de 1801, e seu território dividido entre as dioceses de Rennes, Saint-Brieuc e Vannes.

O bispado de St. Malo foi criado em 1146, quando Jean de Châtillon, Bispo de Aleth desde 1144, transferiu sua sede em Saint-Malo, o crescimento da cidade continua na época, que era também um local muito mais seguro . Não foi até 1146 ea aprovação do Papa Eugênio III, a transferência pode ter lugar. O mosteiro de Saint-Malo, fundada em 1108, tornou-se a residência do bispo e da igreja monástica tornou-se uma catedral, substituindo a Catedral de St. Pierre Aleth. Transformações foram realizadas com a construção do coro, que fizeram um total de monumentos românicos.

Este edifício românico do século XII, permanecem a nave, o transepto e cintas abrangem o norte eo sul, e parte do claustro. A capela-mor foi reconstruído no século XIII, a torre foi iniciada no décimo segundo ao décimo quinto levantadas, bem como o corredor sul do coro e três capelas. No final do século XVI e início do século XVII (entre 1583 e 1607), que reconstruiu o corredor norte, enquanto o transepto norte foi alargada. A ala sul do Rosário foi iniciada na década de 1620. Em 1695, as armas da frota anglo-holandesa destruiu a rosácea da abside, que foi substituído por três baía semicircular.

No século XVIII, construiu a capela ao sul, ea torre sineira foi levantada. A fachada foi reconstruída logo depois, em estilo neoclássico (1772-1773).

No século XIX, Napoleão III foi persuadido pelo sacerdote do tempo para tampar a torre de uma grande seta perfurado, que foi cercado por quatro torres perfurado, Frangeul construído pelo Pai e Filho. (Esta seta substituiu uma pequena cúpula de ardósia).

Finalmente no século XX, a catedral foi danificada durante o conflito no verão de 1944. A seta foi pilonée um destróier alemão, acreditando que ele poderia servir como uma referência para os americanos, e ela caiu sobre a capela chamada de "Sagrado Coração". O dano exigiu uma grande restauração, que começou em 1944, liderado pelo arquiteto Raymond Cornon, e terminou em 1972. A torre da catedral foi reconstruída em um estilo mais próximo ao de todo o edifício pela Prunet arquiteto e casas quatro sinos, o sino foi fortemente contestada pelo St. Malo na época, e hoje grande parte do Malouins seta velha arrependimento.

Após a grande restauração de 1944-1972 e as últimas melhorias, podemos dizer que a Catedral de São Vicente de Saragoça, em Saint-Malo recuperou toda a sua glória.

Uma janela nova rosa grande desenhado por Raymond Cornon, substituiu os três baías da abside e restaura o rosto da catedral como era antes da destruição da Inglaterra em 1695. Jean Le Moal adornado com vitrais na transeptos e coro conduzido por Bernard Allain. As novas janelas na nave foram entretanto feitas por Max Ingrand.

O grande órgão feito por fatores Koenig, pai e filho, construído em 1977 e inaugurado em 1980. Tem 4 teclados e um pedal e 35 jogos, este órgão substitui o Debierre Louis construída em 1893 em estilo romântico, que foi destruída em 1944.

A mobília do santuário deve incluir um altar, um assento de cadeira e um batistério bronze. Estas são obras de Arcabas pai e filho.

A catedral também abriga os restos mortais do fundador Jean Bispo de Chatillon, Jacques Cartier e corsário René Duguay-Trouin.

Desde 2003, abriga a estátua da Virgem com o Menino conhecida como Nossa Senhora de Porte do Grand '. Ele foi inicialmente restaurados pela Grande Porte de Saint-Malo intra muros, onde por razões de protecção dos elementos e substituído por uma cópia.

Coney Island, Brooklyn, New York City, New York, United States

The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.

The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.

DESCRIPTION AND ANALYSIS

Coney Island

Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.

Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”

By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.

It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.

The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.

The Coney Island Theater Building

This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”

By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,

The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.

These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,

These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.

The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.

Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”

The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.

Chanin Construction Company

The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.

Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.

The Loew’s Corporation

From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.

During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.

Reilly & Hall

Paul C. Reilly, (1890 – 1984)

Douglas Pairman Hall (1880 – 1945)

Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.

Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.

Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.

Neo Renaissance Revival Style and the Movies

The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.

Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.

History of the Loew’s Theater

The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.

Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.

The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.

By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.

It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.

Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.

Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.

Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.

The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.

At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.

The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.

- From the 2010 NYCLPC Landmark Designation Report

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