Plaster and paint, 20-1 BC

 

Surviving furnishings from Cremona’s buildings indicate a luxurious standard of living. The recently excavated ‘House of the Nymphaeum’ belonged to a member of the local elite. Its courtyard was decorated with a fountain covered in mosaics. Remains of the upper foor, burned and collapsed during the attack, suggest a lavishly painted room. Vespasian rebuilt Cremona, but it never regained its former prosperity.

[British Museum]

  

Nero: the Man Behind the Myth

(May - Oct 2021)

 

Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.

The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.

Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.

Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?

 

Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.

Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.

Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.

He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.

Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.

In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.

Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.

Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.

When Claudius died in AD 54, Nero became emperor just two months before turning 17.

As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.

The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.

Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.

Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.

It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.

Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.

In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.

Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.

The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.

Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.

No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.

On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.

Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.

Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.

Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.

Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.

Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.

Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.

Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.

According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.

The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule

In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.

It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.

Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.

After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.

[Francesca Bologna, curator, for British Museum]

 

Taken in the British Museum

After public executions fell out of style, executions took place in various places in the Gaol. But the authorities worried about the riot that might ensue if the heroes of 1916 were executed in sight of prisoners, let alone the public. So this space, formerly used for breaking rocks, was the site for the firing squads

اقدام الأحرار فوق رؤوس الملالي الارهابي ..

 

Obscured by Jose Rizal's national monument in Luneta is a nearby wooded site where he was executed by the Spanish colonial government on 30 December 1896. He was then secretly buried in an unmarked grave at the Paco Cemetery. In 1898, his remains were exhumed and brought to the Rizal house in Binondo and placed in an urn during which a relative retrieved a vertabra with a lodged bullet that is now on display at Fort Santiago. The remains were then displayed and honored at the Marble Hall of the Ayutamiento before finally being interred in the Rizal monument that was designed by Swiss sculptor Richard Kissling.

 

Taken:7/25/08

32oz of fake blood.

One fairly large Seedless Watermelon.

And a fairly large load from a shot gun.

 

BOOM! HEADSHOT!

The parish church

Design and construction

Machegg is documented have been founded in 1268 by Bohemian King Ottokar. Only ten years later, he fell in the battle against Rudolf of Habsburg in Dürnkrut. The city was therefore never fully developed. The Gothic parish church, dedicated to the Holy Margaretha, was not completed. To execution came just the choir - and as georradar measurments in 1998 resulted - the foundations of the long house. It was also determined by this deep investigations, that the portapoint (line between the portal) of the planned nave is over 7 meters outside the entrance of today's church (tower). The choir meets in the floor plan to that of the Dome of Wiener Neustadt, a mighty cathedral was Ottokar's plan!

This portalpoint (after DI . Dr. E. Reidinger) is als urban planning point of reference. The church is in the axle geometry of the city involved, and therefore the key to the entire system concept and founding date .

At that time, living and belief are a unit, such as state and church. The planning of the city is closely linked with that of the church. Eastern to Marchegg is the holy day, by which the town was entrusted to the divine protection and blessings.

In 1268 fell the green thursday, standding at the beginning of the passion, death and finally the resurrection of jesus christ on the 5th april. On that day, so reveals the bent axis of our parish, the long house was oriented in the direction of sunrise. 8 april 1268 (Easter Sunday ) was then the orientation of the choir as part of a sacred act.

Reidinger: "The reconstructed construction plan of the city and the orientation of the church with the bent axis give the answer to the date of the founding of the city.

What great importance does this mean to the churchbuilding! in the resurrection liturgy (long time on Easter Sunday early in the morning hours celebrated) shines the rising sun through the middle window into the dark church interior! Christ is risen!

As Rudolf I in the year 1278 achieved the mighty victory over King Ottokar, he gave in grateful remembrance of the fact that God, "not far from the church to marche field (Marchfeld)e", him rescued from the deadly danger, including the space along with bridge in front of the mill. In the donation letter issued by him he takes the church with their possessions under his special protection.

Later, the exact date and reason on which legal situation is unknown, Marchegg figures as vicariate of the parish parish of melk Weikendorf and the abbey of melk was holding the patronage.

From the year 1410 is a legal decision is available that the parish priest of Marchegg, the then called Wernherus, as mother gift to the church of Weikendorf every year for pennies pound as sign of filial dependence has to pay.

In the year 1429 was Johann Ströbein from Grossenzersdorf rector of the filial church santa Margaret of Marchegg.

In the same year figures Marchegg in a directory of the parishes and benefices of the diocese of Passau.

On 23 July 1465 asked the owner of dominion of Marchegg, earl Rüdiger von Starhemberg, the abbot of melk to give the vacant parish church of Marchegg to the Mert Putner (Martinus Pertner).

In the year 1506 came the former parish priest of Stillfried, Johannes Syndel as pastor to Marchegg.

In the Protestant Reformation protestant estate owner salm and landau monopolized the patronage and put in preacher.

The transfer of the reign earl Paul Pálffy took place on 26 May 1621 and in the course of the Counter-Reformation the condition take care of the parish and abolish the preachers in said place. Pallfy vowed further only to allow the Catholic religion in Marchegg.

Probably the parish from the end of the fifteenth century has been administrated by the former P. Paulinern of Mariathal (marianka - Order of Saint Paul the First Hermit) in Slovakia. From there came a priest all months for pastoral work to Marchegg. Because due to the floods often no priest appeared, Pálffy 1632 war looking for a world-priest. However, because of the poor pay and the many damage to the church and the parsonage, he could not get one for some time until Pater Sebastian Kempf finally in the year 1634 here was delegated by by the order of Saint Paul.

Before 1663 the erection of John Chapel next to the church.

1689 the parish was robbed during the kuruc fightings.

On 10 March 1697 received in the local parish church a turkish woman the holy sacrament of baptism. Probably she was left behind from the entourage of the turkish war.

1748 Maria-Lauretta chapel was built next to the parish church on an old tomb.

1776 In the church was erected to the holy Leonhard and Wendelin a new constructed side altar.

1784 The branch site Breiteseen was separtend from the parish of Marchegg and raised to an independent "Lokalkaplay".

1784 The parish of Marchegg was incorporated into the archdiocese of Vienna.

1786 26the march was abandoned cemetery location around the church.

Because of the danger of collapsing bell tower (roof rider) was demolished in 1787 and the roof is covered the same.

1786 - 1789 church annex

1790 worship was once again celebrated in the church and the church bells newly transferred to the new tower.

1850, as the bell tower threatened to collapse, it was removed, the main entrance of the church locked and the ship supported.

1853 Prince Pálffy let begin the construction of the church tower. The tower rests on 170 oak trunks.

In 1855 the cross was placed on the newly constructed tower. The cross made of of iron has been galvanically gildened, was picked up in a solemn procession from the castle and consecrated by Dechant Simon Schwarz.

Renovation of the church interior: a woman from Vienna, Magdalena Schineder, a marcheggerin (born to Marchegg), gave 350 fl, mister notary dionys Klemer 40 fl, for acquisition of new altarpiece for the high altar, which dates from the school of the famous painter Kupelwieser. The remaining contributions came from the community, from Vienna, Prague, Brno, Malacka and Baumgarten.

Termination of the church renovation in 1856.

1878 600 year anniversary of the church.

1890 New stained glass windows. Donors. Prince Palffy, Earl Apponyi, Vicar Rohrwasser (born Marchegger):

1895 Prince Liechtenstein donated two stained glass windows

1897 Flood. Parsonage and church were under water. In the church, the water reached up to the kneeling benches.

1899 17th september round 5:15 early in the morning reached the high water church and main square. Church services took place till 23nd september in the castle chapel.

1899 Princess Palffy donated a white alb, which she had embroidered herself.

1910 12th november inserting of the figural windows was completed. In the night were broken parts and robbed the offertory. The pastor prompted to remove all offertories.

1911 King Ferdinand of Bulgaria visited the parish on the journey through.

1917 The copper and the skirts of the windows of the church tower were removed and replaced by zinc sheet.

In january 1918 the organ pipes were requisitioned for war purposes.

1930 18.9. Laying of the foundation stone of a makeshift church at the railway station.

1931 7.10. Construction of the temporary church and nursery was completed. Financing by pastor Kowanda and the club "Catholic action in Marchegg".

1938 On 15th march came SA-men from Marchegg and took money, cash book and passbook of Catholic young folk. Amount of 45 shillings. Catholic young folk was dissolved.

Since 7th april on the steeple blew the swastika flag.

In 1940 cardinal Innitzer came for visitation to Marchegg. Teenagers rampaged and scolded the cardinal.

1945 Shelling of Marchegg - city church received 7 strikes. Above the presbyterium in the stone window frames, front under the base of the church. 4 shots hit the tower and the roof of the new part of the church. Between church and kindergarten 2 strikes, 5 strikes in the parish garden.

In 1953, the statue of Holy Elisabeth was erected.

In 1954, the statue of Saints Michael, Barbara and Katharina that were destroyed in the bomb hit came back restored. 9th may blessing of the bells.

1958 Completion of the extention of the church Christ the King at Marchegg station.

1960 At the renovation of the ceiling several frescoes were found, two of which were saved.

Consecration the statue of St. Elizabeth, gift of the Federal Monuments Office.

1967 Lightning struck during a funeral in the church tower. Thanks to the lightning protection system, no damage has been produced.

In 1970 the albhon organ was blessed by archbishop Dr. Josef Schoiswohl. Donation of Kommerzialrat Josef Durry.

1989 Consecration of altar and organ of the church of Christ the King by auxiliary bishop DDr. Helmut Krätzl.

1992 Consecration ot the new altar of the city church by Bishop Florian Kuntner.

 

www.pfarremarchegg.at/wp-content/uploads/2011/03/Geschich...

execution

Taken:7/25/08

I have lived in Kent since 2007, and hadn't visited Sevenoaks before yesterday. It being one of Kent's major towns, this is something of a surprise, I even had to check my photostream on here to make sure: nothing for Sevenoaks.

 

For me, Sevenoaks is famous for two things: 1. the seven oaks destroyed in the 1987 "hurricane" and I suppose home to the chain of hi-fi shops, Sevenoaks Audio, though I didn't see a branch during my visit.

 

I don't know why I decided to visit here today, the idea had been to go to Nunhead to a large rambling and overgrown Victorian cemetery (more of that later), and the Southeastern website suggested the way there was via St Pancras and then on Thameslink. I thought there must have been a route across Kent, which is how I came to be in Sevenoaks, change here for Nunhead.

 

So, why not explore the town before travelling on?

 

So, I guess that's why I was here.

 

The spread of the new COVID variant meant I did consider cancelling the trip, but with no new lockdowns announced on Monday, and armed with a mask I set off, Jools dropping me off at Dover Priory at half six, withenough time for a gingerbread latte (with an extra shot) before my train pulled in.

 

Less than a dozen got in the 12 carriages, and there service trundled through Kent, Ashford, Pluckley, Marden, Staplehurst, Tonbdrige to deposit me here at Sevenoaks.

 

I and half a dozen people got off, I lingered to take a couple of shots before the long walk up the hill to the town centre.

 

Thanks to GSV, I had travelled up London Road to the centre of town, so knew it was a hike, but worth it. I mean, no point going somewhere if there was nothing of worth to snap, was there?

 

At first I walked past large houses, then at the major road junction, a sparkling Ferrari Dealership, not something we have in Dover, and not sure if Canterbury even has one. But Sevenoaks does, as well as on one, not two, but three dry cleaners, all looking busy.

 

The main shopping area had old pubs and coaching inns, clapboard houses and other with peg tiles decorating the outside, all got photographed, of course.

 

Att he top of the shopping streets, where the two A roads meet, there is a fine pre-warboys signpost that I snapped good and proper.

 

Finally, as the hill flattened out, the buildings got older still, before coming to the parish church, which I knew from research was almost impossible to get inside judging by the reviews left.

 

It wasn't yet nine, my back was complaining, so I took a seat in the chuchyard to wait.

 

Wait for what, I do not know.

 

The clocked chimed mournfully for nine, to the south, a couple of workmen repair the top of the substantial wall, and I guess the ownes comes into the churchyard to find bricks that have fallen from it. The wall is at least twenty feet high, separating the church from the grand house, I wonder what the owners thought were being kept out?

 

I looked at the west windows closer. Are those lights on inside, I asked myself. I'd better go and check.

 

So, I went round the north side of the chancel and nave, and came to the parish office. The door was open, there was a light on, and there was a lady at a desk, working away. Beyond I could see the west end of the nave, all lit up.

 

I'd ask if I could go in.

 

I put a mask on, knocked at he door and asked.

 

I'm not sure, but I'll go and check.

 

She checked, and I was told it was OK.

 

Inside, two ladies were putting even more chairs out into each nave, adding a booklet on each seat.

 

I'll try not to disturb you, i said. But they were fine about me being there, so I got to work. Now, as I wasn't expecting to do any crawling, I failed to bring the second camera body with wide angle lens fitted, so the compact would have to do. Thankfully the church was well lit.

 

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

 

The church looks well from the main street, with its east end almost on the road. Built of local stone, the nave, aisles, chapels and tower are typical of fifteenth-century design. The church has been so often restored - in 1812, 1878, 1954 and most recently in 1994 when a crypt was built - that its historical interest is limited. However, the stained glass windows by Kempe and Heaton, Butler and Bayne are of excellent quality, especially those in the south aisle. There are also some interesting monuments, including one to William Lambarde (d. 1601), the first Kentish historian.

 

www.kentchurches.info/church.asp?p=Sevenoaks+1

 

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SEVENOKE.

NEXT southward from Seale lies the parish and town of SEVENOKE, called, in the Textus Roffensis, SEOUENACCA, which name was given to it from seven large oaks, standing on the hill where the town is, at the time of its being first built. It is now commonly called SENNOCK.

 

THE PARISH of Sevenoke is situated partly above and partly below the great ridge of sand hills which runs across this county, and divides the upland from the Weald or southern district of it. It is divided into three districts, the Town Borough, Rotherhith or Rethered, now called Riverhead, and the Weald. The parish is of considerable extent, being five miles in length, from north to south, and about four miles in width. The soil of it varies much; at and about the town, it is a sand, as it is towards the hill southward, below which it is a stiff clay, and towards the low grounds, to Riverhead, a rich sertile soil. It reaches more than a mile below the hill, where there is a hamlet, called Sevenoke Weald, lying within that district, for it should be known, that all that part of this parish, which lies below the great range of sand hills southward, is in the Weald of Kent, the bound of which is the narrow road which runs along the bottom of them, and is called, to distinguish it, Sevenoke Weald; thus when a parish extends below, and the church of it is above the hill, that part below, has the addition of Weald to it, as Sevenoke Weald, Sundridge Weald, and the like.

 

THE TOWN of Sevenoke lies about thirty-three miles from London, on high ground above the sand hill, the church, which is situated at the south end of it, is a conspicuous object each way to a considerable distance. The high roads from Westram; and from London through Farnborough, meeting at about a mile above it; and that from Dartford through Farningham and Otford, at the entrance of the town; and leading from thence again both to Penshurst and Tunbridge. Between the town and the hill there is much coppice wood, and a common, called Sevenoke common, on which is a seat, called Ash-grove, belonging to Mrs. Smith. The town of Sevenoke is a healthy, pleasant situation, remarkable for the many good houses throughout it, inhabited by persons of genteel fashion and fortune, which make it a most desirable neighbourhood. In the middle of the High-Street is the house of the late Dr. Thomas Fuller, afterwards of Francis Austen, esq. clerk of the peace for this county; near which is the large antient market-place, in which the market, which is plentifully supplied with every kind of provisions, is held weekly on a Saturday; and the two fairs yearly, on July 10, and Oct. 12, and where the business of the assizes, when held at Sevenoke, as they were several times in queen Elizabeth's reign, and in the year before the death of king Charles I. and once since, has been usually transacted. At the south end of it is a seat, the residence of Multon Lambard, esq. at a small distance westward is the magnificent mansion and park of Knole; and eastward, a small valley intervening, the seat of Kippington; at a little distance northward of the town is an open space, called Sevenoke Vine, noted for being the place where the great games of Cricket, the provincial amusement of this county, are in general played; this joins to Gallows common, so called from the execution of criminals on it formerly. In the valley below it is Bradborne, and the famous silk mills, belonging to Peter Nonaille, esq. called Greatness, near which are the ruins of the hospital or chapel, dedicated to St. John, where this parish bounds to Otford.

 

About a mile north-west from the town, where the two roads from London and Westerham meet, is the large hamlet of Riverhead, bounded by the river Darent and the parish of Chevening; in which, among others, is the seat of Montreal; that of Mrs. Petley; and of the late admiral Amherst and others; most of which the reader will find described hereafter.

 

In the Account of the Roman Stations in Britain, written by Richard, a monk of Cirencester, published by Dr. Stukely, the station, called Vagniacæ, is supposed to have been at Sevenoke, which is there set down as eighteen miles distant both from Medum, Maidstone; and Noviomagus, Croydon; but in this opinion he has hardly been followed by any one.

 

THE MANOR OF SEVENOKE was always esteemed as an appendage to that of Otford, and as such was part of the possessions of the see of Canterbury, till it was exchanged with the crown for other premises, by archbishop Cranmer, in the 9th year of Henry VIII. as will be further mentioned below.

 

THE MANOR OF KNOLE, with that of Bradborne, in this parish, had, according to the earliest accounts, for some time the same owners as the manors of Kemsing, Seale, and Bradborne. Accordingly, in king John's reign, they were in the possession of Baldwin de Betun, earl of Albemarle, from whom they went in marriage into the family of the Mareschalls, earls of Pembroke. Whilst one of these, William Mareschal, earl of Pembroke, sided with the rebellious barons at the latter end of king John's, and beginning of king Henry III's reign, the king seized on his lands, as escheats to the crown; during which time these manors seem to have been granted to Fulk de Brent, a desperate fellow, as Camden calls him. He was a bastard by birth, of mean extraction, who had come out of the low countries, with some foreign auxiliaries and freebooters, to king John's assistance, and became a great favorite, both with that king and his son, Henry III. from both of whom he was invested with much power, and had the lands of many of the barons conferred on him; till giving loose to his natural inclination, he became guilty of many cruelties and oppressions, and at length sided with prince Lewis of France in his design of invading England. But failing in this, he fled into Wales, and the king seized on all his possessions throughout England; after which, returning and pleading for mercy, in consideration of his former services, he was only banished the realm, and died in Italy soon afterwards, as is said, of poison. After which, the earl returning to his obedience, obtained the possession of these manor's again. (fn. 1) Hence they passed again in like manner to Hugh Bigod, earl of Norfolk, whose heir in the 11th year of king Edward I. conveyed them to Otho de Grandison; on whose death without issue, William de Grandison, his brother, became his heir; his grandson, Sir Thomas Grandison, passed away Knole to Geoffry de Say, and Braborne, Kemsing, and Seale, to others, as may be seen under their respective descriptions.

 

Geoffry de Say was only son and heir of Geoffry de Say, by Idonea his wife, daughter of William, and sister and heir of Thomas lord Leyborne, and was a man of no small consequence, having been summoned to parliament in the 1st year of king Edward III. and afterwards constituted admiral of all the king's fleets, from the river Thames westward, being then a banneret. He died in the 33d year of king Edward III. leaving William, his son and heir, and three daughters. William de Say left issue a son, John, who died without issue in his minority, anno 6 king Richard II. and a daughter Elizabeth, who was first married to Sir John de Fallesley, and afterwards to Sir William Heron, but died s. p. in the 6th year of king Edward IV. (fn. 2) so that the three sisters of William de Say became coheirs to the inheritance of this family. (fn. 3)

 

¶How the manor of Knole passed from the family of Say I do not find; but in the reign of king Henry VI. it was in the possession of Ralf Leghe, who then conveyed it by sale to James Fienes, or Fenys, as the name came now to be called, who was the second son of Sir William Fynes, son of Sir William Fienes, or Fynes, who had married Joane, third sister and coheir of William de Say above-mentioned. He was much employed by king Henry V. and no less in favor with king Henry VI. who, in the 24th year of his reign, on account of Joane, his grandmother, being third sister and coheir to William de Say, by an especial writ that year summoned him to parliament as lord Say and Seale; and, in consideration of his eminent services, in open parliament, advanced him to the dignity of a baron, as lord Say, to him and his heirs male. After which he was made constable of Dover-castle, and warden of the five ports, lord chamberlain, and one of the king's council; and, in the 28th year of that reign, lord treasurer; which great rise so increased the hatred of the commons against him, that having arraigned him before the lord mayor and others, they hurried him to the standard in Cheapside, where they cut off his head, and carried it on a pole before his naked body, which was drawn at a horse's tail into Southwark, and there hanged and quartered.

  

Of the THREE DISTRICTS, into which this parish is divided, of which those of Town Borough and the Weald have already been described, the remaining one of Riverhead is by no means inconsiderable. It lies about a mile from Sevenoke town, and seems formerly to have been written both Rotherhith and Rothered, comprehending the western part of this parish; it contains the large hamlet of Riverhead, in which are situated lord Amherst's seat of Montreal; that of Cool Harbour, late admiral Amherst's; and Mrs. Petley's; through this hamlet the road branches on the one hand to Westerham, and on the other across the river Darent towards Farnborough and London; hence it extends beyond Bradborne to the bounds of this parish, north-eastward, at Greatness, which is within it.

 

In this hamlet was the antient mansion, called Brook's Place, Supposed to have been built by one of the family of Colpeper, out of the materials taken from the neighbouring suppressed hospital of St. John. It afterwards came into the possession of a younger branch of the family of Amherst. Jeffrey Amherst, esq. bencher of Gray's-inn, was owner of it, and resided here at the latter end of the last century. He was descended of ancestors, who had been seated at Pembury in the reign of king Richard II. from whom, in a direct line, descended Richard Amherst, esq. who left three sons; the eldest of whom, Richard, was sergeant at law, and of Bayhall, in Pembury, in the description of which a full account will be given of him and his descendants. Jeffry, the second, was ancestor of the Riverhead branch, as will be mentioned hereafter; and William, the third son, left an only daughter, Margaret, married to John Champs of Tunbridge.

 

Jeffry Amherst was rector of Horsemonden, and resided at Southes, in Sussex, where he died, and was buried in 1662; whose grandson, Jeffry Amherst, esq. was of Riverhead, as has been before mentioned. and a bencher of Gray's-inn, and dying in 1713, was buried at Pembury. By his first wife, Elizabeth, daughter of Henry Yates, esq. of Sussex, he had several children, of whom, Jeffry, the second son, only arrived at maturity, and was of Riverhead; he was a bencher of Gray's-inn, and dying in 1750, was buried in Sevenoke church, having married Elizabeth, daughter of Thomas Kerrill, esq. of Hadlow, by whom he had seven sons and two daughters, viz. Elizabeth, married to John Thomas, clerk, of Welford, in Gloucestershire; and Margaret, who died unmarried.

 

Of the sons, Sackville, the eldest, died unmarried in 1763, Jeffry the second, will be mentioned hereafter; John, the third, was of Riverhead, and viceadmiral of the blue squadron; he married Anne, daughter of Thomas Lindzee, of Portsmouth, by whom he had no issue; he died in 1778, and his widow re-married Thomas Munday, esq. The seventh son, William, was a lieutenant-general in the army, and married Elizabeth, daughter of Thomas Patterson, esq. of London. He died in 1781, leaving one son, William-Pitt, and a daughter, Elizabeth-Frances.

 

Jeffry Amherst, esq. the second son, became, at length, possessed of the mansion of Brooks, and attaching himself early in life to the prossession of a soldier, he acquired the highest military honours and preferments, after a six years glorious war in North America, of which he was appointed governor and commander in chief in 1760; which, when he resigned, the king, among other marks of his royal approbation of his conduct, appointed him governor of the province of Virginia.

 

¶The victorious atchievements of the British forces in North America, during Sir Jeffry Amherst's continuance there, cannot be better summed up than by giving two of the inscriptions on an obelisk, in the grounds of his seat at Montreal; viz.

 

www.british-history.ac.uk/survey-kent/vol3/pp60-105

The cruelty of the Blasted Land Orcs knows no bounds.

Rat execution

While the technical execution of this photo is lacking I've always loved this photo of my son flying off the rope swing into the dying rays of the late afternoon soon. Shot taken in summer of 2007.

Back when Sweden still was a barbaric country we used to execute people at this rock near Hanveden. The last person to die here was the farm worker Anders Gustav Pettersson, who brutally murdered his employer Hugo Fredrik Jaedren at the gates to the Näringsberg estate. That was back in 1855. When I passed the rock earlier today I noticed ice and decided to take a few photos.

Maryam Rajavi during the gathering of October 10, is laying flowers on the picture of youths executed by the mullahs brutal regime in Iran.

I had thought I had already been to East Malling, but was mistaken. All part of the same spread of modern housing and building spreading out from Maidstone which both Ditton and Leybourne were part of.

 

I found a place to park opposite the tumbling waters of the East Malling Stream on the other side of the road, with the tower of St James in front of me.

 

I had hopes it would be open, it was a Saturday morning, but I found it locked fast and no keyholder info.

 

St James is set in a large churchyard, split into two by the wide path running beside the church. Looks interesting from the outside, one to return to in September.

 

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An impressive church, though this is not the impression one gains when approaching it from the west, where the tower is almost all that is visible. Norman in origin, but much enlarged in the thirteenth and fourteenth centuries and remodelled in the fifteenth, St James has had a bush or two with Anglo Catholic practice which has resulted in the introduction of some fine furnishings. Pride of place must go to the Lady Chapel altar by Sir Ninian Comper, one of three to be found in this part of the Medway Valley. Also commemorated here are members of the Twisden family, whose house Bradbourne, stands north of the church. Until the 1930s the chancel was privately maintained by the family and retained its box pews until the death of the last Baronet when this part of the church was restored to its pre-Reformation form. In its floor is a slab to Col Tomlinson, who guarded King Charles I until his execution in 1649. He was related by marriage to the Twisdens. The organ at the west end of the church was formerly in Bradbourne House and was donated to the church in 1934.

 

www.kentchurches.info/church.asp?p=East+Malling

 

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EAST MALLING.

EASTWARD from Leyborne lies East Malling, called in the Textus Roffensis, MEALLINGES, and in Domesday, METLINGES.

 

THIS PARISH is delightfully situated; it is both pleasant and healthy; the soil is for the most part sand, covering the quarry rock; to the southward it inclines more to a loam and red brick earth; but most of it is very fertile, as well for corn as for plantations of fruit and hops, which latter thrive here remarkably well. The high road from London through Wrotham to Maidstone, crosses this parish at the thirtieth mile stone: the hamlet of Larkfield-street, which gives name to this hundred, is situated on it, where there is a fair held on St. James's day. Hence this parish extends northward for more than a mile, to the river Medway, the bank of which is here beautifully shaded with young oaks. Here is a hamlet called New Hythe, situated close to the river, so called from the shipping and relading of goods at it. The civil liberty of the corporation of Maidstone claims over this place.— There once belonged a chapel to this district, called New Hythe chapel, which was suppressed in king Edward VI.th's time, when it was valued at eleven shillings clear yearly value; the first founder of it was not known. Daily mass was said in it. Hugh Cartwright, gent. of East Malling, had soon afterwards a grant of it.

 

Adjoining to the southern side of the high road and hamlet of Larkfield, is the small, but beautifully situated, park of Bradborne, the plantations of which, as well as the stream which flows through it, are so judiciously and ornamentally disposed round the mansion, as to render it, for its size (its smallness being by art wholly concealed from the sight) the most elegant residence of any in these parts. Close to the southern pale of the park, is the village of East Malling, at the north end of which is a handsome house, the property of Sir John Twisden, the church, and parsonage. Hence there is a street called Mill-street, from a corn mill there, which is turned by the before mentioned stream. Through the village, which has in it some tolerable good houses, one of which was lately the property of James Tomlyn, esq. the ground rises up to East Malling heath, on the entrance of which, near the direction post, there appears to be a Roman tumulus. On this heath are several kilns for making bricks and tile; it lies on high ground, and is a pleasant spot, though surrounded on the east and west sides by large tracts of coppice woods. The park of Teston bounds up to the south east corner of it, and the road from thence to Town Malling and Ofham leads along the southern part of it, through the woods.

 

AT THE TIME of taking the general survey of Domesday in the year 1080, being the fifteenth of the Conqueror's reign, this place was part of the possessions of the archbishop of Canterbury, under the title of whose lands it is thus entered in that record.

 

In the lath of Elesfort, in Laurochesfel hundred, the archbishop (of Canterbury) himself holds Metlinges in demesne. It was taxed at two sulings. The arable land is seven carucates. In demesne there are three carucates and thirty-eight villiens, with twelve borderers having five carucates. There is a church and five servants, and two mills of ten shillings, and twenty-one acres of meadow. Wood for the pannage of sixty hogs. In the whole value, in the time of king Edward the Confessor it was worth nine pounds, the like when he received it, and now as much, and yet it pays fifteen pounds.

 

The manor of East Malling was given not many years afterwards by Anselm, archbishop of Canterbury, by the name of Parvas Meallingas, to the nunnery of the adjoining parish of West Malling, founded by Gundulph, bishop of Rochester, his cotemporary. In the 7th year of king Edward I. the abbess of Malling claimed several liberties within this manor; and in the twenty-first year of that reign, she claimed to have in it view of frank pledge, assize of bread and ale, and gallows, which she found her church possessed of at the time of her coming to it; and it was allowed her by the jury.

 

In the time of king Richard II. the temporalities of the abbess of Malling in this parish and Town Malling were valued at forty-five pounds.

 

This monastery being dissolved in the 30th year of Henry VIII. anno 1538, this manor was, with the rest of its possessions, surrendered into the kings hands. After which the king, in his 31st year, granted in exchange, among other premises, to Thomas Cranmer, archbishop of Canterbury, this manor and parsonage, late belonging to the before-mentioned abbey, excepting all advowsons, presentations, &c. to hold by knight's service; and as the king was entitled to the tenths of them, he discharged the archbishop of them, and all other outgoings whatsoever, except the rent therein mentioned. Which grant was in consequence of an indenture made before, between the king and the archbishop, inrolled in the Augmentation-office.

 

The manor of East Malling, and the premises before-mentioned, were again exchanged with the crown in the beginning of the reign of queen Elizabeth, in the 12th year of which the queen granted this manor in lease to Sir Henry Brook alias Cobham, knt. fifth son of George, lord Cobham; after which it was in like manner possessed by Pierpoint, who lies buried in Town Malling church, and afterwards by Hugh Cartwright, esq. who bore for his arms, Argent, on a fess engrailed, sable, three cinquefoils of the first. On whose decease his widow, Mrs. Jane Cartwright, one of the seventeen daughters of Sir John Newton, became entitled to it, and carried her interest in it to her second husband, Sir James Fitzjames, and he passed it away to Humphrey Delind, who soon afterwards alienated it to Sir Robert Brett, descended of the ancient family of the Bretts, in Somersetshire, who bore for his arms, Or, a lion rampant, guies, within an orle of cross-croslets fitchee of the second. He died in 1620, and was buried in Town Malling church, having had by Frances his wife, the only daughter of Sir Thomas Fane, by Mary, baroness Le Despencer his wife, who died in 1617, an only son Henry, who died in 1609, and both lie interred with him in that church. The next year after the death of Sir Robert Brett, king James granted this manor in fee to John Rayney, esq. which grant was farther confirmed to Sir John Rayney, his eldest son, in the second year of king Charles I. Sir John Rayney was of Wrotham place, and was created a baronet of Nova Scotia in 1641; and his son of the same name, about the year 1657, passed it away by sale to Thomas Twisden, serjeant at law, afterwards knighted, and made one of the judges of the King's Bench, and created a baronet.

 

He afterwards seated himself at Bradbourn, in this parish, and in his descendants, baronets, seated there likewise, it has continued down to Sir John Papillon Twisden, bart. of Bradbourn, who is the present owner of it.

 

There is a court leet and court baron held for this manor.

 

BRADBOURN is a seat in this parish, which has long been the residence of a gentleman's family. It was formerly accounted a manor, and in the reign of king Henry VIII. was in the possession of the family of Isley, of Sundridge, in this county, in which it continued till Sir Henry Isley, in the 31st year of that reign, exchanged it with the king for other premises; which exchange was confirmed by letters patent under the great seal the next year.

 

In the reign of queen Elizabeth, it was in the possession of the family of Manningham, descended out of Bedfordshire, who bore for their arms, Sable, a fess ermine, in chief three griffins heads erased or, langued gules. The last of this name here was Richard Manningham, esq. who about the year 1656 alienated Bradbourn to Thomas Twisden, esq. serjeant at law, who was the second son of Sir William Twisden, bart. of Roydon-hall in East Peckham, and of the Lady Anne Finch, his wife, daughter of the first countess of Winchelsea, and continued to bear the antient coat of arms of his family, being Gironny of four argent and gules, a saltier and four cross croslets, all counterchanged, with due difference; and for his crest, On a wreath, a cockatrice azure, with wings displayed or. On the year of king Charles's restoration, he was knighted by him, and made one of the judges of the king's bench, and on June 13, anno 19 Charles II. 1666, was created a baronet. He discharged his office of judge during the space of eighteen years, when he obtained his quietus, on account of his great age and infirmities. He altered the spelling of his name from Twysden, as it was spelt by his ancestors, and is still by the Twysdens of East Peckham, baronets, to Twisden, to distinguish the two branches of the family, and this alteration has been followed by his descendants, to the present time. He resided at this seat, the grounds of which he imparked in the year 1666, and dying in 1683, aged 81, was buried in East Malling church. He married Jane, daughter of John Tomlinson, esq. of Whitby, in Yorkshire, who surviving him, died in 1702, by whom he had several sons and daughters. Of the former, Sir Roger Twisden, knight and baronet, the eldest son, succeeded him in title and estate, and resided at Bradbourn. He married Margaret, daughter of Sir John Marsham, knight and baronet, of Whornes-place, and died in 1703, leaving three sons and two daughters. He was succeeded in title and this estate by his eldest son, Sir Thomas Twisden, bart. who was likewise of Bradbourn, and served in parliament for this county in the second parliament of king George I. He married Anne, the daughter and heir of John Musters, esq. of Nottinghamshire, by whom he had four sons; Sir Thomas, his successor; Sir Roger, successor to his brother; and William, and John deceased. He died in 1728, and was succeeded by his eldest son, Sir Thomas Twisden, before-mentioned, who going abroad died at Grenada, in Spain, in 1737, unmarried, and was succeeded in dignity and this estate by his brother, Sir Roger Twisden, bart. who resided at Bradbourn, which he so highly improved, that there are few seats of private gentlemen, that exceed it, either in convenience, beauty, or pleasantness.

 

He served in parliament for this county in the 5th and 6th parliament of king George II. and having resided here with the worthiest of characters, he died in 1772, and was buried with his ancestors in East Malling church. By Elizabeth, his wife, daughter and heir of Edmund Watton, esq. of Addington, and widow of Leonard Bartholomew, esq. who survived him, and died in 1775, he left three sons, Roger; William, who resided at Hythe, and married Miss Kirkman, and died s. p. and John Papillon. He was succeeded by his eldest son, Sir Roger Twisden, bart. of Bradbourn, who died in 1779, leaving his wife Rebecca, daughter of Isaac Wildash, esq. of Chatham, big with child, which proved to be a daughter, on which his only surviving brother Sir John Papillon Twisden, bart. succeeded him both in title and his estates in this parish, of which he is the present possessor. He resides at Bradbourn, and in 1782 married a daughter of admiral Sir Francis Geary, of Polsden, in Surry, bart. by whom he has a son, born in 1784.

 

CHARITIES.

Mr. RICHARD BURNET gave by will in 1578, four bushels of wheat, in money 20s. to be distributed yearly to the poor of this parish for ever, on Good Friday, vested in the churchwardens.

 

Mrs. MARY TURNER, in 1679, gave by will 20s. to be distributed to twenty poor widows of this parish on Lady-day for ever, vested in the same.

 

THE LADY JANE TWISDEN, relict of judge Twisden, gave by will in 1702, toward putting out poor children, born in this parish, apprentices, the sum of 100l. now vested in the same, and of the annual produce of 4l. 4s.

 

JAMES TOMLYN gave by will in 1752, to teach poor children to write, and the church catechism, and to read, 5l. yearly for ever, issuing out of land in this parish, called Crouch, vested in the churchwardens, and now of that annual produce.

 

EAST MALLING is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.

 

The church of East Malling is dedicated to St. James. It is a handsome building, with a square tower at the west end of it.

 

Archbishop Anselm, who lived in the time of king William Rufus, gave the church of East Malling to the nunnery of the adjoining parish of West Malling, and granted, that the abbess and nuns there should hold it appropriated to them. (fn. 1)

 

¶Simon, archbishop of Canterbury, in 1363, on the complaint of Sir John Lorkyn, perpetual vicar of this church, that the portion of his vicarage, the church of which was held appropriated by the abbess and convent of Malling, was insufficient for his decent support and for the payment of episcopal dues, and the support of other burthens incumbent on him; and the abbess and convent being desirous of providing a proper support for the vicar and his successors, as far as was necessary, and agreeing, under their common seal, to assign to him and them the portions under-mentioned, which the archbishop approved of as sufficient, and the vicar likewise agreed to—decreed, and ordained, that the vicar and his successors, should have the mansion belonging to the vicarage, with the garden of it, and six acres and three roods of arable land, and two acres of meadow, which they used to have in past times, free and discharged from the payment of tithes, together with the herbage of the cemetery of the church, and the trees growing on it, and the tithes of silva cedua, lambs, wool, pigs, geese, ducks, eggs, chicken, calves, cheese, and the produce of the dairy, pidgeons, hemp, and flax, apples, pears, pasture, honey, wax beans planted in gardens, and of all other seeds whatsoever sown in them, and also the tithes of sheaves arising from orchards or gardens, dug with the foot, together with the tithes as well of the cattle of the religious in their manors and lands wheresoever situated within the parish, either bred up, feeding, or lying there, and of all other matters above-mentioned, being within the said manors and lands, as of the cattle and matters of this sort of all others whatsoever, arising within the parish; and further, that the vicar and his successors, ministering in the church, should take at all future times all manner of oblations, as well in the parish church, as in the chapel of St. John, at Newhethe, in this parish, and all other places within it, then or in future, and the tithes of business of profit, of butchers, carpenters, brewers, and other artificers and tradesmen whatsoever, to this church in any wise belonging, and likewise the residue of the paschal wax, after the breaking of the same, and legacies then, or which might afterwards be left to the high altar, and the rest of the altars, or images; and he decreed, that only the tithes of the two mills in this parish belonging to the religious, and also the great tithes of sheaves, and of hay wheresoever arising within the parish, should in future belong to the abbess and convent. And he taxed this portion of the vicar at ten marcs sterling yearly value; according to which he decreed, that the vicar should pay the tenth, whenever the same ought to be paid in future; and that the vicar for the time being should undergo the burthen of officiating in this church, either by himself, or some other fit priest, in divine services, and in finding of bread and wine, for the cele bration of the sacraments, and of the two processional tapers, as heretofore; and that he should receive and undergo all other profits and burthens, otherwise than as before-mentioned.

 

The vicarage is valued in the king's books at 10l. 8s. 4d. and the yearly tenths at 1l. 0s. 10d.

 

Sir John Twisden is the present patron of this vicarage.

 

The vicar of East Malling is always intitled to be one of the ministers, who preach at the lecture founded in Town Malling church, that is, one sermon every fortnight, on a Saturday, being the market-day; and he receives ten shillings for each sermon he preaches.

 

www.british-history.ac.uk/survey-kent/vol4/pp508-517

A few years ago, early on Saturday morning, I tried to enter St Dunstan's, with no luck. It was locked fast.

 

Which was a shame, as it looked a very interesting church from the outside, and with its location, just outside the city gate on the crossing of two main roads.

 

Anyway, I logged this away in my meory banks, detirmed to go back one day. And for a change this Heritage Weekend, we returned to Canterbury not once, but twice. And on the second day was rewarded with entry to three of the city churches.

 

St Dunstan is most famous for being the final resting place of Sir Thomas More's head, in the family tomb of his wife. There is fine glass commemorating this.

 

Some minor work is being carried out at the rear of the church, so a return will be needed to see the full restored church.

 

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Dedicated to a former Archbishop of Canterbury, St Dunstan's stands outside the city walls. There is structural evidence of the Norman period, but most of the church is fourteenth century. The west tower dates from this time and is very oddly proportioned - about twice the height that its width can really cope with. The south chapel is constructed of brick and was completed in the early sixteenth century. It contains monuments to the More family and is the burial place of St. Thomas More's head, - brought here by his daughter after his execution. The family home stood opposite the church where its brick gateway may still be seen. There are two twentieth-century windows of note in the chapel, by Lawrence Lee and John Hayward.

  

www.kentchurches.info/church.asp?p=Canterbury+2

 

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St. Dunstan's is an Anglican church in Canterbury, Kent, at the junction of London Road and Whitstable Road. It is dedicated to St. Dunstan (909-988) and gives its name to the part of the city on the left bank of the River Stour. The parish has been held in plurality with others nearby at different times, in a way that is confusing and difficult to document. In 2010 the parish was joined with the parishes of the City Centre Parish in a new pastoral grouping, City Centre with St. Dunstan.

 

The church dates from the 11th century and is a grade I listed building. It was restored in 1878-80 by church architect Ewan Christian. Its association with the deaths of Thomas Becket and Thomas More make it a place of pilgrimage.

 

Dunstan was Archbishop of Canterbury from 960 to 978 and was canonised soon after his death, becoming the favourite saint of the English until he was supplanted by Thomas Becket.[2] He was buried in Canterbury Cathedral but his tomb was destroyed during the Reformation.

 

In 1174, when Henry II began his penitential pilgrimage in reparation for the murder of Archbishop Thomas Becket, he changed his clothing into sackcloth at St. Dunstan’s Church and began his pilgrimage from here to Thomas Becket's tomb at Canterbury Cathedral on foot.

 

His daughter Margaret secured the release of Thomas More's head from its spike on London Bridge and brought it back to the family tomb of her husband William Roper.[4] The Roper family lived nearby off what is now St Dunstan's Street. What remains of their home is called Roper Gate, marked with a commemorative plaque, it is all that survives of Place House. The Roper family vault is located underneath the Nicholas Chapel, to the right of the church's main altar. It was sealed in recent years, according to Anglican tradition. A large stone slab marks its location to the immediate left of the chapel's altar. Three impressive stained glass windows line the chapel, the one behind the altar depicts in brilliant detail the major events and symbols in the life of the Saint. Another of the windows commemorates the visit of Pope John Paul II to Canterbury to pray with the Anglican Archbishop of Canterbury at the site of the martyrdom of St. Thomas Becket in Canterbury Cathedral. The window displays the arms of the Archbishop's diocese and the Pope. Plaques mounted on the walls explain the veracity of the relic of the Saint's head, the sealing of the vault which contains it, and the life of the Saint, including a prayer he wrote.

  

St Dunstan’s has six bells, hung for change ringing in the English style, the heaviest weighing 13cwt (approx. 675 kg). Due to the unusual narrowness of the belfry, the bells are hung in a two-tier frame.

 

The fifth bell of the ring is one of the oldest Christian church bells in the world, believed to have been cast in 1325 by William le Belyetere, making it nearly 690 years old as of 2014 [5]

 

The bells were removed from the tower in 1935 so that a concrete structural beam could be fitted to the tower. At this time the bells were retuned by the Whitechapel Bell Foundry, and rehung in the present frame in 1936.

 

The bells are rung on Friday evenings for practice, and Sunday mornings for the service, by the St Dunstan’s Society of Change Ringers.

 

en.wikipedia.org/wiki/St._Dunstan%27s,_Canterbury

 

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ir Thomas More (/ˈmɔːr/; 7 February 1478 – 6 July 1535), venerated by Roman Catholics as Saint Thomas More,[1][2] was an English lawyer, social philosopher, author, statesman and noted Renaissance humanist. He was also a councillor to Henry VIII, and Lord High Chancellor of England from October 1529 to 16 May 1532.[3]

 

More opposed the Protestant Reformation, in particular the theology of Martin Luther and William Tyndale. He also wrote Utopia, published in 1516, about the political system of an imaginary ideal island nation. More opposed the King's separation from the Catholic Church, refusing to acknowledge Henry as Supreme Head of the Church of England and the annulment of his marriage to Catherine of Aragon. After refusing to take the Oath of Supremacy, he was convicted of treason and beheaded. Ahead of his execution, he was reported saying his famous words: "I die the King's good servant, but God's first."

 

Pope Pius XI canonised More in 1935 as a martyr. Pope John Paul II in 2000 declared him the "heavenly Patron of Statesmen and Politicians."[4] Since 1980, the Church of England has remembered More liturgically as a Reformation martyr.[5] The Soviet Union honoured him for the 'Communistic' attitude toward property rights expressed in Utopia.

 

Born in Milk Street in London, on February 7, 1478, Thomas More was the son of Sir John More,[9] a successful lawyer and later judge, and his wife Agnes (née Graunger). More was educated at St Anthony's School, then considered one of London's finest schools.[10] From 1490 to 1492, More served John Morton, the Archbishop of Canterbury and Lord Chancellor of England, as a household page.[11]:xvi Morton enthusiastically supported the "New Learning" (now called the Renaissance), and thought highly of the young More. Believing that More had great potential, Morton nominated him for a place at the University of Oxford (either in St. Mary's Hall or Canterbury College, both now gone).[12]:38

 

More began his studies at Oxford in 1492, and received a classical education. Studying under Thomas Linacre and William Grocyn, he became proficient in both Latin and Greek. More left Oxford after only two years—at his father's insistence—to begin legal training in London at New Inn, one of the Inns of Chancery.[11]:xvii[13] In 1496, More became a student at Lincoln's Inn, one of the Inns of Court, where he remained until 1502, when he was called to the Bar.

 

According to his friend, theologian Desiderius Erasmus of Rotterdam, More once seriously contemplated abandoning his legal career to become a monk.[14][15] Between 1503 and 1504 More lived near the Carthusian monastery outside the walls of London and joined in the monks' spiritual exercises. Although he deeply admired their piety, More ultimately decided to remain a layman, standing for election to Parliament in 1504 and marrying the following year.[11]:xxi

 

In spite of his choice to pursue a secular career, More continued ascetical practices for the rest of his life, such as wearing a hair shirt next to his skin and occasionally engaging in flagellation.[11]:xxi A tradition of the Third Order of Saint Francis honours More as a member of that Order on their calendar of saints.

 

More married Jane Colt in 1505.[12]:118 She was 5 years younger than her husband, quiet and good-natured.[12]:119 Erasmus reported that More wanted to give his young wife a better education than she had previously received at home, and tutored her in music and literature.[12]:119 The couple had four children before Jane died in 1511: Margaret, Elizabeth, Cicely, and John.[12]:132

 

Going "against friends' advice and common custom," within thirty days More had married one of the many eligible women among his wide circle of friends.[17] He certainly expected a mother to take care of his little children and, as the view of his time considered marriage as an "economic union",[18] he chose a rich widow, Alice Harpur Middleton.[19] More is regarded not getting remarried for sexual pleasure, since Alice is much older than himself, and their marriage possibly had not been consummated.[18] The speed of the marriage was so unusual that More had to get a dispensation of the banns, which, due to his good public reputation, he easily obtained.[17] Alice More lacked Jane's docility; More's friend Andrew Ammonius derided Alice as a "hook-nosed harpy."[20] Erasmus, however, called their marriage happy.[12]:144

 

More had no children from his second marriage, although he raised Alice's daughter from her previous marriage as his own. More also became the guardian of two young girls: Anne Cresacre would eventually marry his son, John More;[12]:146 and Margaret Giggs (later Clement) would be the only member of his family to witness his execution (she died on the 35th anniversary of that execution, and her daughter married More's nephew William Rastell). An affectionate father, More wrote letters to his children whenever he was away on legal or government business, and encouraged them to write to him often.[12]:150[21]:xiv

 

More insisted upon giving his daughters the same classical education as his son, a highly unusual attitude at the time.[12]:146–47 His eldest daughter, Margaret, attracted much admiration for her erudition, especially her fluency in Greek and Latin.[12]:147 More told his daughter of his pride in her academic accomplishment in September 1522, after he showed the bishop a letter she had written:

 

When he saw from the signature that it was the letter of a lady, his surprise led him to read it more eagerly … he said he would never have believed it to be your work unless I had assured him of the fact, and he began to praise it in the highest terms … for its pure Latinity, its correctness, its erudition, and its expressions of tender affection. He took out at once from his pocket a portague [A Portuguese gold coin] … to send to you as a pledge and token of his good will towards you.[21]:152

 

More's decision to educate his daughters set an example for other noble families. Even Erasmus became much more favourable once he witnessed their accomplishments.[12]:149

 

A portrait of More and his family was painted by Holbein, but it was lost in a fire in the 18th century. More's grandson commissioned a copy, two versions of which survive.

 

In 1504 More was elected to Parliament to represent Great Yarmouth, and in 1510 began representing London.[22]

 

From 1510, More served as one of the two undersheriffs of the City of London, a position of considerable responsibility in which he earned a reputation as an honest and effective public servant. More became Master of Requests in 1514,[23] the same year in which he was appointed as a Privy Counsellor.[24] After undertaking a diplomatic mission to the Holy Roman Emperor, Charles V, accompanying Thomas Wolsey, Cardinal Archbishop of York, to Calais and Bruges, More was knighted and made under-treasurer of the Exchequer in 1521.[24]

 

As secretary and personal adviser to King Henry VIII, More became increasingly influential: welcoming foreign diplomats, drafting official documents, and serving as a liaison between the King and Lord Chancellor Wolsey. More later served as High Steward for the universities of Oxford and Cambridge.

 

In 1523 More was elected as knight of the shire (MP) for Middlesex and, on Wolsey's recommendation, the House of Commons elected More its Speaker.[24] In 1525 More became Chancellor of the Duchy of Lancaster, with executive and judicial responsibilities over much of northern England.

 

More supported the Catholic Church and saw the Protestant Reformation as heresy, a threat to the unity of both church and society. More believed in the theology, polemics, and ecclesiastical laws of the church, and "heard Luther's call to destroy the Catholic Church as a call to war."[25]

 

His early actions against the Reformation included aiding Wolsey in preventing Lutheran books from being imported into England, spying on and investigating suspected Protestants, especially publishers, and arresting anyone holding in his possession, transporting, or selling the books of the Protestant Reformation. More vigorously suppressed the travelling country ministers who used Tyndale's English translation of the New Testament.[citation needed] It contained controversial translations of certain words; for example, Tyndale used "senior" and "elder" rather than "priest" for the Greek "presbyteros", and some of the marginal glosses challenged Catholic doctrine.[26] It was during this time that most of his literary polemics appeared.

 

Rumours circulated during and after More's lifetime regarding ill-treatment of heretics during his time as Lord Chancellor. The popular anti-Catholic polemicist John Foxe, who "placed Protestant sufferings against the background of... the Antichrist",[27] was instrumental in publicising accusations of torture in his famous Book of Martyrs, claiming that More had often personally used violence or torture while interrogating heretics. Later authors such as Brian Moynahan and Michael Farris cite Foxe when repeating these allegations.[28] More himself denied these allegations:

 

Stories of a similar nature were current even in More's lifetime and he denied them forcefully. He admitted that he did imprison heretics in his house – 'theyr sure kepynge' – he called it – but he utterly rejected claims of torture and whipping... 'so helpe me God.'[12]:298

 

However, More writes in his "Apology" (1533) that he only applied corporal punishment to two heretics: a child who was caned in front of his family for heresy regarding the Eucharist, and a "feeble-minded" man who was whipped for disrupting prayers.[29]:404 During More's chancellorship, six people were burned at the stake for heresy; they were Thomas Hitton, Thomas Bilney, Richard Bayfield, John Tewkesbery, Thomas Dusgate, and James Bainham.[12]:299–306 Moynahan has argued that More was influential in the burning of Tyndale, as More's agents had long pursued him, even though this took place over a year after his own death.[30] Burning at the stake had long been a standard punishment for heresy; about thirty burnings had taken place in the century before More's elevation to Chancellor, and burning continued to be used by both Catholics and Protestants during the religious upheaval of the following decades.[31] His biographer Peter Ackroyd notes that More explicitly "approved of Burning".[12]:298

 

John Tewkesbury was a London leather seller found guilty by Bishop of London John Stokesley[32] of harbouring banned books; he was sentenced to burning for refusing to recant. More declared: he "burned as there was neuer wretche I wene better worthy."[33]

 

Modern commentators are divided over More's religious actions as Chancellor. Some biographers, including Ackroyd, have taken a relatively tolerant view of More's campaign against Protestantism by placing his actions within the turbulent religious climate of the time. Others have been more critical, such as Richard Marius, an American scholar of the Reformation, believing that persecutions were a betrayal of More's earlier humanist convictions, including More's zealous and well-documented advocacy of extermination for Protestants.[29]:386–406

 

Some Protestants take a different view. In 1980, More was added to the Church of England's calendar of Saints and Heroes of the Christian Church, despite being a fierce opponent of the English Reformation that created the Church of England. He was added jointly with John Fisher, to be commemorated every 6 July (the date of More's execution) as "Thomas More, Scholar, and John Fisher, Bishop of Rochester, Reformation Martyrs, 1535".[5] Pope John Paul II honoured him by making him patron saint of statesmen and politicians in October 2000, stating: "It can be said that he demonstrated in a singular way the value of a moral conscience... even if, in his actions against heretics, he reflected the limits of the culture of his time".

 

As the conflict over supremacy between the Papacy and the King reached its apogee, More continued to remain steadfast in supporting the supremacy of the Pope as Successor of Peter over that of the King of England. In 1530, More refused to sign a letter by the leading English churchmen and aristocrats asking Pope Clement VII to annul Henry's marriage to Catherine of Aragon, and also quarrelled with Henry VIII over the heresy laws. In 1531, Henry had isolated More by purging most clergy who supported the papal stance from senior positions in the church. Parliament's reinstatement of the charge of praemunire in 1529 had made it a crime to support in public or office the claim of any authority outside the realm (such as the Papacy) to have a legal jurisdiction superior to the King's. In 1531, a royal decree required the clergy to take an oath acknowledging the King as "Supreme Head" of the Church in England. As a layperson, More did not need to take the oath and the clergy, after some initial resistance, took the oath with the addition of the clause "as far as the law of Christ allows." However, More saw he could not render the support Henry expected from his Lord Chancellor for the policy the King was developing to support the annulment of his marriage with Catherine. In 1532 he petitioned the King to relieve him of his office, alleging failing health. Henry granted his request.

 

In 1533, More refused to attend the coronation of Anne Boleyn as the Queen of England. Technically, this was not an act of treason, as More had written to Henry acknowledging Anne's queenship and expressing his desire for the King's happiness and the new Queen's health.[34] Despite this, his refusal to attend was widely interpreted as a snub against Anne, and Henry took action against him.

 

Shortly thereafter, More was charged with accepting bribes, but the charges had to be dismissed for lack of any evidence. In early 1534, More was accused of conspiring with the "Holy Maid of Kent," Elizabeth Barton, a nun who had prophesied against the king's annulment, but More was able to produce a letter in which he had instructed Barton not to interfere with state matters.[citation needed]

 

On 13 April 1534, More was asked to appear before a commission and swear his allegiance to the parliamentary Act of Succession. More accepted Parliament's right to declare Anne Boleyn the legitimate Queen of England, but, holding fast to the teaching of papal supremacy, he steadfastly refused to take the oath of supremacy of the Crown in the relationship between the kingdom and the church in England. More furthermore publicly refused to uphold Henry's annulment from Catherine. John Fisher, Bishop of Rochester, refused the oath along with More. The oath reads:[35]

 

...By reason whereof the Bishop of Rome and See Apostolic, contrary to the great and inviolable grants of jurisdictions given by God immediately to emperors, kings and princes in succession to their heirs, hath presumed in times past to invest who should please them to inherit in other men's kingdoms and dominions, which thing we your most humble subjects, both spiritual and temporal, do most abhor and detest...

 

With his refusal to support the King's annulment, More's enemies had enough evidence to have the King arrest him on treason. Four days later, Henry had More imprisoned in the Tower of London. There More prepared a devotional Dialogue of Comfort against Tribulation. While More was imprisoned in the Tower, Thomas Cromwell made several visits, urging More to take the oath, which he continued to refuse.

 

On 1 July 1535, More was tried before a panel of judges that included the new Lord Chancellor, Sir Thomas Audley, as well as Anne Boleyn's father, brother, and uncle. He was charged with high treason for denying the validity of the Act of Supremacy and was tried under the following section of the Treasons Act 1534:

 

If any person or persons, after the first day of February next coming, do maliciously wish, will or desire, by words or writing, or by craft imagine, invent, practise, or attempt any bodily harm to be done or committed to the king's most royal person, the queen's, or their heirs apparent, or to deprive them or any of them of their dignity, title, or name of their royal estates …

 

That then every such person and persons so offending … shall have and suffer such pains of death and other penalties, as is limited and accustomed in cases of high treason.[36]

 

More, relying on legal precedent and the maxim "qui tacet consentire videtur" (literally, who (is) silent is seen to consent), understood that he could not be convicted as long as he did not explicitly deny that the King was Supreme Head of the Church, and he therefore refused to answer all questions regarding his opinions on the subject.

 

Thomas Cromwell, at the time the most powerful of the King's advisors, brought forth the Solicitor General, Richard Rich, to testify that More had, in his presence, denied that the King was the legitimate head of the church. This testimony was characterised by More as being extremely dubious. Witnesses Richard Southwell and Mr. Palmer both denied having heard the details of the reported conversation, and as More himself pointed out:

 

Can it therefore seem likely to your Lordships, that I should in so weighty an Affair as this, act so unadvisedly, as to trust Mr. Rich, a Man I had always so mean an Opinion of, in reference to his Truth and Honesty, … that I should only impart to Mr. Rich the Secrets of my Conscience in respect to the King's Supremacy, the particular Secrets, and only Point about which I have been so long pressed to explain my self? which I never did, nor never would reveal; when the Act was once made, either to the King himself, or any of his Privy Councillors, as is well known to your Honours, who have been sent upon no other account at several times by his Majesty to me in the Tower. I refer it to your Judgments, my Lords, whether this can seem credible to any of your Lordships.

 

The jury took only fifteen minutes, however, to find More guilty.

 

After the jury's verdict was delivered and before his sentencing, More spoke freely of his belief that "no temporal man may be the head of the spirituality". He was sentenced to be hanged, drawn, and quartered (the usual punishment for traitors who were not the nobility), but the King commuted this to execution by decapitation. The execution took place on 6 July 1535. When he came to mount the steps to the scaffold, he is widely quoted as saying (to the officials): "I pray you, I pray you, Mr Lieutenant, see me safe up and for my coming down, I can shift for myself"; while on the scaffold he declared that he died "the king's good servant, but God's first."

 

Another comment he is believed to have made to the executioner is that his beard was completely innocent of any crime, and did not deserve the axe; he then positioned his beard so that it would not be harmed.[39] More asked that his foster/adopted daughter Margaret Clement (née Giggs) be given his headless corpse to bury.[40] She was the only member of his family to witness his execution. He was buried at the Tower of London, in the chapel of St Peter ad Vincula in an unmarked grave. His head was fixed upon a pike over London Bridge for a month, according to the normal custom for traitors. His daughter Margaret (Meg) Roper rescued it, possibly by bribery, before it could be thrown in the River Thames.[citation needed]

 

The skull is believed to rest in the Roper Vault of St Dunstan's Church, Canterbury, though some researchers[who?] have claimed it might be within the tomb he erected for More in Chelsea Old Church (see below). The evidence,[clarification needed] however, seems to be in favour of its placement in St Dunstan's, with the remains of his daughter, Margaret Roper, and her husband's family, whose vault it was.[citation needed]

 

Among other surviving relics is his hair shirt, presented for safe keeping by Margaret Clement.[41] This was long in the custody of the community of Augustinian canonesses who until 1983 lived at the convent at Abbotskerswell Priory, Devon. It is now preserved at Syon Abbey, near South Brent.

 

en.wikipedia.org/wiki/Thomas_More

I came to Oklahoma to witness a killing, a homicide in fact.

 

At a microphone Debbie Huggins fights tears and with a strong southern drawl says slowly, emphatically: "What we did to him today was much kinder than what he did to my dad."

 

"Him" refers to Michael Selsor and "what" to the murder of Clayton Chandler, a clerk shot six times during a gas station robbery in Tulsa, Oklahoma. Selsor pulled the trigger even after Chandler had complied and volunteered the loot.

 

"In 1975 I never would have thought that it would take 37 years for justice," Huggins says.

 

Today's justice was delivered about half an hour before Huggins approached the microphone; it is why I am here.

 

There are few acts graver than when a government takes the life of one of its own citizens. Executions often get a lot of coverage in the US, when there is something controversial about the case or enough people believe the condemned might be innocent. These scenarios attract media attention and fuel vigils. This was not the case with Michael Selsor. Everyone agreed that he did it, including him. The reporters who cover Selsor's execution will focus on Huggins and her family. Perhaps you cannot blame them. The only interview Selsor ever granted was to me.

 

Even though executions are conducted on behalf of the citizens of the state, very few are allowed to witness it: families of the condemned and their victims, lawyers, law enforcement, and journalists. This is why I felt a responsibility to witness Selsor's end and then to report it as dispassionately and honestly as I could. The following attempts such an account.

 

About an hour before Huggins gives her statement, I am led from a makeshift media center to the notorious H Unit, home of Oklahoma's death row. A pat down ensures our escorts that I carry no possessions other than the clothes on my back. They give me paper and a pen so I can take notes. I am joined by five other reporters. We maneuver through a set of gates that open to a large passageway. The walls and floor are made of smooth concrete. The passage feels stark, modern, like a secret missile silo - and incongruous with the century-old prison famous for inmate rodeos and executions.

 

Eventually we turn through a large yellow door into the death chamber's viewing room. I have been here before, but then the space was empty and part of the tour - now it is ready for business.

 

A handful of prison officials and guards are waiting for us in the viewing room, a narrow rectangle about four times as long as it is wide. A long series of windows to my right are covered by drawn blinds. Two rows of 12 brown metal folding chairs - the kind dragged out of a storage closet at a school picnic - are lined up. I am the first reporter in the room and told to go to the end of the second row and take a seat.

 

As I sidestep down the row I notice for the first time another set of windows on the left side of the room. The tinted panes conceal the identity of those on the other side. I suppose the setup is not unlike a wedding with two families to attend to and keep separated. The original victim, Clayton Chandler, is represented by an unknown number of family members behind the dark glass. It is hot in the room - at least 90 degrees and rising as people file in. Movement behind the opaque windows catches the light and my eye; at least two people are fanning themselves with white paper. Chandler's family members must already be in place, watching us nervously find our seats.

 

Three lawyers in dark suits representing Selsor enter next and sit directly in front of me. Selsor's family follows. His son wears a grey t-shirt, shorts and a military-short haircut. Tattoos cover his neck and arms. Selsor's sister, with a shock of blonde hair, looks tired. Her bright blue, short-sleeved shirt contrasts a suntanned face, wizened beyond her years. A box of cheap tissues rests in the son’s chair, courtesy of the state. Once Selsor's family is settled, a small contingent of law enforcement file in, including Jeff Jordan, who investigated Chandler's murder as a rookie homicide detective. He is now Tulsa's police chief.

 

A cacophony of banging echoes throughout the prison. We have been warned not to be alarmed by the noise - it is how inmates say their goodbyes.

 

Selsor is respected on death row. He is seemingly regarded as a serious and contemplative individual who became an asset of sorts to prison inmates and staff alike - though officials always caveat the sentiment with a reminder that his crime was inexcusably wrong and such actions must bear consequences. As the run guy, a job given to the toughest of the condemned, Selsor made deliveries to other cells and kept fellow inmates in line. When school children visited the prison, Selsor played a regular part in the tour. From behind bars he shared his life lesson about the consequences of one's actions with the children.

 

The appointed time nears and the banging becomes rhythmic - quick at first, but slowing now to a steady, dirge-like pace.

 

The director of Oklahoma prisons, Justin Jones enters. The yellow door shuts behind him. Rather than taking a chair, he is handed a phone, a hotline to the governor's office. Though not far from me, I cannot hear what he is saying. Jones hangs the receiver up, picks up a different phone connected with the execution chamber and tells them to proceed.

 

It is exactly 6 pm local time. The curtain goes up as guards raise the mini-blinds inside the execution chamber. Selsor's family in front of me gasps at the sight of him. He is strapped to the bed with his arms padlocked down and covered in a sheet up to his chest. Selsor's pinched eyebrows convey a look between fear and guilt.

 

The son waves to his father for what turns out to be the last time and reaches for the tissues. The son and sister begin to cry. Selsor lifts his head as much as he can and turns toward his small audience: "My son, my sister, I love you 'til I see you again next time. Be good. Eric, [Selsor's lawyer] keep up the struggle." His eyes scan the viewing room: "I'll be waiting at the gates of heaven for you. I hope the rest of you make it there as well."

 

He looks at the prison official standing over him and says: "I'm ready." Relaxing back to the bed, he turns his head to the side and focuses on his son.

 

Though we cannot see it, we all know what is happening now. Two intravenous lines run from Selsor's arms to two holes in a wall about three feet behind his head. From a hidden room, three executioners each press a plunger sending lethal doses into his veins: one with pentobarbital, another with vecuronium bromide and a third with potassium chloride. The executioners are each paid $300 in cash, so no paper trail leads to their identity.

 

With a tilted head still looking at his son, Selsor's gaze begins to fade, his eyelids half closing. A final breath exits his body with a visible puff from his lips. His body stills, eyes half open and locked on his son. It is roughly 6:03 pm.

 

The next three minutes pass painfully slowly. No one moves in the death chamber or viewing room. I hear barely perceptible sounds of crying from the row in front of me. A medical examiner in the chamber approaches the bed, checks for signs of life and pronounces Michael Selsor dead at 6:06 pm.

 

We solemnly return to the media center. Huggins holds a press conference and tells us that the execution did not bring closure or the kind of justice it seems she was seeking, but it is easy to see her relief from the death of Selsor. The ultimate boogeyman in her mind was finally gone.

 

In time a death certificate will be issued from the state of Oklahoma. For cause of death, it will say Selsor died from a homicide. Though it took nearly four decades to find its target, it is clear now that the trigger Selsor pulled that fateful day in 1975 ended not only Chandler's life, but his own as well.

Not the best execution, but it's as far as I got before the timer went...

 

Day 4 of 365.

execution of my brilliant brother's even more brilliant idea !

 

An old Nickelodean type machine that boasted you would see a realistic excecution. The gates opened, the little wooden figures stood perfectly still while music played. At the end, the floor dropped and one wooden figure fell through the floor and was hanged. It was totally lame and awesome at the same time.

Plaque at the site of the gallows at Tower Hill used for the public executions of high-profile traitors and criminals.

en.wikipedia.org/wiki/Tower_Hill

 

SH104732wx

 

All Rights Reserved © 2008 Frederick Roll ~ fjroll.com

Please do not use this image without permission

Table Lamp

Vienna, 1903

Execution: Wiener Werkstätte (Konrad Scheidel)

Silver-plated brass, violet silk shade

 

Josef Hoffmann (1870-1956)

Tischlampe

Wien, 1903

Ausführung: Wiener Werkstätte (Konrad Scheidel)

Messing versilbert, violetter Seidenschirm

 

Go 2003/1965, Ankauf purchase

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

this painting is part of a series I am working on exploring what it means to be a Catholic in the North of Ireland.

Andrea Mantegna, Ovetari Chapel cycle frescoes, 1448-57, Church of the Eremitani, Padua, Italy. Reconstructed with photographs, in-painting, and original fragments after Americans bombed the church on March 11, 1944

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Firing Squad executing the Rebel Leader.

17th Century re-enactment performed by The Sealed Knot at Stockwood Park

Where they would line up people in the concentration camps and shoot them. Blood ditch for people bleeding out.

Metro 2033 Redux

DX11 1080p (tessellation ON SSAA OFF) 817p letterboxing.

 

ReShade 0.14

FXAA

GP65CJ042 DoF

Technicolor + DPX

Tonemap

Vibrance

Chroma

Grain

Vignette

Letterboxing

 

DL Link: mega.co.nz/#!dpxTRYIa!pAmbLSKaYYg5IKQG9qOfojHqKC1Ss1_Kt4k...

  

You'd think this isn't too playable. I did, was I wrong! I can't stop playing, it just make sit such a gritty and dark game! The original had top notch atmosphere, but this is a whole new level. My little brother came over and saw me playing this, he asked me "What movie is that?!" And I can see where it's coming from, even if the graphics per se aren't the best, the shaders just make it look so life-like. The color grading and the soft dof especially on the lights makes it look like actual pictures sometimes. I don't even know where this'll get in the end, but I can't stop playing! One hour of gameplay, 70 images, trimmed to this, still too many, but I can't hold myself!

The Steinhof Church (also: Church of St. Leopold) was built in 1904-1907, designed by Otto Wagner, and is considered one of the most important buildings of the Vienna Art Nouveau. The Roman Catholic church building is located on the grounds of "Social Medical Center Baumgartnerhöhe" in the 14th district of Vienna Penzing.

History

The Church of "St. Leopold", better known as Steinhof church (or Otto Wagner church Steinhof ) arose from the construction of the Lower Austrian State Hospital and Nursing Home for nervous and mental patients at the stone courtyard (Steinhof) 1904 until 1907. The for the planning responsible architect Otto Wagner had to take into account that there is an asylum church for mentally ill patients, and elicited in discussions with doctors and nurses the specific requirements of such a structure. A doctor's room, toilets and emergency exits were planned, the pews have due to injury no sharp corners. Wagner, in which projects the hygienic aspects have always been a big concern, designed instead of an ordinary holy water basin, a variant with dripping holy water to reduce the risk of infections. He designed the ground sloping down to the altar, so that patients could see better in the back rows to the front. There were also separate inputs not only for nurses but also for male and female patients, since at that time in mental hospitals segregation was prescribed. Lack of money, however, both the Cross as well as the Unterkirchen (Lower Churches) for Protestants and Jews were not realized. Also a heater was not installed.

8 October 1907 the church was opened by Archduke Franz Ferdinand. Between the Archduke, who was not very fond of the Art Nouveau style, and Otto Wagner, however, there was already the beginning of creative disagreements, why Wagner was not mentioned in the opening statement, and subsequently by the Imperial Household got no more orders. These resulting from very different views on architecture and aesthetics gap misled the Neue Freie Presse in its issue of opening day to the question: "And it's not a pretty ironic history that pretty much the first sensible large-scale secession building in Vienna has been built for the insanes?".

After about six years of extensive renovation, the church was established and on October 1st 2006 reopened. Among other things, the dome was re-gilded using 2 kg of gold, replaced the drum base with artificially patinated copper sheets and the marble facade completely replaced. Windows, mosaics and figures have been carefully cleaned and restored. The now radiant with the new look and highly visible in the western part of Vienna golden dome, reminiscent of half a lemon, incidentally, owes the Baumgartnerhöhe on which the church stands, it's nickname" Lemoniberg" . The church, in 2007, got three new bells that were made by the Grassmayr bell foundry. The church is only open for worship, as well as on Saturdays and Sundays for a fee. On these days, also guided tours take place.

Architecture

The church of Steinhof is next to the Secession building one of the masterpieces of Art Nouveau in Vienna and has parallels with the design, designed by Otto Wagner student of Max Hegele and 1910 finished of Charles Borromeo Church in Vienna's central cemetery. One of the distinctive features of the church is based on a Byzantine motif golden dome, supported inside by a clad structure. On the bell towers on the west front are enthroned Saint Leopold as the patron of Lower Austria and Vienna and to the east the preacher Severin. The figures were created by Richard Luksch. As well as the orientation of the church to the south rather than east introduced the representation of saints sitting rather than standing a breakthrough

Under the cornice is a decorative strip with crosses and Loorbeerkränzen (laurel wreaths) that are often incorporated in Otto Wagner buildings, such as, for example, in the Postal Savings Bank or the cast iron railings of the metropolitain railway. Above the at that time only for larger celebrations used main entrance stand four angel figurines created by Othmar Schimkowitz with heads bowed to the church square. In a storm the second angel seen from the right the head was torn away and been re-soldered by the janitor, but with its head held high. This situation was remedied during the renovation.

Stained glass window

The physical virtues

The arrangement of the stained glass windows were designed by Otto Wagner, so that the church interior is flooded with natural light as possible. The glass mosaic window in Tiffany Style created by Koloman Moser. The west window with the motto "Verily I say unto you. Inasmuch as ye have done it unto one of these my brethren ye have done it unto me " shows the physical virtues. The angels above the figures of Saints hold humbly the grave cloth of Jesus. The ministrants viewing from bottom to top lower the head.

St. Elizabeth with Roses: Feed the hungry

Saint Rebecca in offering the potion: The Thirsty soak

St. Bernard: The strangers house

St. Martin with the sword to divide the mantle: The naked clothe

Visit the sick: John of God, the founder of the Order of the Brothers of Charity

John of Matha, founder of the Order of the Trinity: The released prisoners

Tobias with a shovel: the dead bury

The intellectual virtues

The east window with the motto " Blessed are the merciful for they shall obtain mercy " shows the intellectual virtues. The angel looking up at a dove. The ministrants lift up the head.

John the Baptist: rebuke the sinner

Francis de Sales: instruct the ignorant

Clement Mary Hofbauer advise the doubters right

St. Therese: The afflicted comfort

Suffering injustice with patience: Joseph of Egypt

Stephan: To those who have offended us a pardon

Abraham ask for the living and the dead with God

The four windows in the dome, the four evangelists.

Altarpiece

The altarpiece the promise of heaven should be originally designed by Koloman Moser. Even with the side windows there had been criticism and objections of prelate Heinrich Swoboda, who had been entrusted with the supervision of the Church. However, as Moser married Ditha Mautner Markhof and he converted to Protestantism, he was removed from the job despite intercessions of Otto Wagner. The already operating in parallel at this time of the order Carl Ederer submitted a design that was similar to that of Moser and originated in this form at the urging of Swoboda. Moser Ederer consequently accused of plagiierens (plagiating), whereupon he had left at the urging of the other members of the Secession, of which Moser in 1905 had left, filed suit. The trial ended with a settlement and the apology of Moser expressing liveliest regret" about the " ignorance of the circumstances". At the opening of the church in 1907, thus, only the design of Ederer could be issued on cardboard. In agreement with Moser and Wagner 1910 was a renewed design of Remigius Geyling, but because of "lack of suitability" in 1911 he took off the job. The execution of 84.8 m2 and four-ton mosaic was ultimately performed by Leopold Forstner.

The altarpiece depicts in the middle the blessing Christ and two angels.

Stand at his right

The Virgin Mary

St. Dymphna, patron saint of the mentally ill

St. Aloysius, who took care of plague victims and the dignified burial

St. Margaret, patron saint of women in labor and in all wounds, one of the Fourteen Holy Helpers

St. Vitus, helpers in mental illness and the patron saint of epilepsy, one of the Fourteen Holy Helpers

Severin of Noricum, the patron saint of Bavaria, the prisoners, winegrowers and weavers as well as for fertility of the vines

Standing to his left

St. Joseph

St. Elizabeth of Thuringia, a symbol of active charity

Hermann the German, the first prior of a Dominican convent in the German speaking Friesach

St. Christopher, helpers against unsuspecting death, patron saint of travelers, one of the Fourteen Holy Helpers

St. Francis of Assisi, patron saint of the poor and social work. Helper for headaches and the plague

St. Pantaleon, Patron of doctors and midwives, one of the Fourteen Holy Helpers

On the steps of the Church kneels St. Leopold and he is handing over the Steinhof church. The figures at the side of the altarpiece are representing Paul with sword and Peter with keys. The altar was made ​​according to designs by Otto Wagner. The mosaics of the side altars have been made by Rudolf Jettmar. The right shows the Annunciation left the Archangel Gabriel. The confessionals were manufactured by the Wiener Werkstätte.

Otto Wagner, Kirche Am Steinhof, 1904-07, Church Am Steinhof - Projekt Museum Am Steinhof, Otto-Wagner-Spital (Hospital)

de.wikipedia.org/wiki/Kirche_am_Steinhof

The collection of diesels as the temporary allocation of the 330/474 is largely comprised of E’s, but a few WVL’s are also used. Most are from the 11 reg batch last used on the D7, but an older one is WVL293.

This one was displaced from the 321 at New Cross in early 2023, but together with sister WVL294 it avoided the chop thanks to being sent to Northumberland Park to cover for a couple of 476 allocated WVN’s which had met premature ends.

WVL293 is seen at Beckton Bus Station, running about 10 minutes late after the wheelchair ramp had a hissy fit just after I boarded at North Woolwich.

The first cascaded WHV’s (from the 188) are finally starting to arrive, so the conversation might take place soon.

WVL294 is still in the fleet too, helping out at Bexleyheath pending electrics. 2.10.25.