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Near one of the "comfort stations", also called "porta-johns, smelly toilets, Johnny-on-the-Spot, Here's Johnny," we came across a discussion between man and his best friend, or was it dog and biggest fan. The man spoke with a decidedly British accent and for all we knew, so did the canine. "It will only be a minute, mate. Surely, you understand that there are times when we humans need to relieve ourselves, old chap. You don't have the problem of having to do it in a sanctioned proper loo, out of sight of all but those in similar straits, understood. But try to see it from my perspective, not yours, Harvey," he pleaded to the unsympathetic Labrador, who was determined to stand his ground and not to be left unchaperoned. "I don't think he's in a mood to compromise," Ash said, startling the man, who was unaware of our presence, "But if it's alright with Harvey, and you of course, I'd be more than happy to hold his leash and pet him, while you....uh, well you know." "How frightfully kind of you. By the by my name's Nick and this handsome fellow is Harvey," he answered happily as he handed over the line and Harvey immediately jumped up to cuddle at Ashley's side. They took to each other instantly....it was a communication that seemed second nature to her with any dog. "Well, I needn't worry that you'll miss me, Harvey, so I'll take leave briefly," Nick said and then hurried toward relief.

When he returned, much relaxed, Nick told us that both he and Harvey were huge fans of Wee Jackie and were in the country to catch several of his races. "I hope he wins for Harvey today, and you too, of course," Ash wished for them. "Oh, he won't win today. Won't even finish. You see , his car just overheated not far from here and we watched the track crew tow it back to the pits. Jackie took it in stride though...always a gentleman...and rode with them in the lorry," Nick informed us. We talked a bit longer, Nick telling us about the way Peter Revson was passing car after car and had caught up with half the field, and his belief that Harvey had royal blood in his lineage, and was the descendant of Gelert, a canine owned by LLewellyn, the legendary king of ancient Wales. The leash was handed back by Ash and Harvey longingly looked back at her, as did she, when we walked away in opposite directions.

And on the second weekend of the year, I take my two camera bodies out for a bit of churchcrawling.

 

Wingham is a substantial town/village between Dover and Canterbury, and was once the terminus of a branch of the East Kent Light Railway, though the nearby mine failed to produce any coal.

 

It is an attractive place, but is blighted by the main road that cuts the town in half, and it is a busy road too. On the road there are three pubs, and many fine and ancient houses.

 

St Mary sits beside the road, and it skirts the churchyard to the south and east, and despite being on a grand scale, mature trees in the churchyard do well to hide it from view.

 

I did come here many years ago back in the early days of the Kent Church project, and took no more than a handful of shots, I thought I could do better that that this time.

 

It is a church full of grand tombs, memorials and other features that I am looking forward to share with you, most curious of which is a curved passageway that leads from the northeast corner of the Oxenden chapel to the chancel.

 

I was met inside by one of the wardens, cleaning up with a large soft broom, after a while he came over to see what I was doing, so i explained about the project, and also said what a fine church it was (such comments always go down well I find) and that the memorials on display look fabulous, but I could see two more hidden away behind the organ in what is now the vestry, but was once the north chapel, or the Palmer family chapel. He got out his keys and unlocked the vestry door, allowing me to photograph the one memorial still visible.

 

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An enormous church, picturesquely set at an angle of the village street. It owes its size to the fact that it supported a college of priests in the Middle Ages. During the sixteenth century it was substantially rebuilt, but the north aisle was not replaced, reducing the church to the odd shape we see today. The unusual pillars which divide the nave from the south aisle are of timber, not stone as a result of lack of money. At the end of the south aisle is the Oxenden chapel, which contains that family's excellent bull's head monument. The contemporary metalwork screens and black and white pavements add great dignity to this part of the building. By going through a curved passage from the chapel you can emerge in the chancel, which is dominated by a stone reredos of fifteenth-century date. This French construction was a gift to the church in the 1930s and while it is not good quality carving, is an unusual find in a Kent church.

 

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

 

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hortly after 1280AD Archbishop Peckham of Canterbury established a college of priests at Wingham, with a provost and six canons. From 1286 the priests lived in the attractive timber-framed house opposite St Mary's church. The college accounts for the size of the church, which seems enormous considering the present size of Wingham itself.

 

There was a cruciform church here before the college was established, but that building was remodelled around 1290, leaving us several excellent Geometric Gothic windows. A south porch and tower were added around 1400. The porch is curious in that there are two stories externally, but internally only one. There are many reminders of the church's past, however; the arch between the south transept and south nave aisle is late Norman, as is a blocked arch on the west wall of the north transept.

 

By the early 16th century the nave was in poor condition. A local brewer named George Ffogarde of Canterbury was granted a license to raise money for its repair. Having a considerable sum of money for church repair, the unscrupulous brewer absconded with the funds, embezzling £224, a huge sum for the time. The missing funds may explain why the nave was rebuilt using cheaper timber posts to support the arcades, rather than more costly stone.

 

The octagonal timber posts are of chestnut wood, topped by a crown-post timber roof. Sometime before the mid-19th century the timbers were encased in plaster to resemble Doric columns, but thankfully the plaster has been stripped off and we can appreciate the timber! The nave was rebuilt in the late 16th century, diminishing its footprint and leaving behind some rather odd features, like an external piscina on what was originally the easternmost pier of the nave arcade. Another odd touch is provided by the north transept, remodelled with wood frames in the Georgian period. I'm not sure I can call to mind another essentially medieval church with wooden-framed windows!

 

In the chancel is a lovely 14th century triple-seat sedilia and piscina. The chancel and nave are separated by a 15th century screen, now truncated, with blank panels which must have once boasted painted figures of saints. But the real treasure in the chancel is a series of ten 14th century misericords. Six of the misericord carvings are simply decorative, with floral or foliage designs. Two show animals; one appears to be a horse, another a donkey. The final two carvings are the most interesting; one shows a woman in a wimple, the other a Green Man peering out from a screen of foliage.

 

Behind the altar is a lovely 15th century reredos, brought here from Troyes in France. The reredos is in two sections, the upper section depicting the Passion of Christ, the lower showing the Last Supper and the Adoration of the Kings. There are small fragments of rather attractive 14th century grisailles glass in the chancel windows, and near the font are a number of surviving medieval floor tiles.

 

The interior is full of monuments to the Oxenden and Palmer families. The finest of these are to be found in the north transept chapel. On the east wall of the chapel is a memorial to Sir Nicholas Palmer (d. 1624). The memorial was designed by Nicholas Stone and shows effigies of Palmer and his wife under Corinthian columns and an open pediment. On the north wall is the monument to a later Thomas Palmer (d. 1656) with a bust of the deceased, now somewhat the worse for wear. A tablet to Streynsham Master (d. 1718) is on the south chapel wall, and has a fairly typical pair of skulls at the base of the tablet, wreathed in olive branches.

 

The most extravagant and eye-catching memorial in the church, however, is to be found in the north transept chapel, which is guarded by ornate wrought-iron screens. In the centre of the chapel is an ebullient obelisk, dated 1682, commemorating the Oxenden family. This free-standing obelisk, possibly designed by Arnold Quellin, is of white stone, with exquisite fruit and flowers cascading down each side, with large black ox heads at each angle of the base. The base is embellished with four putti (cherubic 'infants'). The effect is quite extraordinary; most people will either love it or hate it (I loved it). Also in the south transept is a wall tablet to Charles Tripp (d. 1624).

Other monuments worth mentioning include a 14th century tomb recess in the south aisle wall and a number of 15th century indents in the chancel floor which once contained memorial brasses to canons.

 

The church is set within a large walled enclosure, dating to the 16th and 17th centuries. Unusually, the churchyard wall has been listed Grade-II by the Department of the Environment for its historical interest.

 

www.britainexpress.com/counties/kent/churches/wingham.htm

 

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WINGHAM

IS the next adjoining parish south-westward from Ash, situated for the most part in the upper half hundred of the same name, and having in it the boroughs of Wingham-street, Deane, Twitham, and Wenderton, which latter is in the lower half hundred of Wingham.

 

WINGHAM is situated in a healthy pleasant country, the greatest part of it is open uninclosed arable lands, the soil of which, though chalky, is far from being unfertile. The village, or town of Wingham, is nearly in the middle of the parish, having the church and college at the south-west part of it; behind the latter is a field, still called the Vineyard. The village contains about fifty houses, one of which is the court-lodge, and is built on the road leading from Canterbury to Sandwich, at the west end of it runs the stream, called the Wingham river, which having turned a corn-mill here, goes on and joins the Lesser Stour, about two miles below; on each side the stream is a moist tract of meadow land. Near the south boundary of the parish is the mansion of Dene, situated in the bottom, a dry, though dull and gloomy habitation; and at the opposite side, next to Staple, the ruinated mansion of Brook, in a far more open and pleasant situation. To the northward the parish extends a considerable way, almost as far as the churches of Preston and Elmstone. The market, granted anno 36 king Henry III. as mentioned hereafter, if it ever was held, has been disused for a number of years past; though the market-house seems yet remaining. There are two fairs held yearly here, on May 12, and November 12, for cattle and pedlary.

 

In 1710 there was found on the court-lodge farm, by the plough striking against it, a chest or coffin, of large thick stones, joined together, and covered with a single one at the top. At the bottom were some black ashes, but nothing else in it. The ground round about was searched, but nothing else was sound.

 

Henry de Wengham, a person of great note and extraordinary parts, and much in favour with Henry III. was born here, who in 1255 made him lord chancellor. In 1259, he was elected bishop of Winchester, which he resused, but towards the latter end of the same year he was chosen bishop of London, being still chancellor, and was consecrated the beginning of the year following. He died in 1262, and was buried in his own cathedral. He bore for his arms, Gules, a heart between two wings, displayed, or.

 

WILLIAM COWPER, ESQ. eldest son of Sir William Cowper, bart. of Ratling-court, in Nonington, having been made lord-keeper of the great seal in 1705, was afterwards by letters patent, dated Dec. 14, 1706, created lord Cowper, baron Cowper of Wingham; and in 1709, was declared lord chancellor. After which, anno 4 George I. he was created earl Cowper and viscount Fordwich, in whose descendants these titles have continued down to the right hon. Peter-Lewis-Francis Cowper, the fifth and present earl Cowper, viscount Fordwich and baron of Wingham. (fn. 1)

 

The MANOR OF WINGHAM was part of the antient possessions of the see of Canterbury, given to it in the early period of the Saxon heptarchy, but being torn from it during the troubles of those times, it was restored to the church in the year 941, by king Edmund, his brother Eadred, and Edwin that king's son. (fn. 2) Accordingly it is thus entered, under the general title of the archbishop's possessions, taken in the survey of Domesday:

 

In the lath of Estrei, in Wingeham hundred, the archbishop himself holds Wingeham in demesne. It was taxed at forty sulings in the time of king Edward the Consessor, and now for thirty-five. The arable land is . . . . . . In demesne there are eight carucates, and four times twenty and five villeins, with twenty borderers having fifty-seven carucates. There are eight servants, and two mills of thirty-four sulings. Wood for the pannage of five hogs, and two small woods for fencing. In its whole value, in the time of king Edward the Consessor, it was worth seventy-seven pounds, when he received it the like, and now one hundred pounds. Of this manor William de Arcis holds one suling in Fletes, and there be has in demesne one carucate, and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole value is forty shillings. Of this ma nor five of the archbishop's men hold five sulings and an half and three yokes, and there they have in demesne eight carucates, and twenty-two borderers, and eight servants. In the whole they are worth twenty-one pounds.

 

In the 36th year of king Henry III. archbishop Boniface obtained the grant of a market at this place. The archbishops had a good house on this manor, in which they frequently resided. Archbishop Baldwin, in king Henry II.'s reign, staid at his house here for some time during his contention with the monks of Christ-church, concerning his college at Hackington. Archbishop Winchelsea entertained king Edward I. here in his 23d year, as did archbishop Walter Reynolds king Edward II. in his 18th year. And king Edward III. in his 5th year, having landed at Dover, with many lords and nobles in his train, came to Wingham, where he was lodged and entertained by archbishop Meopham. And this manor continued part of the see of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged it with the king for other premises. After which it continued in the crown till king Charles I. in his 5th year, granted the scite, called Wingham court, with the demesne lands of the manor, to trustees, for the use of the city of London. From whom, by the direction of the mayor and commonalty, it was conveyed, at the latter end of that reign, to Sir William Cowper, knight and baronet, in whose descendants it has continued down to the right hon. Peter-Francis Cowper, earl Cowper, who is the present owner of it. (fn. 3)

 

BUT THE MANOR ITSELF, with the royalties, profits of courts, &c. remained still in the crown. Since which, the bailiwic of it, containing the rents and pro fits of the courts, with the fines, amerciaments, reliess, &c. and the privilege of holding the courts of it, by the bailiff of it, have been granted to the family of Oxenden, and Sir Henry Oxenden, bart. of Brome, is now in possession of the bailiwic of it. A court leet and court baron is held for this manor.

 

TRAPHAM is a mansion in this parish, which was formerly in the possession of a family of the same name, who resided at it, but after they were extinct it passed into that of Trippe, who bore for their arms, Gules, a chevron, or, between three borses heads erased, sable, bridled, collared and crined of the second; (fn. 4) and John Tripp, esq. resided here in queen Elizabeth's reign, as did his grandson Charles, who seems to have alienated it to Sir Christopher Harflete, of St. Stephen's, whose son Tho. Harflete, esq. left an only daughter and heir Afra, who carried it in marriage to John St. Leger, esq. of Doneraile, in Ireland, descended from Sir Anthony St. Leger, lord deputy of Ireland in Henry VIII.'s reign, and they joined in the alienation of it to Brook Bridges, esq of the adjoining parish of Goodneston, whose descendant Sir Brook Wm. Bridges, bart. of that place, is the present owner of it.

 

The MANOR OF DENE, situated in the valley, at the southern boundary of this parish, was antiently the inheritance of a family who took their surname from it, and held it by knight's service of the archbishop, in king Edward I's reign, but they seem to have been extinct here in that of king Edward III. After which it passed into the family of Hussey, who bore for their arms, Per chevron, argent and vert, three birds counterchanged; and then to Wood, before it came by sale into the family of Oxenden, who appear to have been possessed of it at the latter end of Henry VI.'s reign, about which time they had become by marriage, owners of Brook and other estates in this parish. The family of Oxenden have been resident in this county from the reign of king Edward III. Solomon Oxenden, being the first mentioned in the several pedigrees of it, whose near relation Richard Oxenden was prior of Christchurch, Canterbury, in that reign; in this name and family of Oxenden, whose arms were Argent, a chevron, gules, between three oxen, sable, armed, or; which coat was confirmed to the family by Gyan, king at arms, anno 24 Henry VI. this manor and seat continued down to Sir Henry Oxenden, of Dene, who was on May 8, 1678, created a baronet, whose youngest grandson Sir George Oxenden, bart. succeeding at length to the title on the death of his eldest brother Sir Henry, resided at Dene, where he died in 1775, having served in parliament for Sandwich, and been employed in high offices in administration, and leaving behind him the character of a compleat gentleman. He married Elizabeth, one of the daughters and coheirs of Edward Dunck, esq. of Little Wittenham, in Berkshire, by whom he had two sons, of whom George, the second, was made by will heir to the estate of Sir Basil Dixwell, bart. of Brome, on his death, s. p. and changed his name to Dixwell as enjoined by it, but died soon afterwards likewise, s. p. and that estate came at length to his eldest brother Henry, who succeeded his father in the title of Baronet. He married Margaret, daughter and coheir of Sir George Chudleigh, bart. of Devonshire, since deceased, by whom he has issue Henry Oxenden, esq. of Madekyn, in Barham, who married Mary, one of the daughters of Col. Graham, of St. Laurence, near Canterbury, by whom he has issue. Sir Henry Oxenden, bart. now resides at Brome, and is the present possessor of this manor and seat, as well as the rest of his father's estates in this parish. (fn. 5) Lady Hales, widow of Sir Thomas Pym Hales, bart. of Bekesborne, now resides in it.

 

TWITHAM, now usually called Twittam, is a hamlet in this parish, adjoining to Goodneston, the principal estate in which once belonged to a family of that name, one of whom Alanus de Twitham is recorded as having been with king Richard I. at the siege of Acon, in Palestine, who bore for his arms, Semee of crosscroslets, and three cinquesoils, argent, and held this estate in Twitham, of the archbishop, and they appear to have continued possessed of it in the 3d year of king Richard II. Some time after which it came into the possession of Fineux, and William Fineux sold it anno 33 Henry VIII. to Ingram Wollet, whose heirs passed it away to one of the family of Oxenden, of Wingham, in whose descendants it has continued down to Sir Henry Oxenden, bart. of Brome, the present possessor of it.

 

On the foundation of the college of Wingham, archbishop Peckham, in 1286, endowed the first diaconal prebend in it, which he distinguished by the name of the prebend of Twitham, with the tithes of the lands of Alanus de Twitham, which he freely held of the archbishop there in Goodwynestone, at Twytham. (fn. 6)

 

BROOK is an estate in this parish, situated northward from Twitham, which was formerly the estate of the Wendertons, of Wenderton, in this parish, in which it remained till by a female heir Jane, it went in marriage to Richard Oxenden, gent. of Wingham, who died in 1440, and was buried in Wingham church, in whose name and family it continued down to Henry Oxenden, of Brook, who left two daughters and coheirs, of whom Mary married Richard Oxenden, of Grays Inn, barrister-at-law, fourth son of Sir Henry Oxenden, bart, who afterwards, on his wife's becoming sole heiress of Brook, possessed it, and resided here. He left Elizabeth his sole daughter and heir, who carried it in marriage to Streynsham Master, esq. a captain in the royal navy, the eldest surviving son of James Master, esq. of East Langdon, who died some few days after his marriage; upon which she became again possessed of it in her own right, and dying in 1759, s. p. gave it by will to Henry Oxenden, esq. now Sir Henry Oxenden, bart. of Brome, and he is the present owner of it.

 

WENDERTON is a manor and antient seat, situated northward from Wingham church, eminent, says Philipott, for its excellent air, situation, and prospect, which for many successive generations had owners of that surname, one of whom, John de Wenderton, is mentioned in Fox's Martyrology, as one among other tenants of the manor of Wingham, on whom archbishop Courtnay, in 1390, imposed a penance for neglecting to perform some services due from that manor. In his descendants this seat continued till John Wenderton, of Wenderton, in the 1st year of Henry VIII. passed it away to archbishop Warham, who at his decease in 1533, gave it to his youngest brother John Warham, whose great-grandson John, by his will in 1609, ordered this manor to be sold, which it accordingly soon afterwards was to Manwood, from which name it was alienated, about the middle of the next reign of king Charles I. to Vincent Denne, gent. who resided here, and died in 1642, s. p. whose four nieces afterwards became by will possessed of it, and on the partition of their estates, the manor and mansion, with part of the lands since called Great Wenderton, was allotted to Mary, the youngest of them, who afterwards married Vincent Denne, sergeant-at-law, and the remaining part of it, which adjoins to them, since called Little Wenderton, to Dorothy, the third sister, afterwards married to Roger Lukin, gent. of London, who soon afterwards sold his share to Richard Oxenden, esq. of Brook, from one of which family it was sold to Underdown, by a female heir of which name, Frances, it went in marriage to John Carter, esq. of Deal, the present owner of it.

 

BUT GREAT WENDERTON continued in the possession of Sergeant Denne, till his death in 1693, when Dorothy, his eldest daughter and coheir, carried it in marriage to Mr. Thomas Ginder, who bore Argent, on a pale, sable, a cross fuchee, or, impaling azure, three lions heads, or; as they are on his monument. He resided at it till his death in 1716, as did his widow till her decease in 1736, when it came to her nephew Mr. Thomas Hatley, who left two daughters his coheirs, the eldest surviving of whom, Anne, carried it in marriage, first to Richard Nicholas, esq. and then successively to Mr. Smith and Mr. James Corneck, of London, and Mrs. Corneck, the widow of the latter, is the present possessor of it.

 

At the boundary of this parish, adjoining to Preston and Ash, lies THE MANOR OF WALMESTONE, usually called Wamston, which was antiently part of the possessions of the family of Septvans, one of whom, Robert de Septvans, held it in king Edward II.'s reign, of the archbishop; whose descendant Sir William de Septvans died possessed of it in the 25th year of that reign. (fn. 7) How long it continued in this name I have not found; but at the beginning of king Edward IV.'s reign it was become the property of William Bonington, of Canterbury, who died in 1463, and directed it by his will to be sold. After which it became, about the latter end of king Henry VIII.'s reign, the property of Walter Hendley, esq. the king's attorney-general, who left three daughters his coheirs, and they joined in the sale of it to Alday, who alienated it to Benedict Barnham, esq. alderman of London, one of whose daughters and coheirs, Elizabeth, carried it in marriage to Mervin Touchet, earl of Castlehaven, who being convicted of high crimes and misdemeanors, was executed anno 7 Charles I. Soon after which this manor seems to have been divided, and one part of it, since called Little Walmestone, in which was included the manor and part of the demesne lands, passed from his heirs to the Rev. John Smith, rector of Wickham Breaus, who having founded a scholarship at Oxford, out of the lands of it, presently afterwards sold it to Solly, of Pedding, in which name it continued till Stephen Solly, gent. of Pedding, and his two sons, John and Stephen, in 1653, joined in the conveyance of it to Thomas Winter, yeoman, of Wingham, in which name it remained for some time. At length, after some intermediate owners, it was sold to Sympson, and John Sympson, esq. of Canterbury, died possessed of it in 1748, leaving his wife surviving, who held it at her decease, upon which it came to her husband's heir-atlaw, and it is now accordingly in the possession of Mr. Richard Simpson.

 

BUT GREAT WALMESTONE, consisting of the mansion-house, with a greater part of the demesne lands of the manor, was passed away by the heirs of the earl of Castlehaven to Brigham, and Mr. Charles Brigham, of London, in the year 1653, sold it to William Rutland, of London, who left two daughters his coheirs, of whom Mary married John Ketch, by whom she had a sole daughter Anne, who afterwards at length became possessed of it, and carried it in marriage to Samuel Starling, gent. of Worcestershire, who in 1718, conveyed it, his only son Samuel joining in it, to Thomas Willys, esq. of London, afterwards created a baronet. After which it passed in the same manner, and in the like interests and shares, as the manor of Dargate, in Hernehill, down to Matthew, Robert and Thomas Mitchell, the trustees for the several uses to which this, among other estates belonging to the Willis's, had been limited; and they joined in the sale of it, in 1789, to Mr. William East, whose son, Mr. John East, of Wingham, is the present owner of it.

 

ARCHBISHOP KILWARBY intended to found a college in this church of Wingham, but resigning his archbishopric before he could put his design in practice, archbishop Peckham, his successor, in the year 1286, perfected his predecessor's design, and founded A COLLEGE in this church, for a provost, whose portion, among other premises, was the profits of this church and the vicarage of it, and six secular canons; the prebends of which he distinguished by the names of the several places from whence their respective portions arose, viz. Chilton, Pedding, Twitham, Bonnington, Ratling, and Wimlingswold. The provost's lodge, which appears by the foundation charter to have before been the parsonage, was situated adjoining to the church-yard; and the houses of the canons, at this time called Canon-row, opposite to it. These latter houses are, with their gardens and appurtenances, esteemed to be within the liberty of the town and port of Hastings, and jurisdiction of the cinque ports. This college was suppressed in the 1st year of king Edward VI. among others of the like sort, when the whole revenue of it was valued at 208l. 14s. 3½d. per annum, and 193l. 2s. 1d. clear; but Leland says, it was able to dispend at the suppression only eighty-four pounds per annum. Edward Cranmer, the last master, had at the dissolution a pension of twenty pounds per annum, which he enjoyed in 1553. (fn. 8)

 

After the dissolution of the college, the capital mansion, late belonging to the provost, remained in the crown till king Edward VI. in his 7th year, granted the scite of it, with the church appropriate of Wingham, and all tithes whatsoever arising within the parish, and one acre of glebe-land in it, to Sir Henry Palmer, subject to a payment of twenty pounds annually to the curate or vicar of it.

 

The Palmers of Wingham were descended from a very antient one at Angmerin, in Suffex, who bore for their arms, Or, two bars, gules, each charged with three tresoils of the field, in chief, a greyhound, currant, sable. In the seventh descent from Ralph Palmer, esq. of that place, in king Edward II.'s reign, was descended Sir Edward Palmer, of Angmerin, who left three sons, born on three successive Sundays, of whom John, the eldest, was of Sussex, which branch became extinct in queen Elizabeth's reign; Sir Henry, the second son, was of Wingham; and Sir Thomas, the youngest, was beheaded in queen Mary's reign. Sir Henry Palmer, the second son, having purchased the grant of the college of Wingham, as before-mentioned, made it the seat of his residence, as did his son Sir Thomas Palmer, who was sheriff anno 37 Elizabeth, and created a baronet in 1621. He so constantly resided at Wingham, that he is said to have kept sixty Christmases, without intermission, in this mansion, with great hospitality. He had three sons, each of whom were knighted. From the youngest of whom, Sir James, descended the Palmers, of Dauney, in Buckinghamshire, who upon the eldest branch becoming extinct, have succeeded to the title of baronet; and by his second wife he had Roger Palmer, earl of Castlemain. Sir Thomas Palmer, the eldest of the three brothers, died in his father's life-time, and left Sir Thomas Palmer, bart. of Wingham, heir to his grandfather; in whose descendants, baronets, of this place, this mansion, with the parsonage of Wingham appropriate, continued down to Sir Thomas Palmer, bart. of Wingham, who died possessed of it in 1723, having had three wives; by the first he had four daughters; by the second he had a son Herbert, born before marriage, and afterwards a daughter Frances; the third was Mrs. Markham, by whom he had no issue; and she afterwards married Thomas Hey, esq. whom she likewise survived. Sir Thomas Palmer, by his will, gave this seat, with the parsonage appropriate and tithes of Wingham, inter alia, after his widow's decease, to his natural son Herbert Palmer, esq. above-mentioned, who married Bethia, fourth daughter of Sir Thomas D'Aeth, bart. of Knolton. He died in 1760, s. p. and by will devised his interest in the reversion of this seat, with the parsonage, to his wife Bethia, for her life, and afterwards to his sister Mrs. Frances Palmer, in tail. But he never had possession of it, for lady Palmer furvived him, on whose death in 1763, Mrs. Bethia Palmer, his widow, became entitled to it, and afterwards married John Cosnan, esq. who died in 1773. She survived him, and resided here till her death in 1789. In the intermediate time, Mrs. Frances Palmer having barred the entail made by her natural brother Herbett above-mentioned, died, having devised the see of this estate, by her will in 1770, to the Rev. Thomas Hey, rector of Wickhambreaux, and his heirs, being the eldest son of the last lady Palmer by her last husband. Mr. Hey accordingly, on the death of Mrs. Cosnan, who died s. p. succeeded to this seat and estate. He married first Ethelreda, eldest daughter and coheir of dean Lynch, since deceased, by whom he has no surviving issue; and secondly, Mrs. Pugett, widow of Mr. Puget, of London. He now resides in this seat of Wingham college, having been created D. D. and promoted to a prebend of the church of Rochester.

 

Charities.

JOHN CHURCH, yeoman, of this parish, in 1604, gave 1cl. to the poor, to distribute yearly at Easter, 10s. to the poor for the interest of it.

 

HECTOR DU MONT, a Frenchman, born in 1632, gave the silver cup and patten for the holy communion.

 

SIR GEORGE OXENDEN, president for the East-India Company at Surat, in 1660, gave the velvet cushion and pulpitcloth.

 

JOHN RUSHBEACHER, gent. of this parish, in 1663, gave five acres of land in Woodnesborough, the rents to be annually distributed to ten of the meaner sort of people of Wingham, not receiving alms of the parish, now of the yearly value of 4l.

 

SIR GEORGE OXENDEN, above-mentioned, in 1682, gave 500l. for the repairing and beautifying this church, and the Dene chancel.

 

SIR JAMES OXENDEN, knight and baronet, of Dene, founded and endowed a school in this parish with 16l. per annum for ever, for teaching twenty poor children reading and writing, now in the patronage of Sir Henry Oxenden, bart.

 

RICHARD OXENDEN, esq. of Brook, in 1701, gave an annuity of 4l. for ever, to the minister, for the reading of divine service and preaching a sermon, in this church, on every Wednesday in Lent, and on Good Friday; and he at the same time gave 20s. yearly for ever, to be distributed, with the consent of the heirs of the Brook estate, to eight poor people, who should be at divine service on Easter-day, to be paid out of the lands of Brook, now vested in Sir Henry Oxenden, bart.

 

THOMAS PALMER, esq. of St. Dunstan's in the East, London, gave 300l for the repairing, adorning and beautifying the great chancel of this church.

 

MRS. ELIZABETH MASTER, esq. relict of Strensham Master, of Brook, in 1728, gave the large silver flaggon; and MRS. SYBILLA OXENDEN, spinster, of Brook, at the same time gave a large silver patten for the communion.

 

Besides the above benefactions, there have been several lesser ones given at different times in money, both to the poor and for the church. All which are recorded in a very handsome table in the church, on which are likewise painted the arms of the several benefactors

 

There are about forty poor constantly relieved, and casually twenty.

 

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

 

The church, which is exempt from the archdeacon, is dedicated to St. Mary. It is a handsome building, consisting of two isles and three chancels, having a slim spire steeple at the west end, in which is a peal of eight bells and a clock. The church consists of two isles and three chancels. The former appear to have been built since the reformation; the latter are much more antient. It is handsome and well built; the pillars between the isles, now cased with wood, are slender and well proportioned. The outside is remarkably beautiful in the flint-work, and the windows throughout it, were regular and handsomely disposed, superior to other churches, till later repairs destroyed their uniformity. The windows were formerly richly ornamented with painted glass, the remains of which are but small. In the south window, in old English letters, is Edward Warham, gentill . . . . of making this window . . . . and underneath the arms of Warham. In the north isle is a brass tablet for Christopher Harris, curate here, and rector of Stourmouth, obt. Nov. 24, 1719. Over the entrance from this isle into the high chancel, is carved on the partition, the Prince of Wales's badge and motto. In the south wall is a circular arch, plain, seemingly over a tomb. A monument for T. Ginder, gent. obt. 1716. In the south east window the arms of Warham. A memorial for Vincent Denne, gent. of Wenderton, obt. 1642. In the high chancel are seven stalls on each side. On the pavement are several stones, robbed of their brasses, over the provosts and religious of the college. A stone, coffin-shaped, and two crosses pomelle, with an inscription round in old French capitals, for master John de Sarestone, rector, ob. XII Kal. May MCCLXXI. Several monuments and memorials for the family of Palmer. The south chancel is called the Dene chancel, belonging to that seat, under which is a vault, in which the family of Oxenden, owners of it, are deposited. In the middle, on the pavement, is a very costly monument, having at the corners four large black oxens beads, in allusion to their name and arms. It was erected in 1682. On the four tablets on the base is an account of the family of Oxenden, beginning with Henry, who built Denehouse, and ending with Dr. Oxenden, dean of the arches, who died in 1704. There are monuments in it likewise for the Trippes. The north chancel is called the Brook chancel, as belonging to that seat, in which are monuments for the Oxendens and Masters's of this seat. This chancel is shut out from the church, and is made use of as a school-room, by which means the monuments are much desaced, and the gravestones, from the filth in it, have become wholly obliterated. On one of these stones was a brass plate, now gone, for Henry Oxenden, esq. who built Dene, obt. 1597.

 

Elizabeth, daughter of the marquis of Juliers, and widow of John, son of Edmund of Woodstock, earl of Kent, after being solemnly veiled a nun, quitted her prosession, and was clandestinely married to Sir Eustace de Danbrichescourt, in a chapel of the mansion-house of Robert de Brome, a canon of this collegiate church, in 1360; for which she and her husband were enjoined different kinds of penance during their lives, which is well worth the reading, for the uncommon superstitious mockery of them. (fn. 9)

 

At the time of the reformation, the church was partly collegiate, and partly parochial. The high chancel, separated from the rest of the church by a partition, served for the members of the college to perform their quire service in. The two isles of the church were for the parishioners, who from thence could hear the quire service; and in the north isle was a roodlost, where one of the vicars went up and read the gospel to the people. At which time, I find mention of a parish chancel likewise.

 

The church of Wingham formerly comprehended not only this parish, but those likewise of Ash, Goodnestone, Nonington, and Wimlingswold; but archbishop Peckham, in 1282, divided them into four distinct parochial churches, and afterwards appropriated them to his new-founded college of Wingham, with a saving to them of certain portions which the vicars of them were accustomed to receive. The profits of this church and the vicarage of it, together with the parsonage-house, being thus appropriated and allotted to the provost, as part of his portion and maintenance, the archbishop, in order that the church should be duly served, by his foundation charter, ordered, that the provost and canons should each of them keep a vicar who should constantly serve in it. In which state it continued till the suppression of the college, in the 1st year of king Edward VI. when it came, among the rest of the revenues of the college, into the hands of the crown, where this parsonage appropriate, to which was annexed, the nomination of the perpetual curate serving in this church, remained till it was granted by king Edward VI. in his 7th year, to Sir Thomas Palmer, bart. Since which it has continued in like manner, together with the scite of the college, as has been already mentioned, to the Rev. Dr. Hey, who is the present possessor of this parsonage, together with the patronage of the perpetual curacy of the church of Wingham.

 

In 1640 the communicants here were three hundred and sixty-one.

 

¶The curacy is endowed with a stipend of twenty pounds per annum, paid by the owner of the parsonage, and reserved to the curate in the original grant of the college by king Edward VI. and with four pounds per annum, being the Oxenden gift before mentioned; besides which, the stipend of the resident curate, and his successors, was increased in 1797, by a liberal benefaction made by the Rev. Dr. Hey, of one hundred pounds per annum, clear of all deductions, to be paid out of the parsonage, and of a house, garden, and piece of pasture land adjoining, for the curate's use, both which were settled by him on trustees for that purpose.

 

www.british-history.ac.uk/survey-kent/vol9/pp224-241

And on the second weekend of the year, I take my two camera bodies out for a bit of churchcrawling.

 

Wingham is a substantial town/village between Dover and Canterbury, and was once the terminus of a branch of the East Kent Light Railway, though the nearby mine failed to produce any coal.

 

It is an attractive place, but is blighted by the main road that cuts the town in half, and it is a busy road too. On the road there are three pubs, and many fine and ancient houses.

 

St Mary sits beside the road, and it skirts the churchyard to the south and east, and despite being on a grand scale, mature trees in the churchyard do well to hide it from view.

 

I did come here many years ago back in the early days of the Kent Church project, and took no more than a handful of shots, I thought I could do better that that this time.

 

It is a church full of grand tombs, memorials and other features that I am looking forward to share with you, most curious of which is a curved passageway that leads from the northeast corner of the Oxenden chapel to the chancel.

 

I was met inside by one of the wardens, cleaning up with a large soft broom, after a while he came over to see what I was doing, so i explained about the project, and also said what a fine church it was (such comments always go down well I find) and that the memorials on display look fabulous, but I could see two more hidden away behind the organ in what is now the vestry, but was once the north chapel, or the Palmer family chapel. He got out his keys and unlocked the vestry door, allowing me to photograph the one memorial still visible.

 

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An enormous church, picturesquely set at an angle of the village street. It owes its size to the fact that it supported a college of priests in the Middle Ages. During the sixteenth century it was substantially rebuilt, but the north aisle was not replaced, reducing the church to the odd shape we see today. The unusual pillars which divide the nave from the south aisle are of timber, not stone as a result of lack of money. At the end of the south aisle is the Oxenden chapel, which contains that family's excellent bull's head monument. The contemporary metalwork screens and black and white pavements add great dignity to this part of the building. By going through a curved passage from the chapel you can emerge in the chancel, which is dominated by a stone reredos of fifteenth-century date. This French construction was a gift to the church in the 1930s and while it is not good quality carving, is an unusual find in a Kent church.

 

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

 

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hortly after 1280AD Archbishop Peckham of Canterbury established a college of priests at Wingham, with a provost and six canons. From 1286 the priests lived in the attractive timber-framed house opposite St Mary's church. The college accounts for the size of the church, which seems enormous considering the present size of Wingham itself.

 

There was a cruciform church here before the college was established, but that building was remodelled around 1290, leaving us several excellent Geometric Gothic windows. A south porch and tower were added around 1400. The porch is curious in that there are two stories externally, but internally only one. There are many reminders of the church's past, however; the arch between the south transept and south nave aisle is late Norman, as is a blocked arch on the west wall of the north transept.

 

By the early 16th century the nave was in poor condition. A local brewer named George Ffogarde of Canterbury was granted a license to raise money for its repair. Having a considerable sum of money for church repair, the unscrupulous brewer absconded with the funds, embezzling £224, a huge sum for the time. The missing funds may explain why the nave was rebuilt using cheaper timber posts to support the arcades, rather than more costly stone.

 

The octagonal timber posts are of chestnut wood, topped by a crown-post timber roof. Sometime before the mid-19th century the timbers were encased in plaster to resemble Doric columns, but thankfully the plaster has been stripped off and we can appreciate the timber! The nave was rebuilt in the late 16th century, diminishing its footprint and leaving behind some rather odd features, like an external piscina on what was originally the easternmost pier of the nave arcade. Another odd touch is provided by the north transept, remodelled with wood frames in the Georgian period. I'm not sure I can call to mind another essentially medieval church with wooden-framed windows!

 

In the chancel is a lovely 14th century triple-seat sedilia and piscina. The chancel and nave are separated by a 15th century screen, now truncated, with blank panels which must have once boasted painted figures of saints. But the real treasure in the chancel is a series of ten 14th century misericords. Six of the misericord carvings are simply decorative, with floral or foliage designs. Two show animals; one appears to be a horse, another a donkey. The final two carvings are the most interesting; one shows a woman in a wimple, the other a Green Man peering out from a screen of foliage.

 

Behind the altar is a lovely 15th century reredos, brought here from Troyes in France. The reredos is in two sections, the upper section depicting the Passion of Christ, the lower showing the Last Supper and the Adoration of the Kings. There are small fragments of rather attractive 14th century grisailles glass in the chancel windows, and near the font are a number of surviving medieval floor tiles.

 

The interior is full of monuments to the Oxenden and Palmer families. The finest of these are to be found in the north transept chapel. On the east wall of the chapel is a memorial to Sir Nicholas Palmer (d. 1624). The memorial was designed by Nicholas Stone and shows effigies of Palmer and his wife under Corinthian columns and an open pediment. On the north wall is the monument to a later Thomas Palmer (d. 1656) with a bust of the deceased, now somewhat the worse for wear. A tablet to Streynsham Master (d. 1718) is on the south chapel wall, and has a fairly typical pair of skulls at the base of the tablet, wreathed in olive branches.

 

The most extravagant and eye-catching memorial in the church, however, is to be found in the north transept chapel, which is guarded by ornate wrought-iron screens. In the centre of the chapel is an ebullient obelisk, dated 1682, commemorating the Oxenden family. This free-standing obelisk, possibly designed by Arnold Quellin, is of white stone, with exquisite fruit and flowers cascading down each side, with large black ox heads at each angle of the base. The base is embellished with four putti (cherubic 'infants'). The effect is quite extraordinary; most people will either love it or hate it (I loved it). Also in the south transept is a wall tablet to Charles Tripp (d. 1624).

Other monuments worth mentioning include a 14th century tomb recess in the south aisle wall and a number of 15th century indents in the chancel floor which once contained memorial brasses to canons.

 

The church is set within a large walled enclosure, dating to the 16th and 17th centuries. Unusually, the churchyard wall has been listed Grade-II by the Department of the Environment for its historical interest.

 

www.britainexpress.com/counties/kent/churches/wingham.htm

 

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WINGHAM

IS the next adjoining parish south-westward from Ash, situated for the most part in the upper half hundred of the same name, and having in it the boroughs of Wingham-street, Deane, Twitham, and Wenderton, which latter is in the lower half hundred of Wingham.

 

WINGHAM is situated in a healthy pleasant country, the greatest part of it is open uninclosed arable lands, the soil of which, though chalky, is far from being unfertile. The village, or town of Wingham, is nearly in the middle of the parish, having the church and college at the south-west part of it; behind the latter is a field, still called the Vineyard. The village contains about fifty houses, one of which is the court-lodge, and is built on the road leading from Canterbury to Sandwich, at the west end of it runs the stream, called the Wingham river, which having turned a corn-mill here, goes on and joins the Lesser Stour, about two miles below; on each side the stream is a moist tract of meadow land. Near the south boundary of the parish is the mansion of Dene, situated in the bottom, a dry, though dull and gloomy habitation; and at the opposite side, next to Staple, the ruinated mansion of Brook, in a far more open and pleasant situation. To the northward the parish extends a considerable way, almost as far as the churches of Preston and Elmstone. The market, granted anno 36 king Henry III. as mentioned hereafter, if it ever was held, has been disused for a number of years past; though the market-house seems yet remaining. There are two fairs held yearly here, on May 12, and November 12, for cattle and pedlary.

 

In 1710 there was found on the court-lodge farm, by the plough striking against it, a chest or coffin, of large thick stones, joined together, and covered with a single one at the top. At the bottom were some black ashes, but nothing else in it. The ground round about was searched, but nothing else was sound.

 

Henry de Wengham, a person of great note and extraordinary parts, and much in favour with Henry III. was born here, who in 1255 made him lord chancellor. In 1259, he was elected bishop of Winchester, which he resused, but towards the latter end of the same year he was chosen bishop of London, being still chancellor, and was consecrated the beginning of the year following. He died in 1262, and was buried in his own cathedral. He bore for his arms, Gules, a heart between two wings, displayed, or.

 

WILLIAM COWPER, ESQ. eldest son of Sir William Cowper, bart. of Ratling-court, in Nonington, having been made lord-keeper of the great seal in 1705, was afterwards by letters patent, dated Dec. 14, 1706, created lord Cowper, baron Cowper of Wingham; and in 1709, was declared lord chancellor. After which, anno 4 George I. he was created earl Cowper and viscount Fordwich, in whose descendants these titles have continued down to the right hon. Peter-Lewis-Francis Cowper, the fifth and present earl Cowper, viscount Fordwich and baron of Wingham. (fn. 1)

 

The MANOR OF WINGHAM was part of the antient possessions of the see of Canterbury, given to it in the early period of the Saxon heptarchy, but being torn from it during the troubles of those times, it was restored to the church in the year 941, by king Edmund, his brother Eadred, and Edwin that king's son. (fn. 2) Accordingly it is thus entered, under the general title of the archbishop's possessions, taken in the survey of Domesday:

 

In the lath of Estrei, in Wingeham hundred, the archbishop himself holds Wingeham in demesne. It was taxed at forty sulings in the time of king Edward the Consessor, and now for thirty-five. The arable land is . . . . . . In demesne there are eight carucates, and four times twenty and five villeins, with twenty borderers having fifty-seven carucates. There are eight servants, and two mills of thirty-four sulings. Wood for the pannage of five hogs, and two small woods for fencing. In its whole value, in the time of king Edward the Consessor, it was worth seventy-seven pounds, when he received it the like, and now one hundred pounds. Of this manor William de Arcis holds one suling in Fletes, and there be has in demesne one carucate, and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole value is forty shillings. Of this ma nor five of the archbishop's men hold five sulings and an half and three yokes, and there they have in demesne eight carucates, and twenty-two borderers, and eight servants. In the whole they are worth twenty-one pounds.

 

In the 36th year of king Henry III. archbishop Boniface obtained the grant of a market at this place. The archbishops had a good house on this manor, in which they frequently resided. Archbishop Baldwin, in king Henry II.'s reign, staid at his house here for some time during his contention with the monks of Christ-church, concerning his college at Hackington. Archbishop Winchelsea entertained king Edward I. here in his 23d year, as did archbishop Walter Reynolds king Edward II. in his 18th year. And king Edward III. in his 5th year, having landed at Dover, with many lords and nobles in his train, came to Wingham, where he was lodged and entertained by archbishop Meopham. And this manor continued part of the see of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged it with the king for other premises. After which it continued in the crown till king Charles I. in his 5th year, granted the scite, called Wingham court, with the demesne lands of the manor, to trustees, for the use of the city of London. From whom, by the direction of the mayor and commonalty, it was conveyed, at the latter end of that reign, to Sir William Cowper, knight and baronet, in whose descendants it has continued down to the right hon. Peter-Francis Cowper, earl Cowper, who is the present owner of it. (fn. 3)

 

BUT THE MANOR ITSELF, with the royalties, profits of courts, &c. remained still in the crown. Since which, the bailiwic of it, containing the rents and pro fits of the courts, with the fines, amerciaments, reliess, &c. and the privilege of holding the courts of it, by the bailiff of it, have been granted to the family of Oxenden, and Sir Henry Oxenden, bart. of Brome, is now in possession of the bailiwic of it. A court leet and court baron is held for this manor.

 

TRAPHAM is a mansion in this parish, which was formerly in the possession of a family of the same name, who resided at it, but after they were extinct it passed into that of Trippe, who bore for their arms, Gules, a chevron, or, between three borses heads erased, sable, bridled, collared and crined of the second; (fn. 4) and John Tripp, esq. resided here in queen Elizabeth's reign, as did his grandson Charles, who seems to have alienated it to Sir Christopher Harflete, of St. Stephen's, whose son Tho. Harflete, esq. left an only daughter and heir Afra, who carried it in marriage to John St. Leger, esq. of Doneraile, in Ireland, descended from Sir Anthony St. Leger, lord deputy of Ireland in Henry VIII.'s reign, and they joined in the alienation of it to Brook Bridges, esq of the adjoining parish of Goodneston, whose descendant Sir Brook Wm. Bridges, bart. of that place, is the present owner of it.

 

The MANOR OF DENE, situated in the valley, at the southern boundary of this parish, was antiently the inheritance of a family who took their surname from it, and held it by knight's service of the archbishop, in king Edward I's reign, but they seem to have been extinct here in that of king Edward III. After which it passed into the family of Hussey, who bore for their arms, Per chevron, argent and vert, three birds counterchanged; and then to Wood, before it came by sale into the family of Oxenden, who appear to have been possessed of it at the latter end of Henry VI.'s reign, about which time they had become by marriage, owners of Brook and other estates in this parish. The family of Oxenden have been resident in this county from the reign of king Edward III. Solomon Oxenden, being the first mentioned in the several pedigrees of it, whose near relation Richard Oxenden was prior of Christchurch, Canterbury, in that reign; in this name and family of Oxenden, whose arms were Argent, a chevron, gules, between three oxen, sable, armed, or; which coat was confirmed to the family by Gyan, king at arms, anno 24 Henry VI. this manor and seat continued down to Sir Henry Oxenden, of Dene, who was on May 8, 1678, created a baronet, whose youngest grandson Sir George Oxenden, bart. succeeding at length to the title on the death of his eldest brother Sir Henry, resided at Dene, where he died in 1775, having served in parliament for Sandwich, and been employed in high offices in administration, and leaving behind him the character of a compleat gentleman. He married Elizabeth, one of the daughters and coheirs of Edward Dunck, esq. of Little Wittenham, in Berkshire, by whom he had two sons, of whom George, the second, was made by will heir to the estate of Sir Basil Dixwell, bart. of Brome, on his death, s. p. and changed his name to Dixwell as enjoined by it, but died soon afterwards likewise, s. p. and that estate came at length to his eldest brother Henry, who succeeded his father in the title of Baronet. He married Margaret, daughter and coheir of Sir George Chudleigh, bart. of Devonshire, since deceased, by whom he has issue Henry Oxenden, esq. of Madekyn, in Barham, who married Mary, one of the daughters of Col. Graham, of St. Laurence, near Canterbury, by whom he has issue. Sir Henry Oxenden, bart. now resides at Brome, and is the present possessor of this manor and seat, as well as the rest of his father's estates in this parish. (fn. 5) Lady Hales, widow of Sir Thomas Pym Hales, bart. of Bekesborne, now resides in it.

 

TWITHAM, now usually called Twittam, is a hamlet in this parish, adjoining to Goodneston, the principal estate in which once belonged to a family of that name, one of whom Alanus de Twitham is recorded as having been with king Richard I. at the siege of Acon, in Palestine, who bore for his arms, Semee of crosscroslets, and three cinquesoils, argent, and held this estate in Twitham, of the archbishop, and they appear to have continued possessed of it in the 3d year of king Richard II. Some time after which it came into the possession of Fineux, and William Fineux sold it anno 33 Henry VIII. to Ingram Wollet, whose heirs passed it away to one of the family of Oxenden, of Wingham, in whose descendants it has continued down to Sir Henry Oxenden, bart. of Brome, the present possessor of it.

 

On the foundation of the college of Wingham, archbishop Peckham, in 1286, endowed the first diaconal prebend in it, which he distinguished by the name of the prebend of Twitham, with the tithes of the lands of Alanus de Twitham, which he freely held of the archbishop there in Goodwynestone, at Twytham. (fn. 6)

 

BROOK is an estate in this parish, situated northward from Twitham, which was formerly the estate of the Wendertons, of Wenderton, in this parish, in which it remained till by a female heir Jane, it went in marriage to Richard Oxenden, gent. of Wingham, who died in 1440, and was buried in Wingham church, in whose name and family it continued down to Henry Oxenden, of Brook, who left two daughters and coheirs, of whom Mary married Richard Oxenden, of Grays Inn, barrister-at-law, fourth son of Sir Henry Oxenden, bart, who afterwards, on his wife's becoming sole heiress of Brook, possessed it, and resided here. He left Elizabeth his sole daughter and heir, who carried it in marriage to Streynsham Master, esq. a captain in the royal navy, the eldest surviving son of James Master, esq. of East Langdon, who died some few days after his marriage; upon which she became again possessed of it in her own right, and dying in 1759, s. p. gave it by will to Henry Oxenden, esq. now Sir Henry Oxenden, bart. of Brome, and he is the present owner of it.

 

WENDERTON is a manor and antient seat, situated northward from Wingham church, eminent, says Philipott, for its excellent air, situation, and prospect, which for many successive generations had owners of that surname, one of whom, John de Wenderton, is mentioned in Fox's Martyrology, as one among other tenants of the manor of Wingham, on whom archbishop Courtnay, in 1390, imposed a penance for neglecting to perform some services due from that manor. In his descendants this seat continued till John Wenderton, of Wenderton, in the 1st year of Henry VIII. passed it away to archbishop Warham, who at his decease in 1533, gave it to his youngest brother John Warham, whose great-grandson John, by his will in 1609, ordered this manor to be sold, which it accordingly soon afterwards was to Manwood, from which name it was alienated, about the middle of the next reign of king Charles I. to Vincent Denne, gent. who resided here, and died in 1642, s. p. whose four nieces afterwards became by will possessed of it, and on the partition of their estates, the manor and mansion, with part of the lands since called Great Wenderton, was allotted to Mary, the youngest of them, who afterwards married Vincent Denne, sergeant-at-law, and the remaining part of it, which adjoins to them, since called Little Wenderton, to Dorothy, the third sister, afterwards married to Roger Lukin, gent. of London, who soon afterwards sold his share to Richard Oxenden, esq. of Brook, from one of which family it was sold to Underdown, by a female heir of which name, Frances, it went in marriage to John Carter, esq. of Deal, the present owner of it.

 

BUT GREAT WENDERTON continued in the possession of Sergeant Denne, till his death in 1693, when Dorothy, his eldest daughter and coheir, carried it in marriage to Mr. Thomas Ginder, who bore Argent, on a pale, sable, a cross fuchee, or, impaling azure, three lions heads, or; as they are on his monument. He resided at it till his death in 1716, as did his widow till her decease in 1736, when it came to her nephew Mr. Thomas Hatley, who left two daughters his coheirs, the eldest surviving of whom, Anne, carried it in marriage, first to Richard Nicholas, esq. and then successively to Mr. Smith and Mr. James Corneck, of London, and Mrs. Corneck, the widow of the latter, is the present possessor of it.

 

At the boundary of this parish, adjoining to Preston and Ash, lies THE MANOR OF WALMESTONE, usually called Wamston, which was antiently part of the possessions of the family of Septvans, one of whom, Robert de Septvans, held it in king Edward II.'s reign, of the archbishop; whose descendant Sir William de Septvans died possessed of it in the 25th year of that reign. (fn. 7) How long it continued in this name I have not found; but at the beginning of king Edward IV.'s reign it was become the property of William Bonington, of Canterbury, who died in 1463, and directed it by his will to be sold. After which it became, about the latter end of king Henry VIII.'s reign, the property of Walter Hendley, esq. the king's attorney-general, who left three daughters his coheirs, and they joined in the sale of it to Alday, who alienated it to Benedict Barnham, esq. alderman of London, one of whose daughters and coheirs, Elizabeth, carried it in marriage to Mervin Touchet, earl of Castlehaven, who being convicted of high crimes and misdemeanors, was executed anno 7 Charles I. Soon after which this manor seems to have been divided, and one part of it, since called Little Walmestone, in which was included the manor and part of the demesne lands, passed from his heirs to the Rev. John Smith, rector of Wickham Breaus, who having founded a scholarship at Oxford, out of the lands of it, presently afterwards sold it to Solly, of Pedding, in which name it continued till Stephen Solly, gent. of Pedding, and his two sons, John and Stephen, in 1653, joined in the conveyance of it to Thomas Winter, yeoman, of Wingham, in which name it remained for some time. At length, after some intermediate owners, it was sold to Sympson, and John Sympson, esq. of Canterbury, died possessed of it in 1748, leaving his wife surviving, who held it at her decease, upon which it came to her husband's heir-atlaw, and it is now accordingly in the possession of Mr. Richard Simpson.

 

BUT GREAT WALMESTONE, consisting of the mansion-house, with a greater part of the demesne lands of the manor, was passed away by the heirs of the earl of Castlehaven to Brigham, and Mr. Charles Brigham, of London, in the year 1653, sold it to William Rutland, of London, who left two daughters his coheirs, of whom Mary married John Ketch, by whom she had a sole daughter Anne, who afterwards at length became possessed of it, and carried it in marriage to Samuel Starling, gent. of Worcestershire, who in 1718, conveyed it, his only son Samuel joining in it, to Thomas Willys, esq. of London, afterwards created a baronet. After which it passed in the same manner, and in the like interests and shares, as the manor of Dargate, in Hernehill, down to Matthew, Robert and Thomas Mitchell, the trustees for the several uses to which this, among other estates belonging to the Willis's, had been limited; and they joined in the sale of it, in 1789, to Mr. William East, whose son, Mr. John East, of Wingham, is the present owner of it.

 

ARCHBISHOP KILWARBY intended to found a college in this church of Wingham, but resigning his archbishopric before he could put his design in practice, archbishop Peckham, his successor, in the year 1286, perfected his predecessor's design, and founded A COLLEGE in this church, for a provost, whose portion, among other premises, was the profits of this church and the vicarage of it, and six secular canons; the prebends of which he distinguished by the names of the several places from whence their respective portions arose, viz. Chilton, Pedding, Twitham, Bonnington, Ratling, and Wimlingswold. The provost's lodge, which appears by the foundation charter to have before been the parsonage, was situated adjoining to the church-yard; and the houses of the canons, at this time called Canon-row, opposite to it. These latter houses are, with their gardens and appurtenances, esteemed to be within the liberty of the town and port of Hastings, and jurisdiction of the cinque ports. This college was suppressed in the 1st year of king Edward VI. among others of the like sort, when the whole revenue of it was valued at 208l. 14s. 3½d. per annum, and 193l. 2s. 1d. clear; but Leland says, it was able to dispend at the suppression only eighty-four pounds per annum. Edward Cranmer, the last master, had at the dissolution a pension of twenty pounds per annum, which he enjoyed in 1553. (fn. 8)

 

After the dissolution of the college, the capital mansion, late belonging to the provost, remained in the crown till king Edward VI. in his 7th year, granted the scite of it, with the church appropriate of Wingham, and all tithes whatsoever arising within the parish, and one acre of glebe-land in it, to Sir Henry Palmer, subject to a payment of twenty pounds annually to the curate or vicar of it.

 

The Palmers of Wingham were descended from a very antient one at Angmerin, in Suffex, who bore for their arms, Or, two bars, gules, each charged with three tresoils of the field, in chief, a greyhound, currant, sable. In the seventh descent from Ralph Palmer, esq. of that place, in king Edward II.'s reign, was descended Sir Edward Palmer, of Angmerin, who left three sons, born on three successive Sundays, of whom John, the eldest, was of Sussex, which branch became extinct in queen Elizabeth's reign; Sir Henry, the second son, was of Wingham; and Sir Thomas, the youngest, was beheaded in queen Mary's reign. Sir Henry Palmer, the second son, having purchased the grant of the college of Wingham, as before-mentioned, made it the seat of his residence, as did his son Sir Thomas Palmer, who was sheriff anno 37 Elizabeth, and created a baronet in 1621. He so constantly resided at Wingham, that he is said to have kept sixty Christmases, without intermission, in this mansion, with great hospitality. He had three sons, each of whom were knighted. From the youngest of whom, Sir James, descended the Palmers, of Dauney, in Buckinghamshire, who upon the eldest branch becoming extinct, have succeeded to the title of baronet; and by his second wife he had Roger Palmer, earl of Castlemain. Sir Thomas Palmer, the eldest of the three brothers, died in his father's life-time, and left Sir Thomas Palmer, bart. of Wingham, heir to his grandfather; in whose descendants, baronets, of this place, this mansion, with the parsonage of Wingham appropriate, continued down to Sir Thomas Palmer, bart. of Wingham, who died possessed of it in 1723, having had three wives; by the first he had four daughters; by the second he had a son Herbert, born before marriage, and afterwards a daughter Frances; the third was Mrs. Markham, by whom he had no issue; and she afterwards married Thomas Hey, esq. whom she likewise survived. Sir Thomas Palmer, by his will, gave this seat, with the parsonage appropriate and tithes of Wingham, inter alia, after his widow's decease, to his natural son Herbert Palmer, esq. above-mentioned, who married Bethia, fourth daughter of Sir Thomas D'Aeth, bart. of Knolton. He died in 1760, s. p. and by will devised his interest in the reversion of this seat, with the parsonage, to his wife Bethia, for her life, and afterwards to his sister Mrs. Frances Palmer, in tail. But he never had possession of it, for lady Palmer furvived him, on whose death in 1763, Mrs. Bethia Palmer, his widow, became entitled to it, and afterwards married John Cosnan, esq. who died in 1773. She survived him, and resided here till her death in 1789. In the intermediate time, Mrs. Frances Palmer having barred the entail made by her natural brother Herbett above-mentioned, died, having devised the see of this estate, by her will in 1770, to the Rev. Thomas Hey, rector of Wickhambreaux, and his heirs, being the eldest son of the last lady Palmer by her last husband. Mr. Hey accordingly, on the death of Mrs. Cosnan, who died s. p. succeeded to this seat and estate. He married first Ethelreda, eldest daughter and coheir of dean Lynch, since deceased, by whom he has no surviving issue; and secondly, Mrs. Pugett, widow of Mr. Puget, of London. He now resides in this seat of Wingham college, having been created D. D. and promoted to a prebend of the church of Rochester.

 

Charities.

JOHN CHURCH, yeoman, of this parish, in 1604, gave 1cl. to the poor, to distribute yearly at Easter, 10s. to the poor for the interest of it.

 

HECTOR DU MONT, a Frenchman, born in 1632, gave the silver cup and patten for the holy communion.

 

SIR GEORGE OXENDEN, president for the East-India Company at Surat, in 1660, gave the velvet cushion and pulpitcloth.

 

JOHN RUSHBEACHER, gent. of this parish, in 1663, gave five acres of land in Woodnesborough, the rents to be annually distributed to ten of the meaner sort of people of Wingham, not receiving alms of the parish, now of the yearly value of 4l.

 

SIR GEORGE OXENDEN, above-mentioned, in 1682, gave 500l. for the repairing and beautifying this church, and the Dene chancel.

 

SIR JAMES OXENDEN, knight and baronet, of Dene, founded and endowed a school in this parish with 16l. per annum for ever, for teaching twenty poor children reading and writing, now in the patronage of Sir Henry Oxenden, bart.

 

RICHARD OXENDEN, esq. of Brook, in 1701, gave an annuity of 4l. for ever, to the minister, for the reading of divine service and preaching a sermon, in this church, on every Wednesday in Lent, and on Good Friday; and he at the same time gave 20s. yearly for ever, to be distributed, with the consent of the heirs of the Brook estate, to eight poor people, who should be at divine service on Easter-day, to be paid out of the lands of Brook, now vested in Sir Henry Oxenden, bart.

 

THOMAS PALMER, esq. of St. Dunstan's in the East, London, gave 300l for the repairing, adorning and beautifying the great chancel of this church.

 

MRS. ELIZABETH MASTER, esq. relict of Strensham Master, of Brook, in 1728, gave the large silver flaggon; and MRS. SYBILLA OXENDEN, spinster, of Brook, at the same time gave a large silver patten for the communion.

 

Besides the above benefactions, there have been several lesser ones given at different times in money, both to the poor and for the church. All which are recorded in a very handsome table in the church, on which are likewise painted the arms of the several benefactors

 

There are about forty poor constantly relieved, and casually twenty.

 

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

 

The church, which is exempt from the archdeacon, is dedicated to St. Mary. It is a handsome building, consisting of two isles and three chancels, having a slim spire steeple at the west end, in which is a peal of eight bells and a clock. The church consists of two isles and three chancels. The former appear to have been built since the reformation; the latter are much more antient. It is handsome and well built; the pillars between the isles, now cased with wood, are slender and well proportioned. The outside is remarkably beautiful in the flint-work, and the windows throughout it, were regular and handsomely disposed, superior to other churches, till later repairs destroyed their uniformity. The windows were formerly richly ornamented with painted glass, the remains of which are but small. In the south window, in old English letters, is Edward Warham, gentill . . . . of making this window . . . . and underneath the arms of Warham. In the north isle is a brass tablet for Christopher Harris, curate here, and rector of Stourmouth, obt. Nov. 24, 1719. Over the entrance from this isle into the high chancel, is carved on the partition, the Prince of Wales's badge and motto. In the south wall is a circular arch, plain, seemingly over a tomb. A monument for T. Ginder, gent. obt. 1716. In the south east window the arms of Warham. A memorial for Vincent Denne, gent. of Wenderton, obt. 1642. In the high chancel are seven stalls on each side. On the pavement are several stones, robbed of their brasses, over the provosts and religious of the college. A stone, coffin-shaped, and two crosses pomelle, with an inscription round in old French capitals, for master John de Sarestone, rector, ob. XII Kal. May MCCLXXI. Several monuments and memorials for the family of Palmer. The south chancel is called the Dene chancel, belonging to that seat, under which is a vault, in which the family of Oxenden, owners of it, are deposited. In the middle, on the pavement, is a very costly monument, having at the corners four large black oxens beads, in allusion to their name and arms. It was erected in 1682. On the four tablets on the base is an account of the family of Oxenden, beginning with Henry, who built Denehouse, and ending with Dr. Oxenden, dean of the arches, who died in 1704. There are monuments in it likewise for the Trippes. The north chancel is called the Brook chancel, as belonging to that seat, in which are monuments for the Oxendens and Masters's of this seat. This chancel is shut out from the church, and is made use of as a school-room, by which means the monuments are much desaced, and the gravestones, from the filth in it, have become wholly obliterated. On one of these stones was a brass plate, now gone, for Henry Oxenden, esq. who built Dene, obt. 1597.

 

Elizabeth, daughter of the marquis of Juliers, and widow of John, son of Edmund of Woodstock, earl of Kent, after being solemnly veiled a nun, quitted her prosession, and was clandestinely married to Sir Eustace de Danbrichescourt, in a chapel of the mansion-house of Robert de Brome, a canon of this collegiate church, in 1360; for which she and her husband were enjoined different kinds of penance during their lives, which is well worth the reading, for the uncommon superstitious mockery of them. (fn. 9)

 

At the time of the reformation, the church was partly collegiate, and partly parochial. The high chancel, separated from the rest of the church by a partition, served for the members of the college to perform their quire service in. The two isles of the church were for the parishioners, who from thence could hear the quire service; and in the north isle was a roodlost, where one of the vicars went up and read the gospel to the people. At which time, I find mention of a parish chancel likewise.

 

The church of Wingham formerly comprehended not only this parish, but those likewise of Ash, Goodnestone, Nonington, and Wimlingswold; but archbishop Peckham, in 1282, divided them into four distinct parochial churches, and afterwards appropriated them to his new-founded college of Wingham, with a saving to them of certain portions which the vicars of them were accustomed to receive. The profits of this church and the vicarage of it, together with the parsonage-house, being thus appropriated and allotted to the provost, as part of his portion and maintenance, the archbishop, in order that the church should be duly served, by his foundation charter, ordered, that the provost and canons should each of them keep a vicar who should constantly serve in it. In which state it continued till the suppression of the college, in the 1st year of king Edward VI. when it came, among the rest of the revenues of the college, into the hands of the crown, where this parsonage appropriate, to which was annexed, the nomination of the perpetual curate serving in this church, remained till it was granted by king Edward VI. in his 7th year, to Sir Thomas Palmer, bart. Since which it has continued in like manner, together with the scite of the college, as has been already mentioned, to the Rev. Dr. Hey, who is the present possessor of this parsonage, together with the patronage of the perpetual curacy of the church of Wingham.

 

In 1640 the communicants here were three hundred and sixty-one.

 

¶The curacy is endowed with a stipend of twenty pounds per annum, paid by the owner of the parsonage, and reserved to the curate in the original grant of the college by king Edward VI. and with four pounds per annum, being the Oxenden gift before mentioned; besides which, the stipend of the resident curate, and his successors, was increased in 1797, by a liberal benefaction made by the Rev. Dr. Hey, of one hundred pounds per annum, clear of all deductions, to be paid out of the parsonage, and of a house, garden, and piece of pasture land adjoining, for the curate's use, both which were settled by him on trustees for that purpose.

 

www.british-history.ac.uk/survey-kent/vol9/pp224-241

mirage, 2017 // I realize I don't have to explain my absence from the photography world, yet I still want to try. The problem is it’s essentially impossible to convey why without writing a memoir lmao. My hiatus was not really done out of choice, but because life had taken what felt like a giant metaphorical shit on me. Many aspects of my life started deteriorating in 2013 and by 2015 I had just fully given up. What I was dealing with took everything out of me, leaving nothing left for my art. This sounds corny but at times it felt as if what/who I was fighting and my inability to create were duking it out to see who was gonna kill me first. I’m aware that this was probably the most vague ass explanation for my absence possible, but I’m just so grateful to be able to freely create again. Am I afraid that the creative part of my brain has calcified? Maybe! Who cares! I know the alternative and it's a garbage life, so I’m just excited that I get to be me again, whoever she is. Thank you for being patient and never forgetting me.

278|365 As a kid, the tooth fairy would drop off cash when I lost a tooth. Now, as an adult, it costs money to have them removed, and way more than I ever earned as a kid.

In western Oregon, a good pair of rubber boots is much more useful than a pith helmet.

New York Army National Guard Col. Craig Meinking explains New York Army National Guard health check procedures to South African Maj. Gen. Roy Andersen, Chief of Defence Reserves for the South African National Defence Force during a State Partnership Program visit to the Guard’s annual Soldier Readiness Processing Dec. 4, 2010.

 

Photo by Spc. Mary Hogle, 138th Public Affairs Detachment

 

Maj. Gen. Roy Andersen, South African National Defence Force Reserves Chief, wanted to learn from a really professional organization, so he brought his staff to visit the New York National Guard Dec. 4-6.

 

The SANDF and the New York National Guard have had a mutual relationship through the Guard's State Partnership Program since 2005. The program sets up exchanges between the South African military and the New York State National Guard to foster better understanding through a series of bilateral events.

 

"We are looking to take away the lessons you have learned, so we do not have to relearn them; so we can do things better, and maybe we can identify a few areas where we think we do it better," he said.

 

The six-officer delegation, which visited sites in the Albany and New York City areas, was particularly interested in learning about the New York Guard's family support and employer support programs.

 

"We know these are good and they work," Andersen said.

 

The South African team included Brig. Gen. Susan Debbie Molefe, Director of Defence Reserves; Rear Adm. Ernst Penzhorn, Director of Naval Reserves; Brig. Gen. Tebogo Samuel Madumane, Director of the Air Force Reserves; Brig Gen. (Dr.) Abel Maminze, Acting Director of the South African Military Health Service Reserves; Chaplain (Col.) Masello Mothopeng, Senior Staff Officer Reserve Force Chaplains; and Col. Brian Molefe, Deputy Director of South African Army Reserves.

 

U.S. Army Africa was represented by Brig. Gen. Isaac G. Osborne Jr., USARAF Deputy Commander, who is also Assistant Adjutant General of the Tennessee Army National Guard.

 

The visitors were impressed by the proactive nature of the National Guard's health assessment process. Visiting the Guard’s state headquarters while a Soldiers Readiness Check for the Joint Force Headquarters Detachment was under way, the South Africans were impressed with the mobile dental clinic set up to fix Soldiers, problems on the spot, Andersen said.

 

“There is a lot of energy in the relationship between the New York National Guard and the South African military,” said Maj. Gen. Patrick Murphy, the Adjutant General of New York. Guardsmen from the 106th Rescue Wing have been to South Africa as recently as September to train with their South African counterparts, he said.

 

Bilateral visits are an important part of the relationship process, said Osborne.

 

“The SPP program is all about the sharing and teamwork of coming together for the same cause. It gives both parties an opportunity to get to know each other better. This conference improved the relationships between South Africa and the United States military,” said Osborne.

 

The three-day visit started Dec. 4 with briefings on subjects such as family readiness programs, efforts to keep employers supportive, New York National Guard missions and reintegration programs.

 

The team visited Stratton Air National Guard Base in Scotia, New York, Dec. 5. The base is home to the 109th Airlift Wing of the New York Air National Guard, the only wing in the U.S. military that flies C-130 transport aircraft equipped with skies that enable landings on snow or ice.

 

Dec. 6 the South Africans visited the New York National Guard's standing security force in New York City, Joint Task Force Empire Shield. The team inspected the quarters of the 24th Civil Support Team, a unit specially trained to identify chemical, biological and radiological weapons. They also had an opportunity to observe personnel providing security at transportation hubs in Manhattan.

 

The South Africans were also brought up to speed on the capabilities of New York's Naval Militia, which works with the United States Coast Guard in New York Harbor.

 

The New York National Guard and South African National Defence Force Reserves face some similar challenges, said Andersen.

 

Just as New York deploys troops to Iraq and Afghanistan, South African reservists are presently serving in peacekeeping missions in the Democratic Republic of the Congo, Sudan and Burundi. South African reservists also do border duty along their nation's border with Zimbabwe to control illegal immigration, similar to the way New York National Guard forces have served along the Mexican border.

 

There are differences, though.

 

South African reservists must serve two years on active duty, including one complete deployment, before going into reserve status. This can make it tough to recruit, and many of the South African Reserve members do not have jobs. Finding them civilian work is an important mission for his force, said Andersen, who is chairman of several corporate boards in civilian life.

 

Interestingly, the South African Air Force Reserve includes a special component of members who bring their own aircraft with them when they serve, more like the American Civil Air Patrol than the Air National Guard or Air Force Reserves.

 

While the New York Army and Air National Guard, with just over 16,000 members, are about the same size as the South African Army, Air Force, and Naval Reserves, the level of responsibility that Andersen and his team have is much greater, Murphy said.

 

He and his staff don't have to deal with the issues of national policy and politics that Andersen must cope with, he explained.

 

“The New York National Guard did an outstanding job by providing requested relevant information to the current challenges of the South African military,” Osborne said.

  

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

 

Official Twitter Feed: www.twitter.com/usarmyafrica

 

Official YouTube video channel: www.youtube.com/usarmyafrica

 

froknowsphoto.com/?p=3795

This image is part of explaining how f stops work going from 1.4 to f16. You will get a feel for how the image is effected.

"I can't explain myself, I'm afraid, Sir, because I'm not myself you see."~Alice

 

"Good advice. If I listened earlier, I wouldn't be here. But that's just the trouble with me. I give myself very good advice, but I very seldom follow it." ~Alice

 

This Alice would never have followed that rabbit down that hole in the first place....Nothing good could ever come from such things...all smoke and mirrors if you ask me..the rabbit has been snuffed out..crushed at the sole of my heels..nothing to even be tempted into now!

The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).

 

ABOUT GARUDA

In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.

 

Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.

 

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.

 

In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.

 

Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.

 

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

 

Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.

 

With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.

 

IN THE MAHABHARATA

BIRTH AND DEEDS

The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

 

Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.

 

One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.

 

Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

 

DESCENDANTS

According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

 

AS A SYMBOL

Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.

 

IN BUDDHISM

In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.

 

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.

 

Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

 

There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

 

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.

 

The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).

 

The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.

 

In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.

 

The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.

 

The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).

 

For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.

 

In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).

 

As a cultural and national symbol

In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.

 

INDIA

India primarily uses Garuda as a martial motif:

 

Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines

Brigade of the Guards of the Indian Army uses Garuda as their symbol

Elite bodyguards of the medieval Hoysala kings were called Garudas

Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses

Garuda rock, a rocky cliff in Tirumala in Andhra pradesh

13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda

 

INDONESIA

Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.

 

Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.

 

Indonesian national airline is Garuda Indonesia.

Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent

Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.

 

In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.

In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.

Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".

The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.

The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.

 

THAILAND

Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.

 

One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."

The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.

 

MONGOLIA

The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.

The bird also gives its name to Hangard Aviation

Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.

Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.

State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.

 

SURINAME

In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.

 

WIKIPEDIA

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

 

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

My name is Bart Allen, and I am the fastest man alive! Well, fastest teenager alive.. I came back from the 30th century to get help from my grandfather-- Wait a minute, this sounds like an opening to some television show.. My bad. Let's back things up and properly explain. Like I said before, my name is Bart Allen. I'm the grandson of Barry Allen, who was known as the Flash of this time. He was a hero using the powers of the Speed Force to fight criminals, and put them behind bars. I say was, as he retired after several years of being a hero. Wanted to slow down, and settle down with the love of his life, Iris West. Didn't help that he no longer had access to the Speed Force. Central City still needed the Flash, so Wally West took up the mantle. He was originally Kid Flash, getting his powers through the Speed Force Storm which gave life to many new speedsters. How do you know all of this Bart? You weren't there when this happened! Yes, that's all true. But since I come from the 30th century, these events have already happened. Which leads me to the reason I travelled back in time to the 21st century. I needed Barry's help with my hyper-accelerated metabolism. Basically, I looked older than I actually was. When I arrived, it honestly didn't take much for them to help me. They were able to come up with a solution, and now, there's no crazy metabolism problems! Well besides having to eat a lot, but that's expected for speedsters. Anyways, after that whole ordeal, I ended up staying in Central City, even though there's a possibility that my existence ruins the timeline, therefore changing the future as I know it. I decided to become a hero, like my grandfather. Speed Force zen master Max Mercury taught me many things about the Speed Force, before his passing. The whole Flash Family was there for Max's funeral, and it still hurts to this day. Trying to move past his death, I started attending school, and now I'm a junior at Central City High. A few months ago, Wally West disappeared. His disappearance has hit his wife, Frances Kane-West the hardest. I've tried my best to reassure her that I'll find him. So now I have to keep this city safe as the Flash, while I also figure out where Wally is. I sure hope I can do it, because honestly, I'm not even sure I can.

 

I've checked with the usual suspects, but most are accounted for. Most of the Rogues are locked up in Iron Heights. Heatwave, Trickster, and Prank are the only ones not there. I heard through the grapevine that Heatwave is on vacation in Aruba, while the other two have gone into hiding. Can't say I blame them, with all these new speedsters running about. Speaking of speedsters, the major ones are accounted for. The Rival, Thawne, Hunter Zolomon (technically not a speedster, but I'll put him under the speedster umbrella anyway), Negative Flash, and Daniel West are all locked away in a prison tailor-made for those with the Speed Force. It was created after the Speed Force Storm gave speedster powers to a good chunk of people. Anyways, now that we're all caught up, let's move forward.

 

Central City High School, 2:30pm

The bell announcing the end of the school day rings, and I'm about to leave when Preston Lindsay, my best friend, walks up to me.

 

"Hey Bart!" He says with enthusiasm, as he opens his locker which is conveniently right beside mine.

 

"Oh hey Preston.. What's up?"

 

"The ceiling!" He starts laughing, even though that 'joke' got old after the first time..

 

"You know that joke got old after the first time you did it right?"

 

"Ah whatever. You just don't understand it's charm, that's all. Anyways, you free to hangout at my place? Really not in the mood to study right now."

 

"I feel ya there. Studying is so not crash. Would if I could man, but I already have plans for the afternoon. Sorry Preston. Maybe tomorrow?" That's me, lying to my best friend.. Well, sort of. My plans mostly just consist of me going out on patrol, fighting the various criminals. It's mostly been wannabe Rogues, but who knows, maybe some day I'll face the real deal. But it's better if he doesn't know. At least that's what Barry keeps telling me.

 

"It's all good. Got plans with Valerie, I understand.. Alright, well, I guess I better figure something else out then."

 

"Now you're making me feel the mode.. Also, my plans do not include Valerie. Not sure why you're so focused on the concept of us being an item, when we clearly aren't." It sometimes feels like he's saying these things intentionally to get a rise out of me.

 

"Mhm.. Sure.. Catch ya later Bart." He walks away, and soon enough, I can't spot him in the crowd of people bustling through the hallway.

 

"You too." I mutter under my breath, as he's gone by the time I'm about to speak. I walk out the front steps, and start running home, once I'm at a safe distance from the school. Upon arriving at home, I open the door, and shut it once I enter.

 

"I'm home!" I say, announcing my presence.

 

"Oh, Bart, you're home!" I hear Iris say, as I see her coming out of the kitchen. I go up to her and give her a hug.

 

"Yeah. Though I'm going out on patrol for a bit. It has been a pretty boring day, and I could go for some villain fight right about now."

 

"Sometimes, you just have to slow down. Like Barry has! Anyways, make sure you get your homework done before you go, and be careful."

 

"That will take me like two seconds, but fine. When am I not careful?" Iris gives me a look where she's essentially saying 'really?', without actually saying it.

"I'll be fine Iris! No need to fret!" I mostly call them by their first names, as it weirds me out calling them grandpa and grandma, considering how old they are right now. I rush into my room, unpack, and finish my homework in a matter of seconds before, grabbing the Flash ring, and releasing the costume from it. I change into the costume, and start running. There's police radio comms units in the earpieces of my cowl, which helps me out a bit with crimes in progress.

 

"211 in progress at Central City National Bank. Requesting all units in the area for back-up." Guess that's my queue. I make my way there, which only takes me a minute or two. Once there, I notice a few police cars already here. I stop right beside one of the cop cars, and an officer notices me. He walks towards me, with a look of relief on his face.

 

"Flash! Thank goodness you're here!"

 

"What's the situation like in there Officer--?" I ask, distinguishing my voice by vibrating it. After what seems like the longest pause ever, he responds

 

"Officer Heart. As for the situation, its White Lightning and her cronies again, trying to make fools out of us." Heart? That last name seems familiar. Oh right, he's that new speedster hero called Velocity.. August Heart.. Strange that he isn't just going in himself. White Lightning is one of my villains anyway, so it doesn't really bother me that he's not suiting up. I check the outside of the building before dashing inside. Once inside, I make sure there's no one here besides White Lightning and her crew. I notice them filling up bags of money inside the vault, talking among themselves.

 

"Got yourself a new crew I see.. Kind of miss the last one if I'm being honest. They were a more charismatic bunch." I mean I have to at least give them a warning, before locking them all away. Wouldn't be as crash if I just zoomed in there without them noticing, and knocked them out cold within seconds. I mean it'll still only take a few seconds, but at least I'll get some enjoyment out of it. Besides, banter is half the fun of being a superhero!

 

"Eh, well you know how it is with me, only using each crew once before moving on to another.. Love the new diggs by the way Impulse. Upgraded from zero to hero in no time.. Too bad you'll be dead soon enough." Her goon squad opens fire, unloading their clips into me. White Lightning throws her lightning bolts at me. I'm able to dodge all the bullets easily enough, along with her lightning.

 

"A + for effort. Sucks that you still haven't learned from the other times we've fought though." I disarm her cronies, and stand right in front of them, taunting White Lightning. When she shoots off her next electrical blast, I get out-of-the-way, and she takes down her own minions for me. I grab power dampener handcuffs from the police outside, and come back, handcuffing her hands together.

 

"I wouldn't be so smug if I were you.. He'll be coming soon enough, and when he does, you'll know what it means to lose everything."

 

---------

Unknown Location, with someone looking at security footage.

 

"Oh Bart Allen.. How little you truly know. She spoiled the surprise a little early, but that's what I get for using z list villains as my pawns in this game. It's fine.. I want him feeling cocky. Cockiness leads to mistakes, which can be lethal, especially when it's against an actual threat. I've been waiting for this moment all my life, so I can wait a little while longer before I introduce myself. Guess it's that time again. Have to check up on the prisoner. Bye for now." The figure cackles, as he leaves. In one of the security footage panels, there's someone with strawberry red hair, chained up in what looks to be a cellar of some sort.

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

 

This photo was taken in the Rhododendron Garden of the Coastal Maine Botanical Gardens.

 

Comments are always appreciated.

 

The sticky style in the foreground is ready to capture pollen from the several anthers. The biology is explained below.

 

Flowers not only look pretty but, in fact, are important in making seeds. Flowers have some basic parts. The female part is the pistil. The pistil usually is located in the center of the flower and is made up of three parts: the stigma, style, and ovary. The stigma is the sticky knob at the top of the pistil. It is attached to the long, tubelike structure called the style. The style leads to the ovary that contains the female egg cells called ovules.

 

The male parts are called stamens and usually surround the pistil. The stamen is made up of two parts: the anther and filament. The anther produces pollen (male reproductive cells). The filament holds the anther up.

 

During the process of fertilization, pollen lands on the stigma, a tube grows down the style and enters the ovary. Male reproductive cells travel down the tube and join with the ovule, fertilizing it. The fertilized ovule becomes the seed, and the ovary becomes the fruit. (Univ Illinois Extension)

 

Coastal Maine Botanical Gardens is a botanical garden in Boothbay, Maine. The garden is 248 acres (1 km2) with a mile of waterfront on Barters Island Road. After 16 years of planning, building and planting, in 2007 the Gardens opened to the public. In addition to the gardens themselves, it features a visitor's center, which includes a seasonal cafe and gift shop.

 

Gardens include the Giles Rhododendron Garden, which includes a multi-level waterfall; the 2-acre (8,100 m2) Bibby and Harold Alfond Children's Garden, inspired by Maine children's literature; the Lerner Garden of the Five Senses; Rose & Perennial Garden; Burpee Kitchen Garden; Slater Forest Pond; Cleaver Event Lawn & Garden; Haney Hillside Garden; and Vayo Meditation Garden. The waterfront Fairy House Village, re-imagined in 2013, encourages children to use their imagination to build homes for the wee folk of the forest without disturbing the environment.

 

The gardens feature sculptures by fine artists, most of whom are from Maine. While many of the pieces are part of temporary exhibits, a good number are part of the Gardens' permanent collection. (Wikipedia)

I could see the tower of a church from the main road. I saw it from a good two miles away, towering over the mature trees of a wood.

 

It must be one heck of a church I thought, turning down the lane leading to it, to find the lane lead to Worstead.

 

Worstead: that explained it. A village so associated with wool, a type of woolen cloth is named after it.

 

Beside the church is the market square, lined with fine buildings, and to the west, St Mary. A huge cathedral of a church. After snapping the village, I walk to the porch on the south side and go in, smiling.

 

I was met by a warden who saw the look of delight on my face, and took me on a grand tour. How lucky was I?

 

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In the reign of Edward the Confessor, the lordship of this town belonged to the abbot of St. Bennet of Holm, with 2 carucates and an half of land, 8 villains, 30 borderers, 2 carucates in demean, 3 among the tenants, 8 acres of meadow, paunage for 16 swine, a mill, and 3 socmen, valued at 60s. and at the survey at 4l.

 

There were 2 churches with 28 acres, valued therein, and was for the provision of the monks.

 

At the survey, Robert, an officer of the cross-bow-men, held it of the abbot; it was one leuca long, and half a leuca broad and a perch, and paid 18d. gelt. St. Bennet's abbey held also in the said town, in King Edward's time, a carucate of land, with 2 villains, 10 borderers, one carucate in demean, and 2 among the tenants and 2 acres of meadow, &c. valued at 40s. (fn. 1)

 

Odo, son of Robert, the cross-bowman, assumed, according to the custom of that age, the name of Warsted, from this his town and lordship; he held it of the abbot by one knight's fee, being the gift of King Canute to the abbey on his foundation of it. (fn. 2)

 

This Odo. and Robert his son, gave lands to the abbey, and the mill at Bordestede. He was father of Peter, whose son Philip held one fee in the 20th of Henry III.

 

Nicholas son of Philip de Wursted, gave to the abbot all his lands here by deed, dated in the 2d of Edward I. Henry being then abbot.

 

Richard de Worstede was also a son of Odo, and had by Margaret his wife, daughter of Robert de Manteby, Sir Robert de Worstede, who died sans issue.—This Sir Robert and Sir John de Worstede, were witnesses to a deed of confirmation, of Jeffrey, son of Bartholomew de Glanvile, to Bromholm priory.

 

The temporalities of the abbot in 1428, were 3l. 12s. ob. q. This came at the Dissolution, to the see of Norwich; and in the 3d and 4th of Philip and Mary, was farmed of the Bishop, at 41s. and 3d. per ann. by Bertram Themilthorp.

 

The prior of Pentney had a lordship, granted to that house by John de Worstede, containing a messuage, a carucate of land, a mill, 50s. rent, 10 acres of wood, with the whole pond of Worstede and Crowbeck, and the whole alder carr, regranted by Simon the prior, to John for life.

 

In the year 1328, the temporalities of this prory were valued at 8l. 10s. 4d.—On the Dissolution, May 22, in the 36th of Henry VIII. it was granted to John Spencer.

 

The prior also of Hempton had a manor, valued with a mill, &c. at 4l. 8s. 11d. which on the Dissolution was granted as above, to John Spencer. Leonard Spencer and Catherina his wife, sold both these lordships to Robert Paston, and Thomas Thimblethorp, with their appertenances in Sloley, Westwick, &c. on June 3, in the 8th of Elizabeth; and after they are said to be aliened to — Utber, and so to — Mitson.

 

Matthew de Gunton had a manor here which he granted to William, son of William de Stalham, on his marriage with Isabel his daughter, being 49s. 3d. rent. This came to Sir Jeffrey Wythe, by his marriage with the daughter and heir of Sir William Stalham.

 

In the 9th of Edward II. Nicholas de Salicibus or of the Willows, and Elen his wife, conveyed to Jeffrey Wythe, and Isabel his wife, the 5th part of 28 messuages, 114 acres of land, 5 of turbary, with 27s. and 8d. rent here, in Dilham and Smalburgh, settled on Isabel; and Wynesia, widow of Sir Oliver Wythe, released to William Dunning of this town, all her right of dower in this town, and Westwick.

 

After this it came to Sir William Calthorp, by the marriage of Amy, daughter and heir of Sir John Wythe, and was sold by Edward Calthorp, Esq. of Kirby Cane, December 8, in the 21st of Henry VIII. to Leonard Spencer of Blofield, Gent. for 40l. in hand paid, and 40 marks more on full assurance being made. John Spencer was lord in the 2d of Edward VI. and Leonard Spencer in 1572.

 

Erpingham and Gaines's manor in Irstede, held by John Gross, Esq. at his death in 1408, which he left to his widow Margaret, extended into this town. John Skarburgh, Gent. had a prœcipe to deliver it to Miles Bayspoole, Gent. in the first of James I.

 

Before this, in the 17th of Elizabeth, William Chytham conveyed it to William Tymberley. The Grosses were early enfeoffed of a lordship under the abbot of Holm. Reginald le Gross was lord in the reign of Henry III. and had a charter for a weekly mercate on Friday.

 

Sir Oliver de Ingham held here and in Ingham, a knight's fee of Robert de Tateshale, in the first of Edward I. This came afterwards by the heiress of Ingham to the Stapletons; and in the 2d of Richard II. Sir Roger Boys, &c. trustees, aliened to the prior of the Holy Trinity of Ingham, a messuage, with 84 acres of land, 3 of meadow, one of pasture, in Worstede and Scothow, by license.

 

Thomas Moore, &c. aliened to the said convent, in the 16th of that King, 8 messuages, 221 acres of land, 22 of meadow, 4 of moor, and the rent of 11s. 11d. per ann. in this town, Ingham, Walcot, &c. held of the honour of Eye.

 

In the 3d of Henry IV. the prior's manor, late Sir Oliver de Ingham's, was held of Sir Constantine Clifton, of the barony of Tateshale.

 

The prior of Bromholm had also a lordship. In the 3d of Henry IV. the heirs of William Smalburgh held here and in Barton, &c. half a fee of the prior, with William Sywardby, and they of the Earl of Suffolk, as part of the honour of Eye, in 1428. The temporalities of this monastery were 104s. 2d. ob.

 

After the Dissolution, on May 26, in the 6th year of Edward VI. it was granted to Henry Grey Duke of Suffolk.

 

William Gillet, son and heir of William, had a messuage, a garden, 100 acres of land, 6 of meadow, 20 of pasture, and 2 of wood, called Fenn's and Skitt's, in the 23d of Elizabeth. John Kempt aliened it September 1, in the 7th of King James I. to Edmund Themilthorpe.

 

Thomas Seive of Worsted, had land here by the marriage of Margarel, one of the daughters of Sir James de Ilketeshale, Knt. of Suffolk, in the reign of Henry VI. she dying about the 30th of that King, left 3 daughters and coheirs; Cecilia, married to John Ovy, who left his lands here by will, in 1472, to Thomas his son, &c. by Emme his wife. Jane, a daughter and coheir of Seive, married William Smith; and Margaret, the 3d, Thomas Jeffrey.

 

The tenths were 14l. 10s. ob. q Deducted 1l. 19s. 1d. ob.

 

The town is seated in a flat country, and has a weekly mercate on Saturday

 

Worsted stuffs are said to have taken that name from their being first manufactured here. I find them mentioned in the 2d year of Edward III. and the weavers and workers were then by parliament enjoined to work them up to a better assise than they had done; and an enquiry was to be made after the behaviour of Robert P - - - the alnager for these stuffs.

 

Many privileges were after granted to the workers of them, Ao. 1 Richard II. &c. the merchants came into England, as appears in the 37th of Edward III. to purchase them.

 

The Church is dedicated to St. Mary, has a nave, 2 isles, and a chancel covered with lead, and a square tower with 6 bells, and was a rectory in the patronage of the family of De Worstede.

 

Sir Robert de Worsted, son of Richard de Worstede, gave by deed, (fn. 3) sans date, to the priory of Norwich, the patronage of this church, about the beginning of the reign of King Henry III. to which Sir John de Wirstede, Bartholomew de Reedham, Eustace de Berningham, &c. were witnesses; and by another deed, he gave to them the chapel of St. Andrew, in this town: witnesses, Sir G. de Bocland, John de Wirstede, Jordan de Soukeville, then an itinerant justice in Norfolk, which was confirmed by Pandulf Bishop of Norwich.

 

He also gave them lands with certain villains, the abbot of Holm also confirmed it.

 

Sir Reginald le Gross quitclaimed all his right in the aforesaid church and chapel, to Simon the prior, and the convent of Norwich.

 

Thomas de Blundevile Bishop of Norwich, also confirmed to them the said church, to take place on the decease of John de Wurchestede, and Adam de Wurchestede, who then held it in 1226; and in 1256, on the 8th of the calends of August, a vicarage was settled on the appropriation of the said church to the monks of Norwich, when a manse or house was given to the vicar, with an acre of land, by the chapel of St. Andrew with all the altarage of the church, (except the tithes of the mills) and the rents of assise belonging to the said chapel, and the oblations thereof; but if the oblations and profits of the said chapel exceeded 5 marks, the remainder was to go to the prior and convent, and the vicar was to repair the said chapel, and to find all ornaments, &c.

 

The vicar was also to have tithe of flax, hemp, and all other small tithes, it was appropriated to the prior's table, and to the cellarer of the priory; but after this, in the first of April following, it was appropriated entirely to the prior's table, and the church of Hemlington in Norfolk, appropriated to him instead of this.

 

In the reign of Edward I. there belonged to the appropriated rectory, a house, with 27 acres and a rood of land, and the church was valued at 25 marks, the vicarage at 5l. Peter-pence, 12d. and the portion of Kerbrook preceptory was 3s.—The prior had also a manor, Edward I. in his 35th year granting him free warren.

 

Vicars.

 

1256, Warin de Festorton, instituted vicar, presented by the prior and convent of Norwich.

 

John occurs vicar in 1299.

 

1304, Edmund Johnes, vicar.

 

Peter de Reynham, vicar.

 

1346, William de Aldeby.

 

1353, Oliver de Wytton.

 

1355, Roger de Felthorp.

 

1357, John de Massingham.

 

1365, John de Kynneburle; in his time, Ao. 2d of Richard II. the chancel of this church was new built; the prior granted 13 oaks out of Plumsted wood, and timber also out of St. Leonard's wood; and the expenses in money were 24l. 4l. 4d.

 

1386, Edmund Martyn, vicar.

 

On the dissolution of the priory, the manor belonging to it, with the rectory, and the patronage of the vicarage, were granted to the dean and chapter of Norwich; and the vicarage is valued at 10l. per ann.

 

Mr. Henry Aldred, vicar.

 

In 1603, William Fleming, vicar, returned 296 communicants 1730.

 

1660, Edmund Wharton, (fn. 4) occurs vicar.

 

Mr. William Berney.

 

Richard Oram, by the dean and chapter of Norwich.

 

1762, Ephr. Megoe.

 

On a gravestone in the chancel,

 

Hic lapis in pannis Spicer tenet ossa Johannis Qui Quadringentesimo pius XL et iii - - - - Anno.

 

Hic jacet D'ns. Johs. Yop. quo'da' Rector. Ecclie de Boton.

 

¶Sir Robert Camownde, priest, was buried in 1482, in the chapel of St. John, of this church, and wills that all the said chapel be paved with marbyll stone, and to the gravestone of John Ovy, with his goods. (fn. 5) —Richard Watls buried in St. John Baptist's chapel 1509, and I will have a prest to sing and pray 6 years in the church except the Fryday in ev'ry week, in the chapel of St. Andrew of Worsted. Agnes Watts, his widow, buried in the said chapel, 1529, and benefactrix to the guilds of our Lady and St. Thomas, and to the repair of St. Andrew's chapel, and gives meadow land to find two lamps in the church for ever, if the King's laws will permit, otherwise to be sold and to buy cattle for that purpose.

 

Here was also St. John Baptist's guild. In the church were these arms; Gules, on a fess, argent, three flowers, azure, between three popinjays, borne by—prior of Norwich. Argent, a cross, sable, the priory arms. Calthorp and Stapleton.

 

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

 

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As a measure of how civilised East Anglia is, it is a simple and cheap matter to explore the region by train and bicycle. There is a flat rate of nine pounds a day for unlimited travel between stations in Suffolk, Norfolk and East Cambridgeshire. You can take a bike on any train for a pound, although in reality conductors rarely charge for this service. This practice dates back to pre-privatisation days, and Anglia Railways and One Trains have continued to honour it, for which I am mightily grateful. The Suffolk and Norfolk Churches sites would not be so extensive without it.

 

I left Ipswich at twenty to eight. It was a thinly bright April morning, the sun without power beyond dazzling through the haze in the eastern sky. I was glad of my jacket, but also glad I had sun glasses with me - it was going to be a perfect day for a bike ride.

 

As the train plodded through Ipswich's monotonous northern suburbs, I examined the ordnance survey map. I flicked through Pevsner and Mortlock, as industrial units gave way to green fields, copses and the winding Gipping. Restless, I gazed out the window. A swan awoke on a lake near Needham Market, stretching itself and beating its wings into life. Crows raided a skip on rubble near the Stowmarket paint factory. Then we were really in the countryside, rushing headlong through the sleepy fields beyond Haughley and Mendelsham. Near Finningham, a large female deer cowered silently in the hedge, not ten metres from the track. A few minutes later, and a wise old hare huddled in a furrow, flat-eared, patient.

 

The train pulled into the gathering surprise of Norwich. I hauled my bike a couple of platforms over to the Sheringham line. Other people out for the day got on, including a couple dressed in vintage railway costumes. I assumed they were bound for the steam line at Sheringham. Again, the monotony of another city's suburbs petered out into agricultural business, this time in bright sunshine, and so it was that just after nine o'clock we arrived at Worstead station. I was the only person to get off. "See you later" called the conductor cheerily as I rode off of the platform into the lane, and of course he was right. There is only one train that shuttles back and forth along this line all day, and he was in charge of it.

 

I cycled from the station up into the village, a distance of about two miles. I didn't pass anyone, and here in the large village there was nobody about, just a fat cat lazily rolling in the village square. The sun was cutting the haze, the sky wide and blue. It was like being in France.

 

The church is absolutely enormous, and hemmed in a tight little graveyard. My resolution to take more distant shots went right out the window. Like Salle, and Southwold in Suffolk, St Mary was all built in one go, pretty much. This happened in the late 14th century. As at Salle, it is reflective of a large number of bequests from different people over a short period rather than anyone fabulously rich doing it on their own, and the money, of course, came from wool. Worstead is still the name of a fabric today.

 

I said it was pretty much built at one go, but there was still plenty of money about in the 15th century to raise the clerestory and install a hammerbeam roof. This seems to have been such an ambitious project that flying buttresses had to be installed on top of the aisles to hold the top of the nave up, an expedient measure that has left the building both interesting and beautiful.

 

Inside, I feared another Happisburgh, but it was gorgeous. Stepping out of the sunlight into the slight chill of a vast open space, I wandered around feasting on this stunningly lovely building.

 

As regular users of the sites will know, I don't always warm to big churches, but St Mary is so pretty inside that it is hard not to love it. This is partly helped by the removal of all pews and benches from the aisle. Those that remain in the body of the church are lovely 18th century box pews, quite out of keeping with the medieval nature of the rest of the building, but quirky and oddly delightful. The great tower arch is elegant, and is thrown into relief by the towering font cover. The ringing gallery under the tower is dated 1501, and is reminiscent of the one at Cawston. The tower screen below it takes the breath away, and you find yourself looking around to see where it could have come from. In fact, it is almost certainly a work of the Victorians, but it is pretty well perfect. The paintings in the dado are apparently copies of windows by Sir Joshua Reynolds at New College, Oxford.

 

Worstead is rightly famous for its screen, but this is more because of its height, elegance and completeness than it is its authenticity. The figures on the dado have been repainted so recklessly that it is rather hard to see who some of them were ever meant to be. As at Woolpit in Suffolk, the Victorians appear to have repainted them more with an eye to enthusiasm than accuracy. I stood there, fantasising, making up stories, until, alongside familiar figures like St Peter, St James and St Matthew, I had identified St Lassitude, the patron Saint of a quiet night in, depicted reading his book. Other Saints, identified by their symbols, include St Quirinus with his hamster, and St Obligamus with his golden pineapple. Or so it seemed to me.

 

Not much less odd are the two figures on the extreme right. The Victorians do not appear to have repainted them. The first shows a man holding three nails, and is probably St William of Norwich, more familiar from the screen at Loddon. The second shows a figure crucified, arms tied to the spans. This may be the infamous Uncumber, the bearded lady of early medieval mythology - she grew a beard to fend off unwanted suitors, although you can't help thinking there'd be a niche market for that kind of thing somewhere on the internet. Later, she was crucified, probably upside down. This figure is probably a woman, so nothing seems to fit better, although she isn't bearded as far as I could see. Situated on the extreme right, she is reflected by a crucified Christ as the Man of Sorrows on the extreme left.

 

Across the top rail, a dedicatory inscription winds, mysterious and beautiful.

 

Either side of the chancel arch and screen, the two aisle chapels are both in use, which is unusual and lovely. Both have small screens, each with just four figures. That on the north side is particularly lovely, and is where the blessed sacrament is reserved. The four figures are St Peter, St Bartholomew, St John the Baptist and St John the Divine. At least three of these are also on the rood screen, suggesting that either the images there are wholly Victorian, or these aisle screens came originally from elsewhere.

 

The south aisle chapel is simpler - it is here you enter the church through the priest door. The screen features another St Bartholomew, along with St Lawrence, St Philip and a Bishop.

 

St Mary is a building to wander around in, a place to enjoy for its great beauty rather than to interrogate for its medieval authenticity. As you turn corners, vistas open up; the view from the font to the south door, for example, or that back to the west from the chancel. All perfect, all stunning. The high church nature of the modern furnishings chimes perfectly with these architectural treats. And there are other significant medieval survivals - a fine brass of a Catholic priest, scraps of wall painting beside the chancel arch, and so on.

 

As at other churches in this benefice, the war memorial is complemented by photographs of all those commemorated. What a splendid idea, and what a labour of love. Also in common with other churches around here, St Mary has a second hand bookstall. As I explored the Worstead area, I found myself buying more and more of them, until by the time I got back to Ipswich station that evening, my rucksack was laden down with a dozen or more.

 

Simon Knott, April 2005

 

www.norfolkchurches.co.uk/worstead/worstead.htm

Ok here it is. I took one image of the model using the strobes . I had the camera on Auto bracket mode , so the dark frame was taken immediately after that, before the flashes could recharge. The dark frame is for the outside detail coming in through the cracks in the door and the first shot is for the model only. LAter.. I had the model walk out and took a bunch of different exposures of the barn by itself. I used photomatix Image blending to compile them. Strobes were used in that image as well but were moved to different places for each frame to ensure an even distribution. later in photoshop I used the pen tool to vector out the model and created a mask ( Bottom Right) since the hair was really difficult, I chopped it off with the pen tool mask and duplicated the original (1) picture, placed it on top and set the blend mode to either overlay or multiply... whatever one leaves lighter (hair) detail and makes darker areas transparent. Thats how I got the hair edges so finite. A separate mask was also used to get the outside detail from the second image and place it on top of layer 3 so that it appears that My camera has that kind of dynamic range. :) YEah.. I cheated :) other than that, I used the basic retouching like skin smoothing and some toning using curves. whole thing took about an hour and a half.

 

Link to final img

www.flickr.com/photos/40889933@N07/4879681429/in/photostr...

Who Tagged Me ??? It's my friend T@ao

 

Sorry for the translate sometime is hard to explain all when is not your language ;)

 

But i Promise i write that i think, all be REAL

 

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1/i am French, Italian with a touch of German because my father family living in Alsace therefore neighbor & i'm wedding with Japan Woman

 

2/i am a Skateborder since 18 years, although unfortunately at this moment I can not do too

 

3 / Flickr I started with the skate, for maintaining a passion for photography

 

4/i am addicted to music, I listen to at least 2 hours minimum per day of its

 

5/I have passion for Asia culture and especially Japan

 

6/i believe in friendship, my friends are my family for me, so I do not like the friendship single use

 

7/i am very sensitive of places, smells, sounds, images etc. .., a real sponge

 

8/Student of the Way of Bushido, I try by readings, by the practice of martial arts, sword to follow these precepts at best "it may be cliché but it's true"

 

9 / I love cooking and wine but not if I'm alone, I think it is a pleasure to share above all

 

10/I can not conceive of life without art in all forms, painting, music, photography, design, architecture, fashion etc ... ... ....

 

11/I am addicted to travel, because I always come back enriched of human relationship, cultural and that change my vision of every day.

 

12/I think we must fight for these freedoms, these desires and way of thinking

 

13/He is important to try to understand mind of other, to better understand the reactions of those close without non-judgmental

 

14/I am a dreamer, I am not against the fact of growing up but that does not mean losing one's soul child

 

15 / I love meetings, I like the opportunity to know the fate of new people and experience new

 

16/I believe that beauty is everywhere if you open a little attention and that the simple things every day are the best

  

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version francaise 100% vrai

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1/Je suis français, italien avec une touche d’allemande la famille de mon père vivant en Alsace donc en pays limitrophe et marié à une japonaise

 

2/Je suis un Skateur depuis 18ans, même si malheureusement en ce moment je ne peux pas trop en faire

 

3/J’ai commencé Flickr avec le skate, pour avoir maintenant une passion dévorante pour la photo

 

4/Je suis accro a la Musique, je dois écouter au moins 2h mini de son par jour

 

5/Je suis un grand passionne de l’Asie et particulièrement du japon

 

6/Je crois beaucoup en l’Amitié, mes amis sont ma famille pour moi, donc je n’aime pas l’amitié à usage unique

 

7/Je suis très sensible, aux lieux, aux odeurs, aux sons, aux images..Etc, un vrai éponge

 

8/Etudiant de la Voie du Bushido, j’essaye par mes lectures, par la pratique des arts martiaux, du sabre de suivre au mieux ces préceptes « ça peut être cliché mais c’est vrai »

 

9/J’aime faire la cuisine et le vin mais pas si je suis seul, je pense que c’est un plaisir de partage avant tout

 

10/Je ne peux concevoir la vie sans l’Art sous toute ces formes, peinture, musique, photo, design, architecture, danse………etc.

 

11/Je suis accro aux voyages, car je reviens toujours enrichi de mes expériences humaines, culturelles et sensitives.

 

12/Je pense que l’on doit se battre pour ces libertés, ces envies et son mode de pensée

 

13/il est important d’essaye de se mettre a la place des autres, pour mieux comprendre les réactions de ces proches sans porté de jugement hâtif

 

14/Je suis un rêveur, je ne suis pas contre le fait de grandir mais cela ne veut pas dire perdre son âme d’enfant

 

15/J’aime les rencontres, j’aime donner la chance au destin de connaître de nouvelles personnes et vivre de nouvelles expériences

 

16/Je pense que la beauté est partout si on prête un peu attention et que les choses simples de tout les jours sont les plus belles

   

The words explain how the park area (roundish section) permitted some natural habitat to be created from the soil dredged out of the main shipping channel. All of this 'land' is about one mile further out in the waters of the bay than was originally the case. Over the years, the shoreline has been filled in to a great degree and although it is now being 'managed' in a much more sustainable way than it was for a long time, we cannot call it "original". The white area ringing the central section is the Middle Harbor Shoreline Park managed by the Port of Oakland together with the East Bay Regional Park District and is open for public recreation. It's actually quite nice and was the setting for several large picnic groups when I was there on a Saturday.

how i woke up with a numb arm.

(popular romances of the west of england in the background, which i realized wasn't the book i was reading in bed that afternoon+ my hand)

 

sepa entender ud. que si algo aparece en inglés aquí, no es por snobismo, sólo porque no me queda otra para hacerme entender con determinada/s persona/s con la/s que trato a dia/r/i/o. en particular con la que era destinataria del dibujo, claro.

 

Proud partner of the Life Ball

The Le Meridien Hotel Vienna is also on May 31 in 2014 again exclusive hotel partner of the Life Ball. For the eighth time in a row, Le Méridien Vienna and its sister hotel, Hotel Imperial, Vienna, provide rooms and suites as well free of charge for the international guests, as facilities for events around the ball. "We stand still behind the idea of the Life Ball and we work with our commitment for (world) openness and tolerance", explains the director general of the hotel Gabriela Benz. The two hotels are since 2007 partner of the Life Ball in Vienna and thus one of the largest sponsors of the event: The commitment corresponds to a value of around € 250,000. To support social issues, is part of the philosophy and practical self-image of the group.

Life Ball Vienna - Le Meridien Vienna. The Life Ball is not only as a pioneering charity event of importance, but also as the globally heard sign of respect for individual life concepts. This event has been able to provide for the self-conception and the attitude of this town towards life sustainable impetus and the international Vienna-image add an important (and quite right) facet. All the more appropriate it is that the two top Vienna hotels act as Life Ball partners that due to their stand-alone profiles throughout the world are understood as ambassadors for each one of the many 'faces' of the city.

Fanciful garden sceneries, insect worlds and flower scenes allow the Vienna City Hall on May 31, 2014, to become the "Garden of Earthly Delights"! Symbolized should be a diverse society in peaceful coexistence. Let yourself also be tempted to promenade in baroque pleasure gardens and book now your room at Life Ball 2014.

www.lemeridienvienna.com/de/life-ball-wien

 

Palais Württemberg - Hotel Imperial

1, Kärntner Ring 16

Architects: Arnold Zenetti, Heinrich Adam

1862 - 1865

The client - The Palais turns into hotel - War, soviet occupation - Reopening

Facade - Portal - Grand Staircase

(if you want like to see many more pictures please go to the link at the end of page!)

History - the builder

The Imperial Hotel began its history as a palace. It emerged as one of the first buildings on one of the best and most expensive grounds, with unobstructed views to the Karlskirche.

Even for a Adelspalais (noble palace) it was very representative. The room was divided wastefullly: Just the grand staircase would have provided space for two apartments in a normal apartment building. Who had built this way, did not have to pay attention to his money.

The client was according to this an illustrious figure: Closely related to the Württemberg Royal Family (1806 establishing the Kingdom of Württemberg) came Duke Philipp of Württemberg (1838 - 1917), son of Alexander Friedrich Wilhelm of Württemberg 1838 in the French Neuilly into the world.

His mother, a princess of Orleans, died a few months after Philip's birth, so he was baptized and brought up by his grandparents, the French citizen-king Louis Philippe, the last official King of France and his wife, Queen Marie Amelie, in Paris.

Duke Philipp of Württemberg

With ten years Philip had with the royal family in 1848 to flee from the revolting crowd of the capital and he returned to Bayreuth.

His father had later again married, to the displeasure of the Son, because the marriage was morganatic: she was his housekeeper.

Philip pursued a military career.

Shell Palais Württemberg

Wedding with (female) Habsburg

In the great conflict between Austria and Prussia, he was on the side of the Habsburgs and counted as one of the losers of Hradec Kralove (Königgrätz).

The Württemberg were on par with Europe's most powerful royal houses. Philip asked for the hand of the youngest sister of Empress Elisabeth, Princess Sophie, but the marriage did not materialize.

Finally, his love brought him to Vienna, the Duke married into the Habsburg family.

In 1865 he married Archduchess Marie Therese (1845 - 1927), daughter of Archduke Albrecht (Monument Albertina ramp), granddaughter of Archduke Charles, the victor of Aspern (Memorial Heldenplatz).

The wedding took place in the court chapel of the Hofburg in Vienna.

Wedding with Habsburg

Together they moved into the newly completed palace on the Ringstrasse.

It was built in 1863-65 by the Munich architect Arnold Zenetti, according to the plans of Heinrich Adam (grave Central Cemetery).

His wife had recently suffered a severe stroke of fate: her mother had so strongly caught a cold during the funeral of her brother that she died as a result. And soon should burn her sister Mathilde alive.

This one had dressed a gown made ​​of Indian muslin for the theater. This type of material was impregnated at that time with glycerol to give the fabric more fullness.

Before leaving the theater she wanted to smoke a cigarette. When suddenly her father, who had strictly forbidden her smoking came in, she hid the cigarette behind her baggy dress. The highly combustible, glycerol impregnated fabric immediately went up in flames.

Floor Plan 1st storey

The view to the Charles Church was lost

A clear view to the Charles Church was lost by the building of the Musikverein.

The Duke could not enjoy his palace for long. Because behind it, to the Karlsplatz, there was a leafy park, which gave a clear view over to Charles Church.

But when he returned from Hradec Kralove, one was just digging the foundation of the Musikverein. 1870 was the "temple of music" finished and the beautiful view history.

Musikverein, on your left, behind the Imperial Hotel

That should have been the reason that Philip the following year sold his palace. I think this is one of the many "tales", because all the reception rooms were on the side of the ring road. If the view would have been sooo important to him, he would have also had laid out on the back of the Palais 'comfortable' rooms. Anyway, he moved to Strudelhof in the 9th District, a cheaper solution, it was the question here of a spacious villa. Incidentally, it is also told that he had gambling debts and therefore he could not afford the expensive palace on the Ringstrasse anymore.

Summer residence

Duke Philip, who did not feel quite at home in Vienna, lusted after a summer residence in the Salzkammergut.

(The Salzkammergut is a resort area located in Austria. It stretches from the City of Salzburg eastwards along the Austrian Alpine Foreland and the Northern Limestone Alps to the peaks of the Dachstein Mountains, spanning the federal states of Upper Austria, Salzburg, and Styria. The main river of the region is the Traun, a right tributary of the Danube. The name Salzkammergut literally means "Estate of the Salt Chamber" and derives from the Imperial Salt Chamber, the authority charged with running the precious salt mines of the Habsburg Monarchy.)

In addition to hunting around Gmunden the Duke dedicated his passion to the emerging photography.

The architect Heinrich Adam built for the Duke and Duchess in 1872 Villa Maria Theresia in Altmünster according to a French model high above the Lake Traun.

In the summer of 1875 they moved in, 1878-80, the chapel was rebuilt by Heinrich von Ferstel.

Summer residence in Altmünster in Gmunden

As the succession of the Stuttgart parent house fell on Philip's son Albrecht, Philipp moved in 1905 with his family to the Stuttgart Prince Palace. After his death in 1917 his widow Maria Theresa spent her lonely summers preferably in Altmünster until she died for herself in 1927.

The Palais becomes Hotel

The palace was in 1872 in the hands of the Budapest hotelier Johann Frohner. As businessman he sensed with the approaching World's Fair his chance.

And he knew that there was a lack of representative lodging in Vienna, so he turned the magnificent building into a hotel.

At the opening Emperor Franz Joseph I also was invited, which was served a cake. It is said that he had it appreciated, so was the Frohner cake, now called Imperial Torte, born. The special thing about it: it is square.

An original recipe of the Imperial Torte from the 19th Century, however, is not handed down. She is known for only a few decades. At that time it was begun to offer it as a house cake at Café Imperial.

Several years ago was launched a marketing campaign and it was accomplished that the Imperial Torte today is sent around the world and one, according to the house, needs a total mass of 40 tonnes per year for it.

Imperial square cake

Café Imperial, recording 1941

The conservatory

The courtyard becomes a winter garden.

Donauweibchen (Danube maiden) copy

Frohner had a sense for staging. The glass-covered courtyard became a dining room with conservatory flair.

In the middle was a copy of the Danube female from the city park. Today she is at the end of the grand staircase.

The newspapers were ironed so guests did not have ink on their fingers. And the butler service is available to this day.

Who has once looked into it, knows why we put most of our state guests there - it is just not a "normal" hotel, but still a palace, one of the most magnificent!

Between the lobby and the Café Imperial runs a narrow passage where the house's history is told in pictures and text. And it is also worthwhile to study the guest list shown there.

Lobby to Frohner times

2 World War II, Soviet occupation

The war and the occupation had left its mark on the house. Here, since Adolf Hitler took his accommodation at his few visits to Vienna, the hotel had to be equipped accordingly.

On the side of Canovagasse one built an underground bunker, but not in the usual way.

It was just the road dug up, the bunker built into a pit and then the road above concreted again.

Hitler rises from the Imperial

During the Allied air raids on Vienna here many people found refuge, especially the Vienna Philharmonic from neighboring Musikverein.

After the war, the Soviets used the house as an office building. As they moved out of here again after the occupation time, the house was practically empty.

About the state of the Imperial, in which they left it in the mid-fifties, there are different statements.

It appears that the shape of the house may not have been much worse than the other districts of the Soviet Army.

In the stuccolustro of the main staircase of the Imperial a soldier has immortalized himself with a small doodle.

Left: the people cheering in front of the Hotel Imperial on 15 March 1938

Swastika flags near the Hotel Imperial

Reopening of the hotel

The large portrait of Emperor Franz Joseph at the end of the stairs, a symbol of a reactionary attitude, remained untouched over the years .

Even as the Imperial again was a hotel, considered Russian politicians the house as a kind of ideological hereditary leasehold.

Only U.S. Secretary of State Henry Kissinger broke this monopoly, as he with his Soviet colleague Andrei Gromyko in Vienna lived at a meeting at the Imperial.

Because Gromyko did not want to spend the night with the representative of a capitalist world power under one roof, he departed angrily in the Soviet Embassy. Also for other state guests, the Imperial is recommended as the first address.

Re-opening of the hotel in 1958

Rooms at the Hotel Imperial in the then modern 50's style

Guests

The fact that the English Queen Elizabeth here took up accommodation during her visit to Vienna, was felt as a great honor because the Queen slept on visits abroad only rarely in hotels.

Therefore one replaced the by no means not unrepresentative furnitures of her suite against those from the Imperial Furniture Collection. And for the duration of her stay hung pictures from the Kunsthistorisches Museum in her premises.

Thus, the Queen could at least feel a touch of monarchical past. Finally, the hotel management did remove the seating from the lobby. No one should have the opportunity to insult the Queen, by just remaining seated in front of her.

Queen Elizabeth greets from the balcony of the hotel, in 1969

Plaque Rainer Maria Rilke

Plaque Richard Wagner

Inscription:

During 1916, Rainer Maria Rilke visited in the Hotel Imperial almost daily his "Unforgettable Café" and met here Oskar Kokoschka, Karl Kraus and Adolf Loos.

Austrian Society for Literature

Inscription:

Richard Wagner was at the end of the year 1875 with his family for nearly two months guest of this hotel to prepare for the performance of his operas Tannhäuser and Lohengrin.

The Vienna Schubertbund 50th Anniversary of the death of the artist, 1933

(Sculptor Robert Ullmann)

Facade

Important strictly historicist Palais, 1862-65 built by Arnold Zenetti and designed by Heinrich Adam. Monumental free-standing building of the beginning of strict historicism in forms of neo- Renaissance.

The main façade has a 6-axle central projection, which is further emphasized by the three-axis portal.

In 1928, the house was extented on the ring road by two floors. The attic was converted into a continuous balcony on the 4th floor.

1946, the portal has been simplified and the three-aisled hall (lobby) rebuilt to current form.

Floor plan 6th storey

1988 - 1994 followed ​​a general refurbishment and the roof extension (Maurizio Papiri), which on the back of the palace was not very successful.

Portal

3 -axis portal above statues representing sovereign virtues.

As the duke had guarded the house round-the-clock, originally flanked two sentry house the wide entrance, which was designed for the entrance of the carriages.

The six-axle central projection visually protrudes a little bit and is rich decorated. The effect is mainly due to the generously employed sculptures of the portal and gable zone.

The statues above the entrance are from Franz Melnitzky and represent personalized Herschertugenden (souvereign virtues): wisdom - old man, lorbeerbekränzt (laurel-adorned) and scroll of honor - Woman with coat of arms, Justice - sword, strength - club.

In addition to the figures, by the same artist have been made reliefs, which were destroyed in 1946, as well as the lunettes.

Statues (ruler virtues)

Hotel entrance: reliefs and lunettes in 1946 destroyed

Wisdom

Honor

Justice

Strength

Above the balconies and windows of the first floor can be found the from the Orient stemming griffin motif: two griffins flanking each of them a vase. The lion's griffon, his head and body seem like that of a lion, but he has the wings of an eagle, he was apostrophized in antiquity as the guardian of the gold. Here he was reinterpreted as the guardian of the house.

In the triangular gable of the roof is an allegory of the house Wuerttemberg to see with the heraldic animals of the house, the deer and the lion. The very striking roof no longer exists, but it fell victim to the fact the hotel was increased in the 20th Century.

Grand Staircase

Former court (later conservatory, lounge today)

At the times of the Württemberg the palais still hand an open courtyard in the middle. This court allowed, as with all other buildings of that era, the coachmen to turn there after they get off their customers in the driveway.

So the coaches for this had sufficient space, the outrageously expensive main staircase had to be moved to the side. Who enters the hotel lobby of the Imperial today, does not immediately recognize the noble work, but he must climb a few stairs to the right. Such intricateness were then accepted.

The grand staircase leads to the main floor only. The stairs to the upper floors are designed very much simpler. Because here only circulated staff.

Grand Staircase

Grand Staircase piano nobile

Lobby

www.viennatouristguide.at/Palais/ringstrasse/wuerttemberg...

My name is Bob Griffin, and I am a full-time faculty member who teaches Information Architecture for the Web Design & Interactive Media Department at The New England Institute of Art. I joined forces with Dorothee Shamonsky and Kay Aubrey (who were the Interface Design and Usability adjunct faculty, respectively) to define the interaction design curricula at the college. The reason that we felt it necessary to get together and define the interaction design curricula was due to our student population complaining about too much overlap in the three separate areas of study.

 

It’s my feeling that Information Architecture, Interface Design and Usability are separate areas of study, and yet they are also three peas in a pod. You have to have one to help define the other. Trying to talk about one without some semblance of understanding of the other two, is like trying to describe the Three Stooges by only talking about Larry.

 

Please take a look at what we came up with below. There will always be agreement to disagree — but in the long run — after we did this analysis, our students stopped complaining.

Social Bookmarking is a really simple tool that can offer your Extension audience a great deal of value. It's also a great place to get started with eExtension.

froknowsphoto.com/?p=3795

This image is part of explaining how f stops work going from 1.4 to f16. You will get a feel for how the image is effected.

the doctor's office had a basket of free binkies on the counter. a giveaway from gerber. gemma demanded one and then said "nalalee", referring to her friend, natalie, who has a binky. from what i could tell, she pretended to be "nalalee" for about a half hour today. most of the time she just chewed on the handle though.

I think that this photo explains my absence for the past few weeks. With school getting started and returning to work, I have had close to no time to take any photos. Being able to go out and shoot with my friends was much needed.

 

Portfolio | Blog | Tumblr | Instagram: alanalanabobana

www.youtube.com/watch?v=hOBn-g5VTfM

 

This is an obscure little British sci-fi, from producers who did everything but sci-fi before (or after). This might explain why Devil Girl from Mars (DGfM) is such a departure from the usual sci-fi formulae. On the surface of things, DGfM is akin to the usual saucer-alien-invasion motif. That kinship is only skin deep, though. Beneath the surface is a delightfully different movie.

 

Synopsis

Reports come in of a strange meteor landing the remote area of Scotland. A professor of astrophysics and a newspaper reporter are traveling up from London to find it. They stop for the night at a country inn. Meanwhile, a man who escaped from prison has snuck into the inn to seek help from his girlfriend who works there. Also staying at the inn is a fashion model hiding/sulking from a failed romance, and a young boy, the nephew of the man and woman who run the inn. With a grand flash, a flying saucer lands dramatically near the inn. Inside is Nyah, a tall shapely woman dressed in black leather, a black leather skull cap and long black leather cape. She announces that she's from Mars. The male population has grown weak and feeble on Mars, so they are looking for breeding stock. She's the first of what will be a wave of invaders taking the best men, now her trip has proven the success of "organic metal" ships. The people are powerless to stop her. She cannot be shot or electrocuted. Nyah has a force field around the inn, so no one can escape or get help. Nyah has a big robot which can disintegrate things with his head-beam, so resistance is futile. The professor does some recon aboard the ship. He feels the ship's power source is its achilles heel. The men draw straws to see who will go with Nyah -- essentially a suicide mission to destroy her ship. While they argue, the convict tells Nyah that he's the one. Her ship leaves and blows up high in the sky. The earth is safe. The end.

 

Sure, it's low on action and very talky. It was adapted from a stage play, after all. But there's just so many little touches in DGfM that are delightful. One thing is the total reversal of the usual they're-after-our-women trope. This is so refreshing. What makes this even more fun is that the men do not act all wolfish and slobbery about being a stud for martian women. Instead, they act like it's exile to Siberian salt mines. This, despite Nyah being a hot chick in her own way. Hollywood could not have done this story. Another very fun visual is Nayh herself, all in black with Vulcan-like eyebrows and stoic demeanor. She's like Spock's evil sister or Darth Vadar's wife. This is just great fun for viewing. The model work and matte art are pretty good for a low-budget B-film.

As mentioned above, DGfM reverses the usual alien agenda. Instead of the ruthless alien trying to take away our curvaceous ladies, a leggy lady arrives to take away earth's hunkiest men.

This isn't treated like the usual adolescent fantasy about being the lone guy in the girls' dorm. No, the men at the Bonnie Charlie Inn regard Nyah's plan as a terrible fate. Perhaps the Brits were able to see beyond their underpants that the martian women's plans would mean the subjugation of the entire earth. There was much more at stake than their own personal gratification. How un-Hollywood!

The writer sets up an interesting contrast between earthly love and the martian woman's buisness-like approach to procreation. Between Robert, the convict and Doris, we see her loyalty and charity. Robert shows a sort of desperate reaching out for help, but then the willingness to sacrifice himself for others. Between the reporter, Michael, and Miss Prestwick, the budding of new romance which softens his cynicism and coaxes her out of her funk over a failed prior romance. Mr. and Mrs. Jamison show parent-like concern of little Tommy. The Professor shows an altruism for mankind. All these earthly manifestations of love stand in contrast to Nyah's passionless approach to duty.

DGfM features a little thing that gets attention in films much later. Her ship is made of "organic metal" which can heal itself. She miscalculated the density of earth's atmosphere, so upon entry a part of her ship broke off. That was the meteor people reported. Nyah had to land in Scotland instead of London, as originally planned, so that her ship could heal itself. In the meantime, she figures to take the best of the men at the inn, just to make the side trip worthwhile. We won't see the concept of organic metal and ships healing themselves until the Alien series in the 90s. Stargate Atlantis has it's Wraith ships which are partially organic too. DGfM might be the first film to feature self-healing ships.

The robot in DGfM is tall, but like many other B-movie robots, it's so slow and clumsy it's hard imagine it inspiring fear. Oh sure, it has its disintegrator beam, but it's even slower than a muzzle-loading musket to fire. Instead of running away (or even just walking away) from it, everyone stands "paralyzed" in fear while the walking refrigerator lumbers up to them. This is necessary, of course, since it's a sound-stage production, not an action film, but it looks a little odd. They could have tackled Nayh and taken away her remote control before robo-fridge could manage turning around. Perhaps in the early 50s the concept of killer robots were more frightening.

Many B-films end on a supposedly happy note when the lone alien is killed, as if there was no other threats out there. DGfM might look like one of these loose-thread flicks, but it's not. Nyah's ship was THE experimental prototype of the organic metal ship. Only such a ship could make the trip from Mars and hold up to our harsh Earth conditions. She said that when she returns to Mars, it will prove the success of the organic metal and a whole fleet of ship will be built like hers. By Robert blowing up her ship, the Martians will assume the organic metal ship was a failure and not re-try Nayh's organic metal approach. This buys Earth much needed time. All this assumes Nayh had no radio chats with Mars once she got here. A naive assumption.

 

Bottom line? Devil Girl is certainly worth watching, not for the effects or action, but just for the sheer role-reversal aspect.

 

Raymah is Yemen’s newest governorate, carved off Sana’a in 2004. An egg carton of mountains each with a house on top. Providing health an education is a challenge with a population dispersed over so many difficult to get to places.

I was there to see how are nutrition and education programmes were progressing. The government health staff and local government I met were well trained and keen to make a difference.

Title / Titre :

A student explains the rock garden to a tourist couple, Niagara Falls, Ontario /

 

Un étudiant parle du jardin de rocailles à un couple de touristes, Niagara Falls (Ontario)

 

Creator(s) / Créateur(s) : Chris Lund

 

Date(s) : 1954

 

Reference No. / Numéro de référence : ITEM 4948716, 4950464

 

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=4948...

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=4950...

 

Location / Lieu : Niagara Falls, Ontario, Canada / Chutes Niagara, Ontario, Canada

 

Credit / Mention de source :

Chris Lund. National Film Board of Canada. Library and Archives Canada, e011175953 /

 

Chris Lund. Office national du film du Canada. Bibliothèque et Archives Canada, e011175953

 

will do:

 

I've been gone for a while because my interest in photography was dormant.

I don't even know where it went, it was probably lost in the mail or something.

 

anyway, it's back and I have a crapload of stuff to talk about.

 

I'm sewing more stuff for my etsy so I can save up for a custom boy doll I'm making. he's going to be the doll form of George Harrison and I'm so fricken excited so when I post pictures of my new etsy stuff go buy it, so that little george can come home. no pressure.

 

I've started using PicMonkey to edit photos.

RIP Picnik.

 

hope things are going good.

 

I'm friday on SevenFabulousTeens.

 

starting soccer on thursday.

 

it was my dad's birthday today, and it's the agile beast's tomorrow.

 

so yeah. you haven't missed much.

 

"just when I knew what I wanted to say, the violent winds blew the wires away.

  

we were shocked in the suburbs."

 

-'the month of may'

arcade fire

“ Sweet heart I’ve already explained I caught you with my knickers , ok maybe it was innocent , but if I tell your friends , you know how you embarrass , but if you just do this one thing for me , we’ll you never know , I have a feeling you’ll want to be a girl for my friend Henry on other dates too “ my Auntie Barbara has me dressing as a girl to go to dine out with her business partner , she says he’s a lovely man , but if he is , why dies he want me to dress as a girl and be his date “Auntie Barbara it’s so unfair “ I add blushing “ My darling , you complain too much , I wonder if it’s that’s because in truth you’re excited about this date “ oh dear , is it that obvious !

Lost Horizon is a movie from 1937, from which the basic template was used to create LOST.

 

People on a plane, crash near the hidden paradise Shangri La (the island).

 

There they meet the gentle-mannered but somewhat suspicious Mr. Chang who appears to run everything (Ben).

 

He shows them the near-modern comforts of what is otherwise a primitive place (Otherville). He claims that Shangri La has magical healing powers which explains one woman's recovery from a lung problem (Rose) and the extremely long lives of the natives (Richard).

 

Among the cast are two brothers, one with faith in the land's strangely familiar wonders (Locke) and one who thinks rationally and is determined to leave at all costs (Jack).

 

There's a man wanted for crimes back home who thrives in his new surroundings (Kate, Sawyer). There are two comic reliefs who playfully spar and become good friends (Hurley, Charlie).

 

The curious brother meets a beautiful woman who encourages him to make himself at home. An eerie sound follows her everywhere which turns out to be a flock of pigeons with whistles attached to their tails.

 

Chang introduces the man to the person who is really in charge, a centuries-old priest confined to a single room and chair (Jacob). The priest explains that the man was brought there purposefully to take over when he dies and help maintain the paradise to one day influence the rest of mankind back from the brink of its own destruction.

 

NO JOKE, watch the movie if you don't believe it.

 

Another woman (Juliette) tells the rational brother that the jealous Chang keeps her captive and lies about everything. The two convince the faithful brother to escape. At the point of no return the brothers realize she was wrong and Chang was right.

 

Only one brother makes it home but spends his time obsessively trying to find his way back. In Hollywood fashion it's suggested he does, and the few who know of his ramblings back home are inspired to "find their own Shangri La."

 

George = Jack

Bob (Robert Conway) = John Locke

Chang = Ben

Father Perrault = Jacob

Barney = James

Lord Gainsford = Widmore

Maria = Juliet

Sondra Bizet = Alex / Ilana

Miss Stone = Rose

Barnard = Bernard / Kate

Alexander Lovett = Charlotte

the porters = the Kahana crew

Avalanche = the smoke monster

Shangra La = the Island

Dog = Vincent

 

The Freighter and it's people tend to relate to "the porters", and when the porters help to assist Jack and company off the island, they are killed by a huge snow avalanche, which would be the smoke monster killing the Freighter people outside of Ben's house.

 

Barney is like Sawyer, in the nicknames he comes up with for people.

 

Sondra is Alex / Ilana, who was born to explorers, found by Chang (Ben) and raised by Perrault (Jacob)

 

Maria is Juliet, and this tells us why Ben wouldn't let her go back home, because if she did, she would die.

 

Maria (Juliet) and George (Jack) have a love interest.

 

Also, Maria was kidnapped and brought to the island 2 years before the airplane survivors crashed there.

 

Father Perrault (Jacob) found the island when he was 108 years old, in 1713.

 

Yes, the movie uses the number 108.

 

We are told "Father Perrault (Jacob) is the island"

 

When Bob (Locke) leaves the island and is found on the ground unable to walk, a group of people speaking a foreign language throw him on a stretcher (back of the truck at the antipode in Tunisia) and take him to Gainsford (Widmore)

 

Gainsford also drinks scotch.

 

There are masonic symbols, which are like the Egyptian symbols.

 

Bob (Locke) is told "I place in yours hands my son, the future and DESTINY of Shangra La"

 

Chang is Ben, but the name Chang is also used in LOST by "Chang"

 

"The man that was not human" is close to "he walks among us but is not one of us"

 

Father Perrault (Jacob) is referred to as "a very remarkable man" and a very smart man, and the man that has all the answers.

 

There is a lamp post that looks the same as the one outside the lamp post station.

 

LOST practically uses the same exact title as LOST Horizon.

 

Official Lost Podcast/August 1, 2008 *Damon and Carlton have seen "Lost Horizon," but it was not really an influence on the show. "

 

This is not exactly a lie. It wasn't just an influence on the show... it was the entire concept! At least they admit they saw the movie.

 

In Lost Horizon, the time loop happens 6 times.

 

In the end, George (Jack) dies.

 

A big collection of art works and books have been brought to this place, (Ben seems to have a lot of these in his Dharma house.)

 

Perrault (Jacob) is in a dark room with only the light of a candle to see him by.

 

Bob (Locke) got angry and demanded to Chang (Ben) that he wanted to be brought to this great important man.

 

People can enter and exit Shangra La from the same point, (where it is cold, as the frozen donkey wheel)

 

The pilot of the plane dies in the movie, just like on the TV series version.

 

And the pilot who ends up flying the plane, is not who was originally supposed to be the pilot, JUST LIKE IN LOST.

 

A lagoon with a waterfall EXACTLY like the one in LOST.

 

Same Black and White references, even with game pieces, JUST LIKE ON LOST.

 

The woman who only had 6 months to live, gets better in this place, and her husband's name is... Barnard.

 

Yes, his name is spelled differently from "Bernard", so LOST changed that part.

 

And they say they didn't base LOST on this movie?!

 

LIARS!!

 

After you get a copy of, and watch LOST HORIZON to see that I am not pulling your leg, (It is also shown every now and then on Turner Classic Movie channel, or borrow a copy on DVD from your local Library) you can then watch the old 1960's TV series "THE PRISONER" to see where they got all the OTHER ideas from, including the Dharma Initiative stations, Dharma logos, and the big Bubble Monster, which just like the Smoke Monster.

 

If you want to know why LOST never gave any explanation as to what the Smoke Monster was, you have to understand that in The Prisoner, they never gave any answer or explanation to what the Bubble Monster was either.

 

So if you are stealing your whole story based on another movie and series, then you can't steal an ending that never was there to steal!

 

And since they don't have a single creative bone in their bodies, they were unable to think up any ending for LOST on their own, and thus, we never got one.

 

Oh and if you are wondering what that toy plane Kate had was all about....

 

When you see LOST HORIZON, you should figure that out right away.

 

It's as if the producers of Lost WANTED people to see they stole everything from this movie, even so far as to have Kate throw that distinctive model of airplane in our faces.

 

And obviously the toy plane meant absolutely nothing in Lost, it was just a clue to throw you back to LOST HORIZON.

 

And they did it more than once in LOST!

 

Remember what SONG was playing in the Dharma van, when Hugo got it started?

 

"Shambala" by Three Dog Night.

 

They WANT you to know they stole the whole thing from Lost Horizon!

 

Shambala: known by several other names such as "Shangri-La"

 

A mythical kingdom hidden somewhere in Inner Asia.

 

Shambala gradually came to be seen as a Buddhist Pure Land, a fabulous kingdom whose reality is visionary or spiritual as much as physical or geographic.

 

The "Shangri-La" of James Hilton's 1933 novel Lost Horizon was inspired by the Shambala myth.

 

The American rock band Three Dog Night recorded the song 'Shambala' in 1973. Partial lyrics include "Wash away my troubles, wash away my pain with the rain in Shambala."

    

How can you explain out loud all the billion twisting hues you have in the heart?

How can you describe what your eyes see so clearly, what your mind knows for certain,

but your mouth can't say?

.

 

The thousand boxes and colours you have in the inner part of you,

that no one can see, that no one are allowed to see.

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Then,

you are at Home.

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Il giorno in cui mi sentivo persa, e non sapevo cosa fare,

tu mi hai abbracciata e ti sei steso, sulla terra, così, lì dove eravamo. E sotto quell'albero mi hai stretta ed hai detto:

 

"Ecco, siamo a casa! "

  

Ed era vero, eravamo a casa.

 

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