Model&Photographer: Falbala Fairey

 

To explain this picture I will better start from the beginning. Well I was watching Styling Forward yesterday and they get a challenge for next week what I liked a lot and even I am not in this contest I like challenges a lot. So I decided for myself I do this one just for fun.

 

The challenge was "Superhero" and may some have a superhero in mind like a girl in very tight short pants and a cape and maybe some with big boobs also, but for me a superhero is someone very tough even if it is a woman. Superheros are fighter, protector and I tried to create my view of a superhero with this kind of mystique, darkness and a bit creepy around her.

My character is named "Isais the Hunter" as she protect all human from creatures out of the hell who comes up to rule the world in their way.

 

Isais is born out of exactly that what she tries to destroy now. She is a creature out of the hell but with a human mother. As all heros have a little helper, hers is the dead dragon Makrok on her shoulder to give her tips and sometimes the right decision also. And as it is in comics, of course he is talking to much^^

 

Isais weapons are her power who are more strong then of a normal human, her titanium katanas what she always wears on her left hip with skulls at the end and her, she calls it her "Babies", the Sickles what she wears on her back if she don´t need them.

 

As I know that this challenge is next week I will not write some credits below. So it is just a picture to watch and to enjoy :D

www.youtube.com/watch?v=su33eKsAtPA&feature=related

in english: www.youtube.com/watch?v=C2zL-Eq-sNM&feature=related

I have to explain this one -

There is one large rock quite close to the shore between Rivaz and Cully. Every morning, my train passes by and I see a few cormorants and maybe a heron standing there still as statues. For the past few days, my train goes past just after the sun has risen and shines on the lake, and I see the cormorants stretching out their wings to dry them.

So, every morning, I sit in the train, camera poised, trying to get a photo of them. Every time, I have ended up with a lot of lake and a small black blob. So today, I tried with the zoom. I caught the cormorants the way I wanted, but somehow a bush got in the way.

But, well, there's something I like about it, and I clicked on the I feel lucky thing in picasa, and this is how it came out.

 

I just looked up the proper term for a group of cormorants and found gulp, flight, paddling or sunning - I thought "sunning" the best of all.

Frome Minibuses L108UHF

 

Ford Transit / Whitacre L108 UHF, new to Meteor Parking

 

The East Mendip Connector was a semi-demand-responsive service in the area between Radstock, Frome, and Shepton Mallet, operated by Frome Minibuses for Somerset County Council. Which doesn’t explain what the dedicated vehicle was doing when Keith found it in Bradford-on-Avon, no-where near the Connector’s area.

 

Photo by Keith Newton, posted with permission.

I was trying to explain to someone how I am feeling right now and the spoon letter that Clodders posted last year came to mind.

 

When I read through this originally I never truly understood what it must be like to have to plan your day in such minute detail. To have to choose between having breakfast or getting dressed for the day because you can't do both.

 

I have had to deal with this recently. And whilst I am not as badly affected as some, it is still very frustrating that you cannot just go out or do something without seriously considering each step it would take before I am even in the position of being ready to leave the house, let alone actually go out.

 

I have only been affected by Post Viral Fatigue for about 10 weeks now. I am lucky that there doesn't appear to be any underlying illness causing this, just the initial viral infection (which has long gone now). I am hoping this will be gone soon (and I am improving gradually) and that I don't end up with this affecting me for many more months. In order to ensure that this is the case, I need to get better at listening to my body and learning to rest and relax even more so than I have so far.

 

It has been a complete learning curve for me (and yes, I hate that phrase but nothing else fitted). I have made many realisations and I am sure there are many more to come. Life has a way of slowing you down sometimes.

 

I would be lying if I didn't say I was scared. The uncertainty and lack of timescales are horrid. I like structure. I like dates/times. I like to be organised and know where I will be and when. If nothing else though, I may become less uptight - that has to be a plus right? ;)

 

I just want to say thank you to everyone who has listened to my moaning and whinging over the last few months. I really appreciate that you have allowed me a space to vent and cry when I have needed it. There may be more to come, so I apologise in advance. Ultimately though I know how lucky I am. I could be a lot worse off.

 

I have nothing but admiration to those who manage on very few spoons. I would happily send them some of my spoons any day.

 

S.

xxxx

 

Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal

President Obama Town Hall at SUNY Binghamton

For those curious about the title, let me explain …

 

Philadelphia is a city known for being the birthplace of the nation, a persistent fictional boxer named Rocky and probably most popular of all are cheesesteaks.

 

Cheesesteaks are a basic comfort food generally consisting of thinly grilled slices of steak served on a fresh baked long roll with your choice of cheese and usually served with or without fried onions.

 

A myth about ordering a cheesesteak is that one must use the appropriate terminology for fear of being ostracized and banned from making a purchase altogether. That’s where the title comes from because “Whiz Wit” is how one would order a cheesesteak with Cheez Whiz and fried onions. I guess that's the most popular combination, but my personal preference is an American wit....

 

This picture was taken at the cheesesteak epicenter in South Philly where 9th and Passyunk intersect. Located at this intersection are Geno’s and Pat’s, which have a long running feud over who is the originator of the cheesesteak. Located directly behind me is the rather less assuming façade of Pat’s and that is why I choose to photograph Geno’s. However, had I been hungry for a sandwich I would have chosen another popular spot Tony Luke's....

 

Explore November 15, 2009 #378

 

View On Black

A lonely trekker hiking through snow high in mountains on a bright sunny day

Mosquito attack which explains the hair flip.

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

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

Mike Licht, NotionsCapitol.com

  

(Previous KOM League Flash Reports are available on request)

 

Comment regarding SPAM. The vocabulary gets changed with each generation. You all know what I talking about without my having to illustrate how the meaning of words change. One of the greatest stories for which I don't recall all the details occurred during the opening of a large supermarket in Columbia, Mo. in the 1970's. One of the items they featured on sale was SPAM. A young reporter for either one of the two newspapers or television station covered the opening and was impressed with the large display of SPAM.

 

Being a good and inquisitive reporter he inquired as to the composition of the product. The store had a young assistant manager with a quick and inventive mind so he explained to the reporter that SPAM was the product of a very small animal found only in Nebraska. He went on to explain that like any other product it had years when it was abundant and other years when the little animal was scarce and the product was hard to buy. Since the product was obviously abundant that year he told the reporter that people should stock up on it.

 

Understand this was long before the internet and the reporter bought the story hook, line and sinker. The story was published or aired in Columbia and it was so popular with the mass audience that the reporter asked the assistant store manager for a follow-up interview. The next time around he even asked for a picture of a SPAM. The assistant manager went into great detail about the animal being nocturnal and that no one had ever photographed one.

 

In the foregoing paragraphs I just made a huge blunder. I've told a story about which all the details aren't known. However, like most of everything else I write someone out there will probably recall it or can find the story on an old newspaper site. If no one can embellish on this story it still remains my favorite on the subject of SPAM.

 

A question: Does any reader recall a song from the heyday of Harry Caray, in St. Louis, entitled "The Harry Caray Polka?" If you know of a recording of it or know where the complete lyrics might be found I'd appreciate knowing about it. I will share it with one other person, the one who inquired about it.

  

The

KOM Flash Report

for

August 23, 2013

 

Store this URL somewhere to stay informed of KOM updates and photos. www.flickr.com/photos/60428361@N07/‎

________________________________________________________________________________________

This is the first attempt since the Google Internet Gestapo (GIG) arrested me, a few weeks ago, for sending Flash Reports that they determined to be SPAM. Everyone from my era knows what that product was/is. It used to be eaten because we were poor and now people eat it to be chic.

 

Moving right ahead. For the last 18 days an attempt has been made to keep those with any interest in the KOM league news updated through this site. Flicker: KOM League Photostream

www.flickr.com/photos/60428361@N07/‎ Some readers, like Bill Clark, right here in Columbia, Missouri, can’t get that feature. So, Bill, this report is for you and I’m including the updates that appear on that site to kick off this report.

 

August 23, 2013

I'm not sure how many people even bother to check this site for updates. If you do and would like to see a brand new Flash Report with all the excitement those stories generate let me know. In fact, it will take about 25 people asking to see a new report for me to shake myself from the summer doldrums in order to do it. I've heard from a few folks with some pretty interesting tales and I'd put forth a little, not much, energy to do something that a few of you enjoy. Let me know. Otherwise, I'll keep picking tomatoes and placing them at the free tomato stand in my front yard. Just dial me up at j03.john@gmail.com if you want another thrill packed edition of the Flash Report.

August 22, 2013

Yesterday I was going through a list of former KOM leaguers with whom contact had been established over the years. For a number of years communication with Russ and Dody Oxford was conducted by e-mail.. Russ was the third baseman on the same team as the four fellows shown in the photo above. (That is the Flickr site photo)

Russ was born Russell Charles Oxford on October 20, 1931 in Sioux City, Iowa and I learned through some searching of obituaries recently that he passed away April 24, 2013 in Redmond, Washington.

Russ and Dorothy McInnes were married on June 21, 1951 at the Grace Episcopal Church in Carthage, MO. After the wedding many of his teammates formed an archway using baseball bats under which the newlyweds exited the church. The bridesmaid and best man at that wedding were Mr. and Mrs. Walter Koehler. Just one month later Walter was drafted and just over a year later he died while serving his country as a medical corpsman in Korea.

One thing Oxford accomplished that very few former Carthage players pulled off was getting away with a team uniform at the end of the season. He wore #7 which was a hand me down from the 1949 Chicago Cubs. Another thing Russ had was a birthday that was the same as a former KOM league shortstop. That former KOM league shortstop didn't wear #7 until he made it to the major leagues and it was later retired when the fellow retired from the New York Yankees.

One of the great trivia questions in the early days of the KOM league was to ask "Who played on the left side of a KOM league infield, wore #7 and was born October 20, 1931. Never once did anyone ever say the name "Russ Oxford." The only name that anyone knew who fit that description was "Mickey Mantle."

From whence did they come to play in the KOM league?

Many people assume, who weren't around 60 years ago, that Class D teams were heavily populated with players from the area in which the team was located. That was true if the team wasn't affiliated with a major league organization or a higher classification team. In a quick perusal of the database of KOM rosters there were 19 players each from Springfield, MO and Topeka, Kansas. Most of the Topeka lads wound up in the league by virtue of being signed by the Topeka, Kansas Owls. The Springfield boys were primarily signed by Tom Greenwade and shipped off to Independence, Kansas to "sink or swim."

Players from all over the country wound up in the KOM with 105 coming from the State of California and 27 of them from the City of Los Angeles. The Windy City, Chicago, sent 85 of their young men to the league basically because of the Cubs sponsoring teams at Iola in 1946-47, Carthage 1949-51 and Blackwell, OK in 1952. The City of St. Louis contributed 87 players to the league and that doesn't include the other cities in the metro area. Even the "Big Apple" had 16 of their youngsters go west to receive their version of culture shock. Omaha, Nebraska had 40 of their young men in KOM league uniforms and most of those played at Ponca City, OK in the Dodger organization. Bert Wells, of Larned, Kansas, the Dodger scout, was primarily responsible for that.

Should you have an interest in a certain city or town and wonder how many of their residents played in the KOM league send in that inquiry. Small towns such as Alba, MO sent a half dozen players to the KOM league and not all of them were named Boyer. And, as I've stated numerous times neither Cloyd Boyer nor his little brother, Cletis, were born in Alba. But, the "baseball chronicles" will always claim they did. Cloyd told me he long ago gave up on trying getting the record books changed on that matter. It's too late for Cletis who was born at Cossville and every baseball publication on earth will show his birth place as Cassville. One of those towns is in Barry County and the other in Jasper County, MO. It’s not too late to get Cloyd’s birthplace corrected while he is still around to know it. He was born in Duval Township located just north of Alba near what is Baseline Road. Look it up on any good Internet site or bad one for that matter.

August 19, 2013

No Flash Report updates have transpired in the last four days. I'm not planning any Flash Reports for the foreseeable future. No one is corresponding with me about what is on their mind and fortunately I don't have any deaths to report. I do know a couple of guys have had a rough time lately do to surgery and other age related problems but they don't come under the heading of "Urgent Messages." When those arrive I'll report on them. The two people I'm tracking right now, due to health problems, are; Don Keeter and Leonard Van de Hey. Keeter is in a Kansas City rehabilitation facility and Van de Hey is in a Wisconsin hospital following surgery. Word received today was that there will be more of the same for the former Carthage Cub from 1950-51.

August 12, 2013.

There won't be another Flash Report for a few days. If you have anything to submit for the next report feel free to do so by contacting me at j03.john@gmail.com Thanks for checking out this site. The traffic on this site has picked up significantly since the Flash Reports have become a feature.

For the latest interview with former KOM Leaguer, Bill Virdon, go to this site: Celebrate West Plains: Bill Virdon reflects on his career - KY3 News

m.ky3.com/display/6497/story/458e4da0908d50238e442ec6fee3...

 

The next report will have an update on what happened with regard to the guy offering to give me a Mickey Mantle baseball card and also more information on the late Roger Vander Weide's baseball career. His older brother Robert was "top dog" in the operation of the Orlando Magic when they entered the National Basketball Association.

 

August 15, 2013. The photos are viewed by a number of former KOM league ballplayers and their families. I learned, by posting these photos that Leonard Van de Hey, a member of the 1950-51 Carthage Cubs had surgery yesterday in Wisconsin. Also, a nice note was received from the daughter of the late Johnny LaPorta, Carthage Cubs 1949-50 that she enjoys the photos. Her mother, Angie, the greatest scorekeeper in the history of Carthage baseball, is residing in a nursing home in the Chicago area and still retains the memories of many of the KOM era.

 

In the next Flash Report an article will address the subject of radio stations that broadcast KOM League games. If you heard a game or games over KGLC in Miami, OK, KSEK Pittsburg, KS, KDMO Carthage, MO, KIND Independence, KS, KWON Bartlesville, OK or WBBZ in Ponca City and wish to share a memory I'd love to include it in the article. There were no games aired of Iola, Blackwell or Chanute home games since those towns didn't have a radio station until nearly a decade after the KOM League folded.

The voice of Miami baseball was Russ Martin. He was the pastor of the First Christian Church in Miami and was well known for the dramatic phrases and embellishment of games when they became a bit drab. For a while, Joe Pollock, former KOM speedster, with three different clubs, was his play by play color man.

 

Pittsburg Browns games were carried on KSEK radio. That station was on the Liberty network and carried a game of the day with Gordon McClendon and Lindsey Nelson doing most of the games. If you got bored you went to the top of the radio dial and got the Mutual Broadcasting Company game with Al Helfer doing the announcing on radio station WMBH in Joplin. In the evening that station carried the Joplin Miner games with Bill Grigsby doing the play by play. As a point of trivia the last KOM game broadcast was in 1998 with Grigsby doing most of the play by play and not so ably assisted by Yours truly. That was about as much fun as I ever had. By the way one of the announcers for Pittsburg was Thad Sandstrom who later headed up the WIBW radio and TV empire. If you want to know the fate of Mr. Sandstrom check that out on the Internet. The story is too long and gory to place here.

 

Bill Platt, James DeStefano (aka Jim King), Fred Pralle and Keith Upson broadcast for Ponca City, Carthage, Bartlesville and Independence, respectively. The story of Upson is contained under the last photo on this Flickr site. He is shown with the 1948 Independence Yankees. There are some great tales about the last four guys mentioned but I'll hold off writing anything about them to see if anyone has read the material to this point.

I'm under pressure to keep this site moving along since g-mail loves me at about the same level socialism admires free enterprise and vice versa.

Okay, the foregoing is all that you missed if you don’t have access to Flickr or can access it and don’t.

_________________________________________________________________________________________

Here are a few other things that have transpired recently: And a few reasons why I still attempt to piece these reports into some type of order.

 

From a lady in Topeka, Kansas: “I enjoy reading these reports whether I know the person or not...............it’s in my blood, I guess and I appreciate all the work you do in writing these reports

 

From a lady in St. Louis, Missouri. “Dad was reading over my shoulder again! He has been gone so long but baseball was everything to him and (I) know he would really enjoy the reports.”

 

From a lady in Indianapolis, Indiana:

 

JOHN, THANKS AGAIN FOR ALL THE BEAUTIFUL PHOTOGRAPHY~~ESPECIALLY THE BIRDS, FLOWERS, AND CHARLIE.

 

CAN"T BELIEVE IT'S BEEN FIVE MONTHS SINCE KENNY PASSED ON. A VERY KIND AND CARING HUSBAND, EXCEPT WHEN ONE OF HIS PLAYERS MISSES AN EASY CATCH FOR THE WIN!”

 

Ed note: Kenny’s last name was Cox and played for the 1948 Carthage Cardinals and other teams in the Brooklyn Dodger organization later on.

 

From a gentleman in Shreveport, Louisiana:

 

You think you have troubles with Google. I've been out of internet for several days. My battle with A. T. & T. started 3 years ago and continues. Won't bore you with details. Dave wants you to know that Thursday he finished the batch of Flash Reports you sent. Said to tell you he read every word. And he'll be going back to them often over the years! Without the net, have accumulated a # of your photos. We'll set aside a time and

both go over together.

 

Ed note:

 

The reports the gentleman mentioned were actually every issue of the KOM League Remembered newsletter that was published between 1994 and 2010. Those arrived in Louisiana thanks to the kindness of Bob Mallon who had kept every copy sent him over the years.

_________________________________________________________________________________________

Baseball trivia--The youngest pitcher to win a Major League game in the 20th Century

 

Hi John--Here is a little interesting baseball trivia I know you'll enjoy reading. This is an old teammate of mine from 58 years ago. I just met him again for the first time at the Legion World Series last Friday in his hometown of Shelby, NC. This was the game my great-nephew Joe O'Donnell pitched. (Photo to follow in my next e-mail).

 

When we were teammates, I never knew about his accomplishments. He was just a class-act career minor-leaguer, and good teammate. We had a great time talking and remembering those good old days when the grass was real and batting helmets nonexistent! -Bill--Durham, NC

philadelphia.phillies.mlb.com/news/article.jsp?ymd=201211...

  

Ed note:

 

Not many baseball fans would know the name of the youngest pitcher to have won a game in the big leagues. The one previous to that was in 1890. Without looking how many of you can name the youngest pitcher to post a win? Here’s a hint if you immediately think of Joe Nuxhall you aren’t even in the running.

 

Note from a friend since my youth:

 

Upon finding the information on the death of Russell Oxford I sent a note to my long time friend, in Arizona, Corky Simpson. Cork is an award winning and Arizona Hall of Fame sportswriter. So, when I get a note from him I listen.

 

Johnny: I remember him well and I always thought he had a great baseball name: Russ Oxford. -- Didn't we shag balls in the outfield during batting practice one time? Or am I dreaming? I think we did. Boy, today the liability insurance on something like that would be more catastrophic than getting beaned on the head. Come to think of it, I believe a Carthage Cub, perhaps Rogers Hornsby's son, did get beaned on the head one time in lieu of catching the !#@%!! ball during an actual game. -- Corky

 

Ed reply:

 

They never let me shag balls during batting practice. Hornsby was in CF in the second game of a DH against Independence on or near August 20 of 1949. The Carthage pitcher was working on a 21 straight scoreless inning streak. With one out and a runner on first the Independence shortstop hit a fly ball to medium left center. The ball got above the light standards and Hornsby couldn't locate it and it landed on the side of his head. The hitter, Mickey Mantle, got an inside the park homer and Dr. Tom McNew came on the field to check out Hornsby. That same Carthage pitcher, George Erath, who had his scoreless hit streak snapped by the freak homer later ran a minor league club in North Carolina and gave Curt Flood his first chance in baseball. True story.

 

By the way Carthage teams have come up a lot in recent days. Len Van de Hey is having some health issues and his family has been in touch. I have even talked to one member of the family about his girlfriend when he was with Carthage. He went with Shirley S. She had four sisters. They were B., S., B., and another B. You probably remember some of those girls. There were three other Carthage girls who dated John Mudd, Walt Babcock and Don Biebel and followed them up to Sioux Falls, SD, the next year, and discovered the ball players had already found other girlfriends by the time they got there. (Only one player from the 1951 Carthage team married a girl from the area and she was from Avilla.)

________________________________________________________________________________________

A new book about Carthage, MO

 

There is a new book in the Arcadia series coming out late this month and there will be a special event to honor that on August 30. The kick-off for that book will be August 30 at the Powers Museum which is located directly across the street from the old ballpark where the Carthage Pirates, Browns, Cardinals and Cubs played their games on and off from 1938-1951.

 

All of those who contributed to the book that chronicles the history of Carthage from 1950-1990 have been invited to attend a special evening together and since I did identify some old photos of former Carthage players an invitation was extended. The following was my reply. “Congratulations on the new book. Those 50 years of Carthage history was special to me, especially the first 20 years of it.

 

Only yesterday I was exchanging notes with a member of the 1951 Carthage Cub baseball team and I was doing some research on the young lady he dated that year. That young lady is now 81, if she's still living. She had four sisters and I'm about 99.999% sure I could find her or her descendants if I put any effort into the matter. The young lady who dated the ballplayer in 1951 married a young man in 1953 who had just come back from the Korean War. He had attained the rank of Sergeant in the Marine Corps. I noticed in checking the ancestry files yesterday that he died in 1972 at the young age of 40. That was the same age my dad was when he died in 1947 at McCune Brooks Hospital in Carthage.

My mind often wanders back to the days of my youth, in Carthage, and I relish the memories. Since the 1940 Federal Census has come out I sometimes go through the difference sections of the city and look for names I recognize from the past. It’s interesting to see where the parents of my classmates worked and even how old they were when their children were born. The people I looked upon as old were relatively young as I peruse the census data.

I would love to be in Carthage on the 30th but it is impossible these days to leave home. I still put out my baseball reports to a few hundred people and many of the recipients are former Carthaginians or former players loved the town. I'll mention the new book and hopefully some of the readers will order one.

 

Note from Powers Museum’s director:

 

Thanks for responding back. I will send you a list of the baseball photos we used. I will also see if another book by another author using some of our baseball photos got published as he thought. Those would be pre-KOM

 

Ed reply:

 

What you have are Carthage Pirate and Browns photos. However, there were a couple of 1946 Carthage Cardinals that somehow were in that lot. I imagine the other guy you are talking about is Jerry Hogan of Fayetteville, Ark. who has been trying to get his book about the Arkansas State and Arkansas-Missouri league published for some time. I hear from him nearly every day of my life. (Jerry get in touch with the museum if I have misrepresented anything.)

 

Reply from Powers Museum’s director:

 

Yes, so the book is NOT out yet I take it. I won't go looking for it then!

 

Here is who is in the book:

Pirates Joe Narieka

Browns trio of Roy Meyer, Joe Szuch & Frank Mancuso

Browns bat boy Raymond Baird

Cardinals William Buck

Cardinals LaVerne Etting

 

...and of course an image of the stadium.

 

The whole idea of the book was to feature selections from the many archival/artifact donations made to the museum since opening of the museum.

 

MICHELE HANSFORD

Director

Powers Museum, Carthage MO

 

Ed note:

 

Since many of the recipients of this report have Carthage connections you might wish to check out the book about Carthage. It is in the same format as all Arcadia publications. It will be around 128 pages with a lot of great photos and minimal verbiage. If any of you purchased “The KOM League Remembered” by that non-award winning author you’ll know what to expect regarding the 40 year history of Carthage from its glory years.

 

And, while I’m on the subject, if you wish to have the best pictorial book ever published about the KOM League I’m sure Arcadia would sell you one or more if you begged them. You can purchase them off the Internet and if you purchase them from Amazon.com I suspect that some where down the line it would result in eighty cents in royalties to Yours truly. It’s been a long time since I’ve seen a royalty check.

__________________________________________________________________________________________

Okay, I’m done:

 

I’ve dropped so many names and places in this report I’m bound to hear from someone for whom those references will spark some type of memory. If I don’t then this report has NO reason for existing.

 

Explain

please....

I can't explain why every bird in this tree was facing the sunset. They would fly in and out. Could they be watching like us ?

Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal

...again...and too sleepy to explain! :D

 

From Rebecca by Daphne DuMaurier: "Last night I dreamed that I went to Manderly again." Opening line from that book. Has to be one of the best opening lines ever!

This Bike Rental Thing...

New York City...

$5.00 Bike Rental...

 

Best Viewed On Black...

At the Big Rivers festival in the city centre.

The portrait of Paquius Proculo is a fresco currently preserved at the Naples National Archaeological Museum that was found in Pompeii.

 

The fresco depicts a pair of middle-class Pompeians, almost certainly husband and wife. They are commonly referred to as "Paquius Proculus and his wife", due to an inscription found on the outside of the house, although a graffito inside the house later revealed the man to be Terentius Neo. (The external inscription turned out to be an election advertisement for Paquius Proculus, a baker who had been elected duumviri some time prior to the eruption.)

 

The man in the fresco wears a toga, the mark of a Roman citizen; and holds a rotulus, suggesting he is involved in public and/or cultural affairs. The woman holds a stylus and wax tablet, emphasizing that she is educated and literate. It is suspected, based on the physical features of the couple, that they are Samnites, which may explain the desire to show off the status they have reached in Roman society.

A Chinese ceramic lotus shaped insence burner with a Montblanc. wrist watch.

 

THE HISTORY OF INCENSE:

 

The word "perfume" comes from Old Provincial French perfumar - per "through" and fumar "to smoke". This explains the art of perfumery, believed to have begun in the Middle East with the burning of incense. The use of incense dates back to biblical times and may have originated in Egypt, where aromatic trees were imported from Arabia to be used in religious ceremonies.

 

Ganjin, a Buddhist priest from Tang China, reached Japan in 754 AD. This venerable priest, well known for introducing Buddhist precepts into Japan, should also be remembered for his accomplishment in the history of incense. through medical incense and the skill of nerikoh (blended incense balls), Ganjin introduced a thriving incense culture from Tang dynasty China into Japan.

 

Takimono, a kind of nerikoh, is made of powdered incense for medical use, together with binding substances such as nectar and treacle. there was no fragrance incense before nerikoh in Japan, and people used to burn medical incense to generate fragrances. As nerikoh is a mixture of ingredients, different mixtures created subtly different fragrances. As a result, people made their own favorite fragrances from original concoctions. In this context, incense was no longer used as a religious offering, but as a tasteful pleasure called soradakimono designed for the enjoyment of graceful aromas. This was the start of the esthetic and artistic world of graceful incense-burning in Japan.

 

Court nobles in the Heian period (8th to 12th centuries) concocted original takimono in search of graceful and sophisticated fragrances for personal use. Different blends were used for different times, occasions or seasons, according to the mood of the moment. To impregnate their clothes or suffuse their rooms for guests, court people burnt their favorite blend of incense. “Takimonoawase”, an incense game where participants competed to produce better fragrances, also started in this period. Not quite satisfied with the simple fragrances of flowers and fruits in nature, court nobles created fragrances for their pleasure, thus establishing the foundation of a peculiar incense culture that was firmly attached to a keen awareness of the seasons. This is how the essential quality of Koh-Do (“the Way of Incense”) was formed.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY:

 

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION:

 

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE:

 

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

 

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii)

Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES:

 

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING:

 

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING:

 

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

 

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION:

 

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE:

 

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS:

 

ARABIAN:

 

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE:

 

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN:

 

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM:

 

KETORET:

 

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN:

 

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE:

 

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE:

 

PRACTICAL:

 

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC:

 

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS:

 

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE:

 

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

roll 10

Minolta dynax 5000i

fujifilm supera xtra 400

Ferrari pilot Nigel Mansell at the 1990 Formula One US Grand Prix at Phoenix Arizona.

Paperback Library Edition Oct. 1967

Opening scene

 

It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.

 

Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.

 

As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.

 

Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.

 

Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.

 

Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.

 

Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility

 

The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.

 

Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.

 

Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.

 

That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.

 

Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.

 

Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.

 

Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.

 

Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.

 

Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.

 

Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.

 

Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.

 

Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.

 

Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.

 

Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.

 

The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.

 

No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.

 

Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.

 

Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.

 

They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.

 

Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.

 

Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.

 

Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.

 

Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.

 

Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.

 

The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.

 

As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible

 

The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.

Seen at The Science of Rock & Roll exhibit at Union Station. It made me laugh out loud!

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.

Here you can see that through the use of some interesting lift arms and a pneumatic piston, I can change the points quite easily.

There is actually a second piston and set up for the other half of the track that works in tandem, so the train can effectively change tracks regardless of the direction of travel.

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

Explaining where we are going - into the dark hole. Smithfield London Central Market, Farringdon Street, London UK.

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.

The title explains everything. I took fifteen versions of this photo last February 28, from nearly as many angles.

 

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At this point I'd been using the Panasonic 12-60 mm f3.5-5.6 lens on my camera pretty much exclusively for two months. Time to move on....

 

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This photograph is an outtake from my 2021 photo-a-day project, 365^4.

 

Number of project photos taken: 17

Title of folder: In the Basement

Other photos taken on 2/28/2021: When Joan got finished with the shelves we loaded them with paper products. (Hoarders!) I grabbed the phone and took a couple pix. Neither's worth sharing.

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.

China Town, London

Kanyaka Homestead.

As explained in relation to the Pekina Run this run was established in 1851 by Hugh Proby who disappeared shortly afterwards whilst returning from a visit to Pekina Run. The next leaseholder John Phillips (with Alexander Grant) had the many fine stone buildings erected. It was a large and prosperous run except during drought years. The drought in the 1860s saw the sheep numbers drop from 41,000 to 10,000. When the government resumed large parts of Kanyaka Run for agricultural settlement, especially for towns like Wilson, the run became unviable. Phillips just walked out of the leasehold in 1881 and the buildings were left to crumble. The station cemetery which is not accessible is across Kanyaka Creek. Dozens were employed on the run in its heyday and many died there too. The large woolshed catered for 24 shearers at once. The property buildings included: station homestead; overseers house; men’s kitchen and dining room; carpenter shop; stables; shearers’ quarters; various huts and sheds; blacksmith shop; cellars etc.

 

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

Lester Public Library, Two Rivers, Wisconsin

The interfaith EarthKeepers II Team held a strategy meeting on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, Michigan to plan the 30 faith community gardens.

 

EarthKeepers II is an Interfaith Energy Conservation and Community Garden Initiative across the Upper Peninsula of Michigan.

 

Over the next two years, at least 30 interfaith community gardens will be planted that include vegetables (some fresh produce will be given to food banks) - plus native species plants.

 

EarthKeepers II has representatives from 10 faith communities involving 250 churches/temples in northern Michigan: Roman Catholic, Episcopal, Jewish, Lutheran, Presbyterian, United Methodist, Bahá'í, Unitarian Universalist and Zen Buddhist.

 

These gardens will serve as a pollinator central for all plants in the area.

 

Native species plants are pollinator friendly - and that is important as one-third of America's pollinators have died in the past 7 years.

 

The reasons for the pollinator disappearances (bees, butterflies) are varied but most of which are human related especially a new and deadly pesticide/fertilizer powder that is used to coat seeds.

 

Humans cannot live without pollinators.

 

A presentation on native species plants and pollinators was given by U.S. Forest Service Midwest Botanist Jan Schultz.

 

Schultz is the Head Botanist at the USFS Eastern Region (R-9) Office in Milwaukee, Wisconsin and we are fortunate she is the EarthKeepers II Technical Advisor for Community Gardens

 

EarthKeepers II Project Coordinator Kyra Fillmore Ziomkowski explained the community garden plans at churches and temples across the U.P.

 

Funded by the EPA Great Lakes Restoration Initiative, EarthKeepers II has a major goal of reducing toxins in the Great Lakes including airborne mercury - through energy conservation audits and grants for churches/temples - and educating their congregations on ways to reduce energy consumption at home - while getting financial incentives to do so.

 

An EarthKeepers II contractor has completed 17 of the 40 energy audits at churches/temples in the U.P. - and all will be completed by this fall, according to Delta Green Ex. Dir. Doug Russell, Executive Director, EarthKeepers II Energy Conservation Consultant.

 

Grants of up to $500 (in a few cases more) will be offered to these congregations to help make energy conservations repairs at the houses of worship

 

Those attending the Big Bay meeting included faith leaders and representatives, project organizers and the EarthKeepers II Student Team from Northern Michigan University.

 

Attendees included:

 

Longtime EarthKeeper Rev. Tesshin Paul Lehmberg of the Lake Superior Zendo, a Zen Buddhist temple located at 2222 Longyear Ave, in Marquette, MI.

906-226-6407

plehmber@nmu.edu

 

Guest speaker the Rev. Stephen Gauger of Calvary Lutheran Church

Rapid River, Michigan - representing the Northern Great Lakes Synod (NGLS) of the Evangelical Lutheran Church in America (ELCA) - and NGLS Bishop Thomas Skrenes.

www.elca.org

www.nglsynod.org

 

Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI

www.templebethsholom-ishpeming.org

 

Rev. Christine Bergquist of the Bark River United Methodist Church (UMC) and the First UMC of Hermansville - and representing the United Methodist Church Marquette District - and Rev Elbert P Dulworth, District Superintendent.

www.mqtdistrict.com

 

(EarthKeepers II also thanks Grant Lobb, former Mqt. Dist. Supt. (who has taken another position) and a longtime supporter of U.P. EarthKeepers projects - and we remember the late Episcopal "Earth Bishop" - Bishop James "Jim" Kelsey - who was with the EarthKeepers from our humble beginnings in 2005 - and now watches over us from above.)

 

Rev. Albert Valentine II of the Manistique Presbyterian Church of the Redeemer and the Gould City Community Presbyterian Church - and representing the Presbytery of Mackinac.

www.presbymac.org

www.pcusa.org

 

Rev. Pete Andersen, a retired ELCA pastor from Marquette.

 

Rev. Elisabeth Zant of the NGLS ELCA Eden Evangelical Lutheran Church in Munising, MI.

www.edenevangelical.org

 

Heidi Gould of

Marquette representing the Marquette Unitarian Universalist Congregation, a liberal religious community for the Marquette community

www.mqtuu.org

twitter.com/Heidi_Gould

www.uua.org

 

Check out the EarthKeepers II social sites (see links below) including our videos - that include beautiful pollinator and nature photos in videos by environmentalist Nancy Parker Hill.

www.nancyhillphoto.com

 

And vegetable garden photos by Carol Michel, a garden blogger, garden writer, eccentric gardener in the Indianapolis, IN area.

Indygardener at gmail.com

 

May Dreams Gardens:

www.maydreamsgardens.com

www.maydreamsgardens.blogspot.com

twitter.com/Indygardener

www.facebook.com/MayDreamsGardens

 

Among those involved in the project but not mentioned above are:

 

Rev. Jon Magnuson, Executive Director

Nonprofit Cedar Tree Institute

EarthKeepers II Project Director

Marquette, Michigan

Nonprofit Cedar Tree Institute projects include Zaagkii Wings and Seeds Project, the Manitou Project and the Zaagkii Wings and Seeds Project

www.wingsandseeds.org

 

Keweenaw Bay Indian Community (KBIC)

Baraga, Michigan

 

KBIC Natural Resources Department

KBIC Solar-Powered Green House

L'Anse, Michigan

 

Borealis Seed Company

Judy Keast, Suzanne Rabitaille

Big Bay, Michigan

 

NMU EarthKeepers II Student Team:

Katelin Bingner

Tom Merkel

Adam Magnuson

 

10 Faith Communities:

Roman Catholic

Episcopal

Jewish

Lutheran

Presbyterian

United Methodist

Bahá'í

Unitarian Universalist

Zen Buddhist

 

Rev. Charlie West

EarthKeepers II Religious Communications

 

Obadiah Metivier

EarthKeepers II Webmaster

Owner & Creative Director of Middle Ear Media

Marquette, Michigan

 

Videography, Editor, Producer, and Project Volunteer Media Advisor:

Greg Peterson

EarthKeepersII@gmail.com

906-401-0109

 

Special thanks to the Marquette Community Gardens

www.marquettecommunitygardens.org

www.facebook.com/pages/Marquette-Community-Gardens/277739...

 

EarthKeepers II thanks everyone named and unnamed for their loving help with this project:

 

An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes like the Keweenaw Bay Indian Community

 

Official EarthKeepers II website

EarthKeepersUP.org

 

Nonprofit Cedar Tree Institute in Marquette, MI

www.CedarTreeInstitute.org

 

EPA Great Lakes Restoration Initiative

www.greatlakesrestoration.us

 

U.S. Environmental Protection Agency

www.epa.gov

 

Great Lakes Binational Toxics Strategy (GLBTS)

 

Deborah Lamberty

Program Analyst

U.S. Environmental Protection Agency (EPA)

Great Lakes National Program Office

77 W. Jackson Blvd.

Chicago, IL

60604-3590

 

Lamberty.Deborah@epa.gov

312-886-6681 (wk)

312-692-2974 (fax)

 

Elizabeth 'Liz' LaPlante, senior manager for the EPA Great Lakes National Programs Office in Chicago, Ill

 

EarthKeepers II social sites:

 

www.youtube.com/EarthKeepersII

 

EarthKeepersII.blogspot.com

 

EarthKeepersII.wordpress.com

 

www.facebook.com/EarthKeepersII

 

vimeo.com/EarthKeepersII

 

www.twitter.com/EarthKeeperTeam

 

pinterest.com/EarthKeepersII/

 

pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...

 

pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...

 

Google youtube page for EKII:

 

plus.google.com/u/0/b/104404714072685272630/1044047140726...

 

www.linkedin.com/in/gregpetersonyoopernewsman

 

www.facebook.com/GregJohnPeterson

 

www.facebook.com/EarthKeepersII

 

fyi:

 

EarthKeeper II Energy Conservation Audits finished as of 6-12-13

 

St. Paul's Episcopal Church

Marquette, MI

 

St. Matthais Episcopal Church

Pickford, MI

 

St. James Episcopal Church

Sault Ste. Marie, MI

 

Temple Beth Sholom

Jewish Synagogue

Ishpeming, MI

 

Messiah Lutheran Church

Marquette, MI

 

St. Mark's Church

Marquette, MI

 

Grace Lutheran Church

Pembine, WI

 

Trinity Lutheran Church

Rhinelander, WI

 

Emmanuel Lutheran Church

Skandia, MI

 

St. James Lutheran Church

Rudyard, MI

 

Pickford United Methodist Church (UMC)

Pickford, MI

 

First UMC

Marquette, MI

 

Newberry UMC

Newberry, MI

 

Paradise UMC

Paradise, MI

 

Hulbert/Taquamenon UMC

Hulbert, MI

 

Marquette Unitarian Universalist Congregation

Marquette, MI

 

Lake Superior Zendo

Zen Buddhist

Aurora Dharma Temple

Marquette, MI

 

Thanks to our friends at the Big Bay lighthouse:

 

Big Bay Point Lighthouse Bed and Breakfast

#3 Lighthouse Road

Big Bay, Michigan

49808

 

906-345-9957 (office)

keepers@BigBayLighthouse.com

www.bigbaylighthouse.com