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Number:
171818
Date created:
1944
Extent:
1 photographic print : gelatin silver ; 6.5 x 9 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Myers, Marjorie Grand-Girard
Marconett, Helen Copperud
Phillips, Dorothy Frantz
Byrne, Nancy Gilley
Newell, Irene Martin
Ross, Jacqueline Clay
Elder, Frances Lewis
Lund, Edith M.
Adlfinger, Lucia Kelso
Baker, Claudina Frost
Seiler, Louise Hicks
Kemp, Helen McIver
Daniel, Madge Cyr
Kistler, Luella F.
Preston, Jean Feely
Howard, Ellen Logan
French, Lahoma Leith
Sturgis, Mrs. Jewel G.
Wolfe, Anna
Bramhall, Della Rose Lang
Abbadessa, Joan B.
Sell, Anna May
Waxter, Constance Heard Cole
Stiver, Mary Jane Anderson
Masterson, Elizabeth (Betty) Harman
Lee, Virginia Kleppe
Alexander, Ruth E.
Thomas, Jane C.
Tontz, Bernice
Prokop, Mary Bey
Rodman, Elizabeth Holmes
Conant, Priscilla
McClain, Gene Landau
Bloomer, Bertha L.
Chapman, Louisa Bristol
Conrad, Maxine Thuresson
Sellers, Sarah Sower
Lytle, Carralyn Hines
Blanchard, Margaret Dunn
Smith, ELizabeth Hamilton
Foulk, Mary E.
Forbes, Berwyn Slaten
Magee, Margaret J.
Rich, Ferne Frazier
Redfield, Mary Claire
Knight, Ruth Shelley
Gauruder, Adeline
Niekamp, Jill Kinnell
Booker, Elizabeth Hulings
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Graduation ceremonies--Maryland--Baltimore--1940-1950
Portrait photographs
Group portraits
Notes: Photographer unknown.
Number:
164455
Creator:
Hughes Company
Date created:
1947-05-29
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Baker, Joyce Natalie
Bell, Carolyn Estelle
Chart, Helen Louise
Clark, Dorothy Mae
Cook, Mary Ethel
Crouse, Betty Ann
Daughtery, Nora Elaine
Davis, Jannie Catherine
Davis, Rachel Elen
Elste, June Vivian
Ely, Vera Lee
Embert, Charlotte Ann
Flanigan, Mary Evelyn
Ford, Betty Jane
Gilmore, Mary Margaret
Habicht, Dorothy Elizabeth
Hamm, Jean Louise
Hignutt, Christine Ann
Hitchcock, Alice Yvonne
Hoover, Cleone Elizabeth
Howell, Ethel May
Howell, Monna Elizabeth
Hyde, Mary Phyllis
Johnson, Margaret Roberta
Jones, Maralee Mae
Keefer, Virgie Mae
Knight, Bettie Jean
Lanier, Mildred Odethel
McKinney, Nancy Elizabeth
Mahone, Bland Ruth
Mathias, Mary Louise
Moellman, Miriam Alice
Nash, Charlotte Rachel
Pape, Charlotte Ruth
Poyner, Peggy Lyndell
Reesey, Mildred Antoinette
Robinson, Ruth Catherine
Sherman, Hazel Elizabeth
Shinnick, Leola Abigail
Smith, Loretta Catharine
Wagaman, Margaret Ora
Webster, Lucille Lee
Wilson, Rita LaRene
Wright, Jane Eileen
Yingling, Edith Joyce
Zolman, Hilda Helen
Regester, Mabel E.
Creutzburg, Freda Lewis, 1898-1963
Nash, Jane Evans, 1880-1955
Elliott, Margaret, 1884-1966
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Graduation ceremonies--Maryland--Baltimore--1940-1950
Nursing schools--Faculty
Group portraits
Portrait photographs
From Wikipedia, the free encyclopedia
Conjunctivitis (also called pink eye[1] in North America or madras eye[2] in India) is inflammation of the conjunctiva (the outermost layer of the eye and the inner surface of the eyelids).[1] It is commonly due to an infection (usually viral, but sometimes bacterial[3]) or an allergic reaction.
Classification can be either by cause or by extent of the inflamed area.
By cause[edit]
Allergic conjunctivitis, caused by allergens such as pollen, perfumes, cosmetics, smoke,[4] dust mites, Balsam of Peru (used in food and drink for flavoring, in perfumes and toiletries for fragrance, and in medicine and pharmaceutical items for healing properties),[5] and eye drops[6] A patch test is used to diagnose it and identify the causative allergen.[7]
Bacterial conjunctivitis
Viral conjunctivitis
Chemical conjunctivitis
Neonatal conjunctivitis is often defined separately due to different organisms
Autoimmune
By extent of involvement[edit]
Blepharoconjunctivitis is the dual combination of conjunctivitis with blepharitis (inflammation of the eyelids).
Keratoconjunctivitis is the combination of conjunctivitis and keratitis (corneal inflammation).
Signs and symptoms[edit]
Red eye (hyperaemia), swelling of conjunctiva (chemosis) and watering (epiphora) of the eyes are symptoms common to all forms of conjunctivitis. However, the pupils should be normally reactive, and the visual acuity normal.
Viral[edit]
Viral conjunctivitis is often associated with an infection of the upper respiratory tract, a common cold, and/or a sore throat. Its symptoms include excessive watering and itching. The infection usually begins with one eye, but may spread easily to the other.
Viral conjunctivitis shows a fine, diffuse pinkness of the conjunctiva, which is easily mistaken for the ciliary injection of iritis, but there are usually corroborative signs on microscopy, particularly numerous lymphoid follicles on the tarsal conjunctiva, and sometimes a punctate keratitis.
Some other viruses that can infect the eye include Herpes simplex virus and Varicella zoster.[8]
Allergic[edit]
An eye with allergic conjunctivitis
Allergic conjunctivitis is inflammation of the conjunctiva (the membrane covering the white part of the eye) due to allergy.[9] Allergens differ among patients. Symptoms consist of redness (mainly due to vasodilation of the peripheral small blood vessels), oedema (swelling) of the conjunctiva, itching, and increased lacrimation (production of tears). If this is combined with rhinitis, the condition is termed "allergic rhinoconjunctivitis".
The symptoms are due to release of histamine and other active substances by mast cells, which stimulate dilation of blood vessels, irritate nerve endings, and increase secretion of tears.
Bacterial[edit]
An eye with bacterial conjunctivitis
Bacterial conjunctivitis causes the rapid onset of conjunctival redness, swelling of the eyelid, and mucopurulent discharge. Typically, symptoms develop first in one eye, but may spread to the other eye within 2–5 days. Bacterial conjunctivitis due to common pyogenic (pus-producing) bacteria causes marked grittiness/irritation and a stringy, opaque, greyish or yellowish mucopurulent discharge that may cause the lids to stick together, especially after sleep. Severe crusting of the infected eye and the surrounding skin may also occur. The gritty and/or scratchy feeling is sometimes localized enough for patients to insist they must have a foreign body in the eye. The more acute pyogenic infections can be painful.[citation needed] Common bacteria responsible for non-acute bacterial conjunctivitis are Staphylococci and Streptococci.[10]
Bacteria such as Chlamydia trachomatis or Moraxella can cause a non-exudative but persistent conjunctivitis without much redness. Bacterial conjunctivitis may cause the production of membranes or pseudomembranes that cover the conjunctiva. Pseudomembranes consist of a combination of inflammatory cells and exudates, and are loosely adherent to the conjunctiva, while true membranes are more tightly adherent and cannot be easily peeled away. Cases of bacterial conjunctivitis that involve the production of membranes or pseudomembranes are associated with Neisseria gonorrhoeae, β-hemolytic streptococci, and C. diphtheriae. Corynebacterium diphtheriae causes membrane formation in conjunctiva of non-immunized children.[citation needed]
Chemical[edit]
Chemical eye injury is due to either an acidic or alkali substance getting in the eye.[11] Alkalis are typically worse than acidic burns.[12] Mild burns will produce conjunctivitis, while more severe burns may cause the cornea to turn white.[12] Litmus paper is an easy way to rule out the diagnosis by verifying that the pH is within the normal range of 7.0—7.2.[11] Large volumes of irrigation is the treatment of choice and should continue until the pH is 6—8.[12] Local anaesthetic eye drops can be used to decrease the pain.[12]
Irritant or toxic conjunctivitis show primarily marked redness. If due to splash injury, it is often present in only the lower conjunctival sac. With some chemicals, above all with caustic alkalis such as sodium hydroxide, there may be necrosis of the conjunctiva with a deceptively white eye due to vascular closure, followed by sloughing of the dead epithelium. This is likely to be associated with slit-lamp evidence of anterior uveitis.
Other[edit]
An eye with chlamydial conjunctivitis
Inclusion conjunctivitis of the newborn (ICN) is a conjunctivitis that may be caused by the bacteria Chlamydia trachomatis, and may lead to acute, purulent conjunctivitis.[13] However, it is usually self-healing.[13]
Conjunctivitis is identified by irritation and redness of the conjunctiva. Except in obvious pyogenic or toxic/chemical conjunctivitis, a slit lamp (biomicroscope) is needed to have any confidence in the diagnosis. Examination of the tarsal conjunctiva is usually more diagnostic than the bulbar conjunctiva.
Causes[edit]
Conjunctivitis when caused by an infection is most commonly caused by a viral infection.[14] Bacterial infections, allergies, other irritants and dryness are also common causes. Both bacterial and viral infections are contagious and passed from person to person, but can also spread through contaminated objects or water.
The most common cause of viral conjunctivitis is adenoviruses.[15] Herpetic keratoconjunctivitis (caused by herpes simplex viruses) can be serious and requires treatment with acyclovir. Acute hemorrhagic conjunctivitis is a highly contagious disease caused by one of two enteroviruses, Enterovirus 70 and Coxsackievirus A24. These were first identified in an outbreak in Ghana in 1969, and have spread worldwide since then, causing several epidemics.[16]
The most common causes of acute bacterial conjunctivitis are Staphylococcus aureus, Streptococcus pneumoniae, and Haemophilus influenzae.[15] Though very rare, hyperacute cases are usually caused by Neisseria gonorrhoeae or N. meningitidis. Chronic cases of bacterial conjunctivitis are those lasting longer than 3 weeks, and are typically caused by Staphylococcus aureus, Moraxella lacunata, or gram-negative enteric flora.
Conjunctivitis may also be caused by allergens such as pollen, perfumes, cosmetics, smoke,[4] dust mites, Balsam of Peru,[5] and eye drops[6]
Neotrombicula autumnalis (trombiculid mite) in contact with the upper eyelid margin, inducing conjunctivitis.[17]
An exceptional case of conjunctivitis induced by a trombiculid mite (Neotrombicula autumnalis) was reported in 2013.[17]
Conjunctivitis is part of the triad for Reiter's syndrome, a manifestation of reactive arthritis, which is thought to be caused by autoimmune cross-reactivity following certain bacterial infections. Reactive arthritis is highly associated with HLA-B27.
Diagnosis[edit]
Cultures are taken infrequently, because most cases of conjunctivitis are treated empirically and (eventually) successfully, but often only after running the gamut of the common possibilities. Swabs for bacterial culture are necessary if the history and signs suggest bacterial conjunctivitis, but there is no response to topical antibiotics. Viral culture may be appropriate in epidemic case clusters.
A patch test is used to identify the causative allergen in the case where conjunctivitis is caused by allergy.[7]
Conjunctival scrapes for cytology can be useful in detecting chlamydial and fungal infections, allergy, and dysplasia, but are rarely done because of the cost and the general lack of laboratory staff experienced in handling ocular specimens. Conjunctival incisional biopsy is occasionally done when granulomatous diseases (e.g., sarcoidosis) or dysplasia are suspected.
Differential diagnosis[edit]
Conjunctivitis causes relatively nonspecific symptoms.[1] Even after biomicroscopy, laboratory tests are often necessary if proof of etiology is needed.
A purulent discharge (a whitish-yellow, yellow or yellow-brown substance, more commonly known as pus) suggests a bacterial infection. It can also be caused by bacteria from feces, pet hair, or by smoke or other fumes. Infection with Neisseria gonorrhoeae should be suspected if the discharge is particularly thick and copious.
Itching (rubbing eyes) is the hallmark symptom of allergic conjunctivitis. Other symptoms include history of eczema, or asthma.
A diffuse, less "injected" conjunctivitis (looking pink rather than red) suggests a viral cause, especially if numerous follicles are present on the lower tarsal conjunctiva on biomicroscopy.
Scarring of the tarsal conjunctiva suggests trachoma, especially if seen in endemic areas, if the scarring is linear (Arlt's line), or if there is also corneal vascularization.
Clinical tests for lagophthalmos, dry eye (Schirmer test) and unstable tear film may help distinguish the various types of conjunctivitis.
Other symptoms, including pain, blurring of vision and photophobia, should not be prominent in conjunctivitis. Fluctuating blurring is common, due to tearing and mucoid discharge. Mild photophobia is common. However, if any of these symptoms are prominent, it is important to consider other diseases such as glaucoma, uveitis, keratitis and even meningitis or carotico-cavernous fistula.
Many people with conjunctivitis have trouble opening their eyes in the morning because of the dried mucus on their eyelids. There is often excess mucus over the eye after sleeping for an extended period.
Episcleritis is an inflammatory condition that produces a similar appearance to conjunctivitis, but without discharge or tearing.
Prevention[edit]
The best effective prevention is hygiene and not rubbing the eyes by infected hands. Vaccination against adenovirus, haemophilus influenzae, pneumococcus, and neisseria meningitidis is also effective.[citation needed]
Management[edit]
Conjunctivitis resolves in 65% of cases without treatment, within two to five days. The prescription of antibiotics is not necessary in most cases.[18]
Viral[edit]
Viral conjunctivitis usually resolves on its own and does not require any specific treatment.[14] Antihistamines or mast cell stabilizers may be used to help with the symptoms.[14] Povidone iodine has been suggested as a treatment, but as of 2008 evidence to support it was poor.[19]
Allergic[edit]
For the allergic type, cool water poured over the face with the head inclined downward constricts capillaries, and artificial tears sometimes relieve discomfort in mild cases. In more severe cases, nonsteroidal anti-inflammatory medications and antihistamines may be prescribed. Persistent allergic conjunctivitis may also require topical steroid drops.
Bacterial[edit]
Bacterial conjunctivitis usually resolves without treatment.[14] Topical antibiotics may be needed only if no improvement is observed after three days.[20] In people who received no antibiotics, recovery was in 4.8 days, with immediate antibiotics it was 3.3 days, and with delayed antibiotics 3.9 days. No serious effects were noted either with or without treatment.[21] As they do speed healing in bacterial conjunctivitis, their use is also reasonable.[22]
In those who wear contact lenses, are immunocompromised, have disease which is thought to be due to chlamydia or gonorrhea, have a fair bit of pain, or who have lots of discharge, antibiotics are recommended.[14] Gonorrhea or chlamydia infections require both oral and topical antibiotics.[14]
When appropriate, the choice of antibiotic varies, differing based on the cause (if known) or the likely cause of the conjunctivitis. Fluoroquinolones, sodium sulfacetamide, or trimethoprim/polymyxin may be used, typically for 7–10 days.[15] Cases of meningococcal conjunctivitis can be treated with systemic penicillin, as long as the strain is sensitive to penicillin.
Chemical[edit]
Conjunctivitis due to chemicals is treated via irrigation with Ringer's lactate or saline solution. Chemical injuries (particularly alkali burns) are medical emergencies, as they can lead to severe scarring and intraocular damage. People with chemically induced conjunctivitis should not touch their eyes, regardless of whether or not their hands are clean, as they run the risk of spreading the condition to another eye.
History[edit]
A former superintendent of the Regional Institute of Ophthalmology in the city of Madras (the present-day Chennai) in India, Kirk Patrick, was the first to have found the adenovirus that caused conjunctivitis, leading to the name Madras eye for the disease.[23]
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
To what extent can media companies employ predictive analytics and other data driven approaches to improve content performance? This event, organized by NYC Media Lab and hosted by Bloomberg on February 25, fused short 5 minute presentations and discussion from startups, media companies and university researchers advancing the state of the art in a variety show intended to provoke discussion and debate on opportunities in this fast-moving field of interest.
Speakers included Brian Eoff, Lead Data Scientist, bitly; Ky Harlin, Director, Data Science, BuzzFeed; Mor Naaman, Associate Professor, Cornell Tech and Co-founder and Chief Scientist, Seen.co; Simon Smith, Senior Vice President, Platforms, News Corp; Joshua Schwartz, Lead Data Scientist, Chartbeat.com; and Lisa Strausfeld, Global Head of Data Visualization, Bloomberg LP.
Photos by Yang Jiang.
Learn more about NYC Media Lab at www.nycmedialab.org.
To what extent can media companies employ predictive analytics and other data driven approaches to improve content performance? This event, organized by NYC Media Lab and hosted by Bloomberg on February 25, fused short 5 minute presentations and discussion from startups, media companies and university researchers advancing the state of the art in a variety show intended to provoke discussion and debate on opportunities in this fast-moving field of interest.
Speakers included Brian Eoff, Lead Data Scientist, bitly; Ky Harlin, Director, Data Science, BuzzFeed; Mor Naaman, Associate Professor, Cornell Tech and Co-founder and Chief Scientist, Seen.co; Simon Smith, Senior Vice President, Platforms, News Corp; Joshua Schwartz, Lead Data Scientist, Chartbeat.com; and Lisa Strausfeld, Global Head of Data Visualization, Bloomberg LP.
Photos by Yang Jiang.
Learn more about NYC Media Lab at www.nycmedialab.org.
Those of you who pay attention might remember me saying a few weeks ago that St Peter is one of the nearest churches to our house, in fact we can see it from our front garden, and yet I have never been inside.
And so a few weeks ago I decided to make a concerted effort to try to get in and to photograph it.
I spoke with a neighbour about this, as he is a warden at St Margaret's of Antioch, and remarked that a lady living nearby who regularly walked her dogs along our street was a warden at St Peter. This left me the simple task of waiting until I next saw her walking the dogs, 'accidently' go and speak to her and raise the subject
Not only could I get the key from her, but I could also get it at another location, that because of thefts they don't like to publicise, so no one knows or could find out. So, saturday afternoon I get the key, let myself in and snap it.
a church well worth waiting to see, but not 5 years I fear....
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WEST CLIFFE
IS so called from its situation westward of the adjoining parish of St. Margaret at Cliffe last described, and to distinguish it from that of Cliff at Hoo, near Rochester.
THIS PARISH lies very high on the hills, and much exposed; it is partly inclosed and partly open, arable and pasture downs; it extends to the high chalk cliffs on the sea shore, and the South Foreland on them, where the light-house stands. The high road from Dover to Deal leads through it. Its greatest extent is from north to south, in the middle of which stands the church, and village adjoining to it. As well as the adjoining parishes it is exceedingly dry and healthy, the soil is mostly chalk, notwithstanding which there is some good and fertile land in it. The height and continuance of the hills, and the depth and spacious width of the valleys, added to a wildness of nature, which is a leading feature throughout this part of the country, contribute altogether to its pleasantness; and the variety of propects, as well over the adjoining country, as the sea, and the coast of France beyond it, are very beautiful.
THE MANOR OF WEST CLIFFE, alias WALLETTSCOURT, was, in the time of the Conqueror, part of those possessions with which he enriched his halfbrother Odo, bishop of Baieux, and earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken in the 15th year of that reign:
Hugo (de Montfort) holds of the bishop, Westclive. It was taxed at two sulings. The arable land is. . . . . In demesne is one carucate, and seventeen villeins, having two carucates. In the time of king Edward the Con sessor it was worth eight pounds, when he received it six pounds, now eight pounds. Of this manor Hugo de Montfort holds two mills of twenty-eight shilings. Edric held it of king Edward.
Four years afterwards the bishop was disgraced, and all his possessions were confiscated to the crown, upon which this manor was granted to Hamon de Crevequer, a man of much note at that time, who was succeeded in it by the eminent family of Criol, and they continued in the possession of it in the reign of king Henry III. in the 48th year of which, John de Criol, younger son of Bertram, died possessed of it, leaving Bertram his son and heir, and he alienated it to Sir Gilbert Peche. He soon afterwards conveyed it to king Edward I. and Eleanor his queen, for the use of the latter, who died possessed of it in the 19th year of that reign. How long it afterwards continued in the crown I have not found; but in the 20th year of king Edward III. Gawin Corder held it by knight's service of the honor of Perch, viz. of the constabularie of Dover castle.
Sir Gawin Corder possessed this manor only for life, for the next year the king granted the reversion of it to Reginald de Cobham for his services, especially in France, being the son of John de Cobham, of Cobham, by his second wife Joane, daughter of Hugh de Nevill. (fn. 1) His son Reginald was of Sterborough castle, whence all his descendants were called of that place.
Reginald de Cobham, his son, possessed this manor, whose eldest surviving son Sir Thomas Cobham died possessed of this manor held in capite, in the 11th year of king Edward IV. leaving an only daughter and sole heir Anne, who carried it in marriage to Sir Edward Borough, of Gainsborough, in Lincolnshire, (fn. 2) the lands of whose grandson Thomas, lord Burgh, were disgavelled by the act passed in the 31st year of king Henry VIII. His son William, lord Burgh, succeeded to it, holding it in capite, and in the 15th year of queen Elizabeth alienated it to Mr. Thomas Gibbon, who resided here; and it should be observed that though the coat of arms assigned to the Gibbons, of Westcliffe, by Sir William Segar, Sable, a lion rampant, guardant, or, between three escallops, argent—bears a strong resemblance to that assigned by him to the Gibbons, of Rolvenden, and is identically the same as those allowed to the Gibbons of Frid, in Bethersden, who were undoubtedly a branch of those of Rolvenden, yet I do not find any affinity between them; but I should rather suppose, these of Westcliffe were descended of the same branch as those of Castleacre abbey, in Norfolk; Matthew, the eldest son of Thomas Gibbon, the purchaser of this manor, rebuilt this seat in 1627, as the date still remaining on it shews. He resided in it, as did his several descendants afterwards down to Tho. Gibbon, gent. (fn. 3) who in 1660 sold it to Streynsham Master, esq. and he alienated it to admiral Matthew Aylmer, afterwards in 1718 created lord Aylmer, of the kingdom of Ireland, whose descendant Henry, lord Aylmer, devised it to his youngest son the Hon. and Rev. John Aylmer, and he alienated it to George Leith, esq. of Deal, who passed it away by sale to the two daughters and coheirs of Mr. Thomas Peck, surgeon, of Deal; they married two brothers, viz. James Methurst Pointer, and Ambrose Lyon Pointer, gentlemen, of London, and they are now, in right of their wives, jointly entitled to this manor.
BERE, or BYER-COURT, as it is sometimes written, situated in the southern part of this parish, was once accounted a manor, and was parcel of the demesnes of a family of the same name; one of whom, William de Bere, was bailiff of Dover in the 2d and 4th years of king Edward I. After this name was extinct here, this manor passed into the name of Brockman, and from thence into that of Toke, a family who seem before this to have been for some time resident in Westcliffe, (fn. 4) and bore for their arms, Parted per chevron, sable and argent, three griffins heads, erased and counterchanged. John Toke, a descendant of the purchaser of this manor in the fourth generation, lived here in the reigns of king Henry V. and VI. as did his eldest son Thomas Toke, esq. who by Joane, daughter of William Goldwell, esq. of Godington, in Great Chart, whose heir-general she at length was, had three sons, Ralph, who succeeded him in the family seat of Bere; Richard, who died s. p. and John, the youngest, who had the seat and estate of Godington, where his descendants remain at this time. Ralph Toke, esq. the eldest son above-mentioned, resided at Bere in king Henry VIII.'s time, in whose descendants this manor continued till the latter end of the last century, when Nicholas Tooke, or Tuck, as the name came then to be spelt, dying possessed of it, his heirs conveyed it afterwards by sale to the trustees of George Rooke, esq. of St. Laurence, who died possessed of this estate, which had long before this lost all the rights of having ever been a manor, in 1739, s. p. leaving it to his widow Mrs. Frances Rooke, (fn. 5) who alienated it to Thomas Barrett, esq. of Lee, who died in 1757, and his only son and heir Thomas Barrett, esq. of Lee, is the present owner of it. (fn. 6)
SOLTON is an estate in the northern part of this parish, which was once accounted a manor; it was part of the possessions of Odo, bishop of Baieux, under the general title of whose lands it is entered in the survey of Domesday, as follows:
Hugo (de Montfort) holds Soltone of the bishop. It was taxed at one suling. The arable land is . . . . . In demesne there is one carucate, and three villeins, with one borderer, paying four shillings and seven pence. In the time of king Edward the Consessor, it was worth fifteen ponnds, and afterwards and now thirty shillings. In this manor Godric dwelt, and holds twenty acres as his own fee simple.
Four years after the taking of the above survey, the bishop was disgraced, and all his possessions were confiscated to the crown.
Soon after which this manor was granted to Jeffry de Peverel, and together with other lands elsewhere, made up the barony of Peverel, as it was then called, being held of the king in capite by barony, for the defence of Dover castle, to which it owed ward and service. Of the heirs of Jeffery de Peverel, this manor was again held by the family of Cramaville, by knight's service, and it appears by the escheat rolls, that Henry de Cramaville held it in capite at his death, in the 54th year of king Henry III. by yearly rent and ward to the castle of Dover; after which, though part of this estate came into the possession of the Maison Dieu hospital, in Dover, yet the manor and mansion of Solton became the property of the family of Holand, who bore for their arms, Parted per fess, sable and argent, three fleurs de lis, counterchanged. Henry Holand died possessed of this part of it in the 35th year of king Edward I. holding it in capite, as of the honor of Peverel, and it continued in that name till Henry Holand dying anno 10 Richard II. his daughter and heir Jane became possessed of it; after which it passed into the name of Frakners, and then again into that of Laurence, from whom it was conveyed to Finet, and Robert Finet resided here in queen Elizabeth's reign, being descended from John Finet, of Sienne, in Italy, of an antient family of that name there, who came into England with cardinal Campejus, anno 10 Henry VIII. They bore for their arms, Argent, on a cross engrailed, gules, five fleurs de lis of the field. His son Sir John Finet, master of the ceremonies to king James and king Charles I. likewise resided here, and died in 1641. He left by Jane his wife, daughter of Henry, lord Wentworth, two daughters and coheirs, Lucia and Finette, who became entitled to this manor, which at length was afterwards alienated to Matson, whose descendant Henry Matson, about the year 1720, devised it by his will, with other estates, to the value of one hundred and fifty pounds per annum, to the trustees of Dover harbour, for the use, benefit, and repair of it for ever, but the discharging of the trust in Mr. Matson's will being attended with many difficulties, his affairs were put into the court of chancery, and a decree was made, that the commissioners of Dover harbour should have Diggs-place, Solton, Singledge, and other lands, to make up the one hundred and fifty pounds per annum, they paying forty pounds a year out of these estates to the poor relations of his family, as long as any such of the name should remain according to the devise in his will, and the trustees above-mentioned, are at this time entitled to the fee of it.
There are no parochial charities. The poor constantly maintained are about sixteen, casually six.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.
The church, which is dedicated to St. Peter, is small, consisting of only one isle and a chancel. In the chancel is a stone, about one foot square, (not the original one, I apprehend) to the memory of Matthew Gibbon the elder, son of Thomas Gibbon, who built Westcliffe house, and dying in 1629, was buried here. Service being performed in it only once a month, little care is taken of it. This church was given by queen Alianor, wife to king Edward I. together with one acre of land, and the advowson, with the chapels, tithes and appurtenances, to the prior and convent of Christ-church, in pure and perpetual alms, free from all secular service, among other premises, in exchange for the port of Sandwich, which was confirmed by king Edward I. After which, in 1327, anno 2 king Edward III. the parsonage of this church was appropriated to the almnery of the priory, for the sustaining of the chantry founded there by prior Henry de Estry. In which situation it remained till the dissolution of the priory, in the 31st year of king Henry VIII. when it was surrendered, among the other possessions of it; after which, this appropriation and the advowson of the vicarage were settled by the king in his 33d year, among other lands, on his new-erected dean and chapter of Canterbury, part of whose possessions they remain at this time.
On the sequestration of the possessions of deans and chapters, after the death of king Charles I. this parsonage was valued in 1650, by order of the state, when it appeared to consist of the parsonage-house, a large barn and yard, with the parsonage close, of three acres, and four acres lying in Westcliffe common field, together with the tithes of corn and grass, and all other small tithes within the parish, of the improved yearly value of sixty-two pounds. (fn. 7) The lessee repairs the chancel of the parsonage. Thomas Barrett, esq. of Lee, is the present lessee, on a beneficial lease.
The vicarage of Westcliffe is not valued in the king's books. In 1640 it was valued at ten pounds, communicants twenty. It is now of the clear yearly value of twenty-four pounds per annum, which is the augmented pension paid by the dean and chapter, the vicar not being entitled to any tithes whatever, nor even to the profits of the church-yard, all which are demised by the dean and chapter as part of the parsonage.
Maurice Callan, curate in 1466, was buried in this church, and by his will ordered his executors to pave the body of this church with paving tile.
www.british-history.ac.uk/report.aspx?compid=63585
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A great surprise meets the visitor who is lucky enough to gain admittance here! The church is entered by walking up a hill, but you actually step down into the interior as the hill drops away steeply to the north, with the church set into its ridge. A Norman flint church of nave, chancel and later south tower, it is a haven of peace and light. Much of the latter floods in through the huge Decorated west window (its lancet predecessors may be seen in the wall outside). The church has a rare interior indeed – box pews run down north and south walls and there is a huge alley between, designed for the benches that still survive dotted about the building. Box pews were rented; the benches were for the non-paying poor. In pride of position is the pulpit. All this woodwork dates from the early nineteenth century, although the chancel was refurnished in the 1877s by the Church Commissioners and is standard fare. The lovely east window, the stonework of which is surely of the 1870s, contains some Georgian coloured glass edging – most delightful. Beautifully cared for and much loved, it is a shame that it is not more accessible to the casual visitor.
Creator: Lake of the Woods Brewing Co. Ltd.
Title: Lakewood Lager Beer
Date: [c.1901-1954]
Extent: 1 label: printed ; (7.5x10cm)
Notes: From a collection of beer labels, stationery and Canadian breweriana donated by Lawrence C. Sherk.
Format: Label
Rights Info: No known restrictions on access
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, library.utoronto.ca/fisher
To what extent can media companies employ predictive analytics and other data driven approaches to improve content performance? This event, organized by NYC Media Lab and hosted by Bloomberg on February 25, fused short 5 minute presentations and discussion from startups, media companies and university researchers advancing the state of the art in a variety show intended to provoke discussion and debate on opportunities in this fast-moving field of interest.
Speakers included Brian Eoff, Lead Data Scientist, bitly; Ky Harlin, Director, Data Science, BuzzFeed; Mor Naaman, Associate Professor, Cornell Tech and Co-founder and Chief Scientist, Seen.co; Simon Smith, Senior Vice President, Platforms, News Corp; Joshua Schwartz, Lead Data Scientist, Chartbeat.com; and Lisa Strausfeld, Global Head of Data Visualization, Bloomberg LP.
Photos by Yang Jiang.
Learn more about NYC Media Lab at www.nycmedialab.org.
Number:
174494
Creator: Brinley of Baltimore
Date created:
1969
Extent:
1 photographic print : gelatin silver ; 11 x 14 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Alloway, Sandra
Amrich, Deborah Wiggins
Andrews, Margaret M.
Andrist, Linda C.
Rhoton, Beth-Ann Beaver
Beers, Anna
Iliff, Paula Bender
Blohm, Nancy
Bosch, Linda J.
Brinkley, Jeanne
Jillson, Ann
Rouse, Patricia Carpenter
Chambers, Paula Kathryn
Collins, Janis (Jan)
Cushman, Margaret J.
Di Bella, Gina
Stutler, Cathie Dockey
Douglass, Susan
Dudek, Mary Gall
Conboy, Kathleen Galley
Gamache, Margaret
Gamble, Nettie Louise
Gay, Linda Gail (Gayle)
Hicks, Gail Griffor
Hickie, Shelagh Maureen
Holland, Elizabeth
Hutchins, Patricia
Walker, Diane Jefferson
Kurtz, Barbara Ann
Houghtalen, Cheryl
Lazar, Linda
Leahey, Marileen
Lis, Judith Ann
Lottier, Patricia Franklin
Mach, Diane M.
McGuire, Betsy (Betsey) Kent Webster
Moore, Maureen M.
Morse, Patricia
Myers, Patricia C.
Nedd, Betty Annette
Normington, Susan M.
O'Brien, Lynn M.
Perry, Linda
Powey, Majorie E.
Aronson, Jeanne Regan
Reith, Joanne
Robinette, Ann
Scribner, Pamela J.
Silverman, Catherine Ann
Steinhaussen, Beverly
Angell, Sandra Stine
Sussmann, Margaret (Peggy)
Metral, Carol Thierry
Titcomb, Diane Smith
White, Susan E.
Williams, Alice Jane
Tyrrell, Judith Williams
Rehn, Diane E. Wilson
Gartner, Kay Wittmeyer
Woomer, Sandra L.
Kitterman, Theda
Adams, Margaret (Peggy) Shallenberger
Boeshore, Deborah
Van Bakel, Johanna (Joan)
Weibel, Sally
Price, Mary Sanders
Conroy, Colleen
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Portrait photographs
Group portraits
On Distribution: Over the past few centuries, botanists seem to be shrinking the area which is commonly regarded as to where this plant is native. Ireland, Madeira, the Azores, the Canary Islands, the Netherlands and Switzerland have all been removed from the area where this plant is native. This same may also apply across a wider range. There is good evidence from France and northern Africa that this plant was cultivated to some extent in medieval and ancient times (an 'archaeophyte'), and even more interesting, there seems to be an odd correlation of this species with prehistoric sites in France (Chassagne [1956]; Robin, M. [1967]). This doesn't necessarily mean that the species was imported to France from elsewhere, but it may mean that its distribution and abundance have been positively influenced due to man for a long time.
Also of note is that formerly the distribution was believed to extend to Armenia and parts of the Russian Caucasus, where it was said to be particularly prevalent on the ancient graves of Muslims. It was theorized that the plant may have been a cultivated medicinal and was associated with the dead. Nonetheless, it is now known that these plants in question were in fact a distinct species; Iris musulmanica.
UK: Common in southern England, rarer in the Midlands, extending to York, Anglesey, Durham, Nottinghamshire. Also found on the Isles of Scilly and the Isle of Mann. Questionably native in Wales. Quite rare to absent in central Wales, but found relatively frequently in a band up the Welsh coast into southernmost coastal Scotland. The species is not native to Scotland and distribution in Scotland has quite recently expanded northward. In 1877 it was only known to have naturalized in two spots in East Lothian (Ormiston) and Fife (Dunfermline), south and north of Edinburgh, respectively, at present there have been sightings along the SE and SW coasts, around Glasgow, and even around the shores of the Moray Firth.
Channel Islands: Found on the islands of Alderney, Guernsey (along the coasts, common along the south coast, absent from the interior), Herm (throughout), Jethou (throughout) and Jersey (a few recent observations around St. Brelade, elsewhere absent).
France: Found throughout France, including Corsica, except the northeastern border regions with Belgium and Germany, and parts of the French Alps.
Italy: Found throughout all parts of Italy, including Sardinia and Sicily, but it is not found in the Aosta Valley in the far northwest alpine areas.
Malta: Very rare.
Spain: Also Gibraltar. Very common in the NE, but also found throughout Spain in a broad band along the entire Atlantic and Mediterranean coasts and along the Pyrenees. It is only absent from the regions of Madrid, Castilla La Mancha, Extremadura and southern Castile and Leon, and less common in the region of Valencia. Relatively common throughout Andalucia. Although I haven't found any evidence it doesn't occur on the Balearic Islands, I haven't found evidence it does.
Portugal: Found in a broad band along the coast from Galicia south to about Lisbon, somewhat further inland along river valleys, but otherwise absent from the interior. In the south, below Lisbon, it is absent from the coast until the city of Sines, but is present throughout the interior from Estremoz to the coast of the Gulf of Cadiz.
Tunisia: 'Flore de Tunisie' [2008], 'Flore Analytique et Synoptique de la Tunisie' [1954]
Algeria: It occurs in the Béjaïa Province (and probably other provinces). 'Flore de l'Algérie' [1884], 'Flore de l'Algérie et Catalogue des Plantes du Maroc' [1895], 'Flore de l'Afrique du Nord' [1959], 'Nouvelle Flore de l'Algérie' [1962].
Morocco: It occurs in the Tétouan Province (and possibly other regions). In the 'Catalogue des Plantes du Maroc' [1931], 'Flore de l'Afrique du Nord' [1959].
Unclear: Andorra
Established Neophyte (not necessarily invasive; but not native):
Azores Islands: Although the Flora Europaea [1980], GRIN, 'Flora of Macaronesia' [1985], D. Kramb at SIGNA [2004], the Kew Monocot Checklist [2006] and countless other sources consider this plant native to the Azores, the 'Listagem da Fauna e Flora Terrestres dos Açores' [2005], however, considers this an introduced plant. Despite this being the only work to consider it so, I follow these particular authors because this is the newest and most authoritative work I have read on the subject, and furthermore phytogeographically and historically it is to be expected this plant is not native to these islands. It occurs on the following islands now: Faial, Graciosa, São Miguel and Santa Maria.
Canary Islands: Introduced fide 'Flora of Macaronesia' [1985] & Kew [2006]. Tela Botanica, Flora Digital de Portugal and D. Kramb at SIGNA [2004] list it as occurring in the Canary Islands, but give no specifics about if it is native there. GRIN considers it native to the Canary Islands, but the source they use, 'Lista de Especies Silvestres de Canarias' [2004] states that it is certainly introduced. It occurs on the following islands: La Palma, Gran Canaria, and Tenerife.
Madeira: Introduced fide Kew [2006] & Flora of Madeira [1994].
Turkey: fide Kew, however it is not listed at all in the TUBIVES project. Davis's 'Flora of Turkey and the East Aegean Islands' [1965–1988] may mention it, however.
USA: fide PLANTS, SIGNA. "naturalized in woodlands north of San Francisco" Diane Whitehead [2008]. A weed in the East Bay area in the 'Weed Alerts! 2009' publication and in 'Annotated Checklist of the East Bay Flora' [1997]. The iris has naturalized in Sonoma, Contra Costa and Alameda counties, including natural areas such as Redwood Regional Park, Joaquin Miller Park or Sibley Volcanic Regional Preserve. Calflora gives observations in three additional neighbouring counties; Santa Cruz, San Mateo and Solano. These six counties are all in the Bay Area and all observations are from recent times (since the 1990's). According to Paghat's Garden it is categorized as an invasive weed in Nevada in the US, however it isn't listed as such by the Nevada Department of Agriculture or Defenders.org (nor can I find any reference of the plant having naturalized in Nevada at all); this is probably an error. On the other hand, it seems to have naturalized in King County near Seattle, in Washington state (Paghat writes from somewhere around here); it has been collected on Foster Island [2001, 2004] and Montlake [2005].
Canada: Naturalized on Prince Edward Island according to the 'Database of Canadian Vascular Plants' [2006] fide PLANTS.
Australia: Naturalized, possibly invasive in Tasmania fide Flora of Australia [1986] & Kew [2006]. The National Herbarium of New South Wales and the Australian National Herbarium in Canberra also has records of plants having naturalized on Mt Macedon in Midlands municipality, Victoria state.
New Zealand: Naturalized, common and invasive throughout New Zealand except Westland, Fiordland and Southland. It is increasing and considered a problematic exotic weed. The first mention of it having naturalized in New Zealand is from the 1890's near Nelson, but it wasn't until 1945 that a herbarium specimen was collected, or until 1958 that it incorporated in a flora of the region.
Ireland: Although traditionally believed to be a native of Ireland, the native status of this plant on the island has recently been called into question. Irish plants are now thought to be originally introduced and now cultivation relics or garden escapes. It can now be found throughout Ireland, including Northern Ireland.
Not Native:
Austria: EURISCO holds an accession collected in Austria. The plant is not native here, and it is unclear if the collection is from cultivated or naturalized plants.
Belgium: There are at least three very recent sightings of this plant in Flanders logged in the Waarneming.be database. The geotagged data would indicate, however, that all three sightings are of incidental garden escapes in or bordering urban garden situations, and can not be considered naturalized populations (if a plant reseeds in your garden, that doesn't mean it should be considered a sighting worthy of incorporating into the national flora).
The Netherlands: The distribution of this species in the Netherlands is quite interesting. Between the 1670's to perhaps the 1780-90's there was a single colony of this species near the hamlet of Vogelenzang, and in the 1830-40's a herbarium sample was collected on a dyke in the same area (between Leiden and Haarlem). Although initially it was considered possibly native, later works had begun to regard it as non-native by the beginning of the 19th century. In the 20th century probable garden escapes appeared in two spots on the (former) island of Voorne not far to the south. At the end of the 20th century it appears again in a park near the city of Rotterdam [1997] and far away in the province of Overijssel (a rather strange record from the Utah State University) [1998]. In the last decade there have been a number of reports of observations of this species in the Netherlands, all urban garden escapes or waifs: Castricum [2008]; Dordrecht [2008], the Hague [2009] and Bloemendaal [2009]. Another individual plant has been observed three times in a more naturalistic setting in the Noordhollands Duinreservaat near Egmond [2008, 2009, 2010]. All these observations were made in the provinces of North and South Holland.
Switzerland: The Flora Europaea lists this plant as a native of Switzerland, however the Swiss Web Flora does not list it, and the Kew Monocot Checklist follows that view. It is listed by the Flora Helvetica.
Ukraine: Cultivated specimens are mentioned in Komarov's 'Flora SSSR' [1935].
Other: There are curious reports of isolated plants of this species well to the east, far outside the normal range; in Greece, the Balkans, Pannonia, Armenia, Caucasus and even Afghanistan. Most of these reports can probably be disregarded as misidentifications, false taxonomy, or other errors, but perhaps here and there in Greece naturalized stands exist or may have existed as testaments to past cultivation as a medicinal or ornamental. The plants in the Caucasus growing on the graves of Muslims, which were once thought to be I. foetidissima, are now known to be a different species; I. musulmanica.
On Habitat: Although this species is said to occur to an altitude of 0-1400 in Italy, it is said to not occur above 500m in France. It is not at all a wetland species and can take quite dry soils, but it is best grown in moist yet well-drained soils. It prefers calcareous soils in nature, but can survive a different pH, and will in fact grow better in cultivation on rich loam of neutral pH. It seems to prefer open woodland and hedgerows as habitats, but it can persist in sunny open grassland. In France it is quite often found among the ruins of, or the parks around, old castles. Cows avoid eating it, but goats are said to eat it.
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city. Puri is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres spread over 30 wards, which includes a shore line of 5 kilometres.
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not be "cut through" by the streams. Because of the sand hills, the Bhargavi River flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons known as Sar and Samang on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on altar or mandapa was venerated near the coast and prayers offered with vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri and the Purusha became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-Jagannatha and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is located in front of Simhadvara across the eastern corner of the Jagannath Temple is reported to have been built in the 16th century during the reign of Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the gates are decorated with guardian statues in the form of lion, horse mounted men, tigers and elephants in the name and order of the gates. A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said to possess "spiritual animation". Children are made to roll down these steps from top to bottom to bring them spiritual happiness. After entering the temple on the left hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, his older brother, and Subhadra his younger sister, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue) which is the pathway for the Rath Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. The temple is under the Jagannath Temple Administration, Puri – the governing body of the main temple. A small band of servitors maintain the temple.
SWARGADWAR
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
DISTRICT MUSEUM
The Puri district museum is located on the station road where the exhibits are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of this religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later during the night the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
PURI PEOPLE
Gopabandhu Das
Acharya Harihar
Nilakantha Das
Kelucharan Mohapatra
Pankaj Charan Das
Manasi Pradhan
Raghunath Mohapatra
Sudarshan Patnaik
Biswanath Sahinayak
Rituraj Mohanty
WIKIPEDIA
I noticed finches that looked "different" at my friend's feeder. So I got my camera out and started shooting. When I was zoomed in enough, I could see the yellow striping on the wing that indicated to me that they were Pine Siskins. My friend, of course, was excited.
They seem to be opportunistic birds that visit briefly, eat, and then move on to another feeder.
According to Cornell's All About Birds, "Irruptive. Pine Siskins' winter movements are erratic and depend partly on the state of cone crops in northern North America. About every other year, Pine Siskins irrupt, or move into central and even southern parts of the continent, but the timing and extent of these movements are extremely variable."
I've also learned that this the Northern variety, as opposed to the Chiapas variety (highlands of Chiapas, Mexico and Guatemala).
Number:
174245
Creator: Jean Sardou Studio (Baltimore, MD)
Date created:
1951
Extent:
1 photographic print : gelatin silver ; 10.5 x 13.5 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Baskette, Elaine
Anstine, Susan T.
Cipolla, Lucia Lee Cabot
Bumpass, Susan Grey
Gaskill, Georgia
Swecker, Katrina Ann
Ashley, Joy L.
Blackburn, Elizabeth (Betty) Marlow
Leach, Elaine
Kolls, Kathleen Kennedy
Maras, Patsy J. Husted
Schulte, Rose Mary Burroughs
Pruner, Patricia A. (Pat)
Whittingham, Dorothy McEwen
Schwartz, Betty Lou
Wright, Anne Elizabeth
Crabb, Mary T. Hall
Bork, Catherine Morton
Clement, Esther Moore
Bronson, Jacqueline Fosdick
Lacy, Nancy Brooks
Settle, Geraldine Waybright
Parran, Mary Jane Brekke
Siegmann, Joan Hoffman
Ghysels, Rosalyn
Heffner, Joyce Elaine
Harriss, Julia
Boice, Jane
Sherman, Elizabeth Lawrence
Buress, Betty Sisson
Cantrell, Elizabeth Stehly
Christopher, Ann
Walton, Teresina Bifano
Miller, Katherine J. Rapp
Lee, Peggie Louise
Lovelace, Mary Lou
Sleeper, Joan L.
Daly, Judith V. (Judy)
Teeter, Helen Priscilla Gray
Guthrie, Mary T.
McVicar, Catherine White
Smith, Matilda Snelling
Distefano, Theodora C.
Higgins, Doris M.
White, Nell Adair
Agrella, Virginia Louise
Gove, Elizabeth Ann Boggs
Watson, Zola E.
Coxworth, Lois Pagoria
Wiseman, Elizabeth Ann
Signorelli, Frances (Fran) Anne
Schopp, Helene Lu Rae
Sparks, Adele
Settle, Geraldine Waybright
Van Domelen, Eleanor Ibrahim
Hering, Bettie Lou (Betty Lou)
Kelso, Elfrida Ann
Chang, Chuing Chen Fang
Thompson, Peggy
Nursing students--Maryland--Baltimore--1950-1960
Nurses--Maryland--Baltimore--1950-1960
Portrait photographs
Group portraits
Courtesy NASA Goddard Space Flight Center / Scientific Visualization Studio
Original/Full Rez Available:
svs.gsfc.nasa.gov/vis/a000000/a003500/a003563/index.html
The continued significant reduction in the extent of the summer sea ice cover is a dramatic illustration of the pronounced impact increased global temperatures are having on the Arctic regions. There has also been a significant reduction in the relative amount of older, thicker ice. Satellite-based passive microwave images of the sea ice cover have provided a reliable tool for continuously monitoring changes in the extent of the Arctic ice cover since 1979. During 2008 the summer minimum ice extent, observed in September, reached 4.7 million km2. While slightly above the record minimum of 4.3 million km2, set just a year earlier in September 2007, the 2008 summer minimum further reinforces the strong negative trend in summertime ice extent observed over the past thirty years. At the record minimum in 2007, extent of the sea ice cover was 39% below the long-term average from 1979 to 2000. A longer time series of sea ice extent, derived primarily from operational sea ice charts produced by national ice centers, suggests that the 2007 September ice extent was 50% lower than conditions in the 1950s to the 1970s (Stroeve et al. 2008). The spatial pattern of the 2008 minimum extent was different than in 2007.
The annual maximum sea ice extent typically occurs in March. In March 2008, the maximum ice extent was 15.2 million km2. This marked a second year of slight recovery in winter ice extent from the record minimum of 14.4 million km2 for the period 1979–2008, which was observed in 2006. For comparison, the mean monthly ice extent for March and September, for the period 1979–2008, is 15.6 and 6.7 million km2, respectively.
The Arctic sea ice cover is composed of perennial ice (the ice that survives year-round) and seasonal ice (the ice that melts during the summer). Consistent with the diminishing trends in the extent and thickness of the cover is a significant loss of the older, thicker perennial ice in the Arctic. Data from the NASA QuikSCAT launched in 1999 (Nghiem et al., 2007) and a buoy-based Drift-Age Model (Rigor and Wallace, 2004) indicate that the amount of perennial ice in the March ice cover has decreased from approximately 5.5 to 3.0 million km2 over the period 1958–2007. While there is considerable interannual variability, an overall downward trend in the amount of perennial ice began in the early 1970s. This trend appears to coincide with a general increase in the Arctic-wide, annually averaged surface air temperature, which also begins around 1970. In recent years, the rate of reduction in the amount of older, thicker perennial ice has been increasing, and now very little ice older than 5 yr remains (Maslanik et al. 2007).
Format: Still image
Extent: 1 photoprint.
NLM Unique ID: 101396525
NLM Image ID: A03121
Permanent Link: resource.nlm.nih.gov/101396525
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Number:
164184
Date created:
1921
Extent:
1 photographic print : gelatin silver ; 15 x 9.5 in.
Front row on porch: 1) D. Ayer; 2) F. Nowell; 3) ____; 4) D. Morrissey; 5) R. McCue; 6) H. Anders; 7) E. Muir; 8) M. Leech; 9) E. Mitchell; 10) E. Miller; 11) Miss Lawler; 12) G. Wells; 13) Miss Taylor; 14) F. Lusk; 15) M. Hutton; 16) N. Wayland; 17) N. Rennie; 18) E. Palliser; 19) ____; 20) M. Wheeler; 21) N. Rudolphi; 22) R. Fobes; 23) Miss Mitchell. Second row on porch: 1) E. Wicklund; 2) ____; 3) L. Savage; 4) Miss Frederick; 5) Miss C. Dick; 6) L. Jewett; 7) ___; 8) ____. Last row on porch: 1) E. Northam; 2) A. Poole; 3) G. Kussmaul; 4) R. Templin; 5) ____; 6) ____; 7) M. Wanzeck; 8) C. Harrington; 9) F. DuFour; 10) M. Zimmerman; 11) ____; 12) ____. On steps, from second step upward: 1) R. Henderson; 2) H. Gee; 3) ____; 4) ____. Seated: 1) ____; 2) ____; 3)____; 4) S. Prichard; 5) M. Mundie; 6) A. Hillman. Standing on ground behind tree: 1) H. Wright; 2) C. Nelson; 3) C. Dittman; 4) J. Fontaine; 5) X. Kneehtel; 6) C. Sadtler; 7) H. Zeigler. In front of rail: 1) ____; 2) L. Putman; 3) ___; 4) L. Williams; 5) ____; 6) L. Fromuth; 7) H. Pease; 8) E. Kennedy; 9) F. Wormer; 10) E. Miller; 11) ____; 12) M. Nelson; 13) M. Moore; 14) D. Randall; 15) ___; 16) L. Engstrand; 17) ___; 18) E. Peelle; 19) F. Wilson; 20) H. Tepper; 21) A. Downs; 22) B. Spiers; 23) R. Hursh; 24) ___; 25) ___; 26) ___.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Anders, Helen C.
Ayer, Doris M.
Dittman, Cora V.
Downs, Constance I.
McNair, Florence Dufour
Firor, Ruth Fobes
Engstrand, Lillian A.
Fontaine, Janette F.
Wetzel, Lelia Fromuth
Gee, Helen
Harrington, Claire
Henderson, Ruth
Sanders, Alice M. Hillman
Hursh, Ruth
Hutton, Mary B.
Brady, Lucy Jewett
Zinninger, Elizabeth Kennedy
Knechtel, Xenia
Wakeman, Grace Kussmaul
Leech, Mary L.
Prentis, Frances Lusk
McCue, Rose
Miller, Esther E.
Ford, Elizabeth Mitchell
Mitchell, M. Elizabeth Moore
Conroy, Dorothy Morrissey
Wallace, Elizabeth Muir
Mundie, Margaret B.
Nelson, Christine
Nelson, Marion Elizabeth
Newell, Florence E.
Northam, Ethel
Palliser, Elinor M.
Leigh, Helen Pease
Peele, Effie O.
Poole, Alice P.
Prichard, Sarah I.
Putnam, M. Louise
Scott, Della Randall
Rennie, Nora
Rudolph, Naomi L.
Walker, Caroline Sadtler
Savage, Louise
Artman, Bessie Spiers
Vine, Ruth Templin
Tepper, Helena
Schneider, Marie Wanzeck
Graham, Florence Warner
Gravatt, Nancy Wayland McClung
Wells, Gertrude E.
Wheeler, Marian E.
Wicklund, Effie M.
Williams, Lillian M.
Wilson, Frances B.
Wilson, Helen Wright
Tunnell, Helen (Frances) Ziegler
Zimmerman, Mildred I.
Lawler, Elsie M.
Taylor, Effie J.
Shipley, Angela Mitchell
Frederick, Hester K.
Dick, Christine
Weaver, Anita Downs
Nursing students--Maryland--Baltimore--1920-1930
Nurses--Maryland--Baltimore--1920-1930
Graduation ceremonies--Maryland--Baltimore--1920-1930
Portrait photographs
Group portraits
Notes: Photographer unknown.
Number:
164499
Creator:
Brinley of Baltimore
Date created:
1965-08-27
Extent:
1 photographic print : col. ; 8 x 10 in.
Scope and content
Back row: 1) Linda Kay Morris Burdock; 2) Leeland Elizabeth Huesman; 3) Judith Ann Young; 4) unidentified; 5) Susan Elizabeth Smull; 6) Martha Lee Startt; 7) Margaret Arnold Fowler; 8) Karen Natalie Sager; 9) unidentified; 10) Sandra Joyce Smith; 11) unidentified; 12) Martha Jane Pyles Jolle; 13) Dedra Claire Peterson; 14) Beverly Ann Francis; 15) Stella Winskowski Montgomery; 16) unidentified; 17) Nancy Towson Realo; 18) Janice Simpson Todd Walter; 19) Gail Allison Keller; 20) Mary Ann DeSisco; 22) Doris Louise Davis; 23) Phyllis Jean Clingan Bohli; 24) unidentified. Front row: 1) Teresa Louise Mason; 2) unidentified; 3) Camille Mangogna; 4) unidentified; 5) Patsy Dorothy May Green; 6) Anna Rasmussen; 7) Jane Balfour; 8) Marjorie Maisak; 9) Barbara Eugenie Armiger; 10) Norma Cheryl Tammeta; 11) Patricia Lee Wilson; 12) Emily Jane Sharretts; 13) Deborah Elin Barnhart; 14) Patricia Marie Kniffin
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Armiger, Barbara Eugenie
Barnhart, Deborah Elin
Bohli, Phyllis Jean Clingan
Creighton, Gayle Anne Rumminger
Davis, Doris Louise
DeSisco, Mary Ann
Fowler, Margaret Arnold
Francis, Beverly Ann
Fredericks, Sally Lou Wheeler
Freeman, Kathryn Lee Bloom
Green, Patsy Dorothy May
Huesman, Leland Elizabeth
Jolle, Martha Jane Pyles
Keller, Gail Allison
Kniffin, Patricia Marie
Magnogna, Camille
Mason, Teresa Louise
Montgomery, Stella Winskowski
Burdock, Linda Kay Morris
Owens, Patricia Marie
Peterson, Dedra Claire
Renneberger, Vivian Gail
Realo, Nancy Towson
Ruppersberger, Susan Ann
Sager, Karen Natalie
Sharretts, Emily Jane
Smith, Betty Sue
Smith, Sandra Joyce
Smull, Susan Elizabeth
Startt, Martha Lee
Tammeta, Norma Cheryl
Walker, Joyce Lynn
Walter, Janice Simpson Todd
Wilson, Patricia Lee
Young, Judith Ann
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Graduation ceremonies--Maryland--Baltimore--1960-1970
Nursing schools--Faculty
Group portraits
Portrait photographs
Number:
175302
Date created:
1947
Extent:
1 photographic print : gelatin silver ; 11 x 13.5 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
# [Personal name] Stevenson, Helen Tierney
Lambert, Claire
Penrod, Margaret
Storm, Arleen Kluss
Richter, M. Lucretia Henry
Shaw, Frances Kemper
Cooley, Eloise
Aguirre, Graciella
Dawe, Judy Simms
Epstein, Elsa Heilbronn Hafkin
Meyers, Anna L.
Lockwood, Elizabeth Dalziel
Simanton, Donna Honsowetz
Palchak, Bernadette Sullivan
Opper, Lois R.
Collins, Phyllis M.
Snyder, Anna Mary Stull
Griffin, Patricia
Wilson, Louise Marie
Errickson, Celia Isabella Turk
Chamberlain, Betty Brown
Goldsmith, Gene French
Lashinsky, Harriet J.
McKechnie, Margaret L. Heine
Engler, Jeanette Goddard
Harold, Mary Anita
# [Personal name] Keen, Mary Stuart
Kurban, Helena Lu-Affatt
Howes, Patricia L.
Catlin, Rebecca Graham
Hamilton, Ruth N.
Peck, Anna Caraccilo
See, Bonnie Holley
Bryan, Dorothy H.
Stewart, V. Frances Gerwig
Merkel, Nona
Wolf, Anna Dryden
Grainger, Margaret F.
Schuldes, Maddeline Angelone
Gooding, Mary Lou
Hanson, June Glaser
Goldsmith, Anna Herrmann
Campbell, Grace Marie Mueller
Miles, Annabelle
Saugen, Kathryn Heller
Titus, Clair
Hague, Jessie Lehman
Dillon, Eleanor Hadley
Danielson, Mary Williams
Rosett, Margaret McIntosh
Griswold, Kathryn Randall
Coxe, True Summers
Poulson, Miriam Edith
Errickson, Betsy Abel
Clark, Madge Coffman
Frisk, Helen Charlet
Fink, Olive Willson
Spinner, Ellen
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Portrait photographs
Group portraits
Notes: Photographer unknown.
My Lone Ranger Action Figure is lying down on a counter as I undress him in stages. That is to see the extent and construction of his outfit and accessories, as well as his body and articulation. First, his guns are holstered, and the gun holder is put aside. Then his hat, mask and jacket/vest are taken off and placed next to him. Next his neckerchief and gun belt are taken off. The items from the previous stage are taken off camera.
He is a fully posable doll and is 12'' tall. He has molded dark brown hair, small dark blue eyes that are staring straight ahead, scruffy beard. He has the standard Disney Prince body, which means large hands and feet, a husky torso, and jointed neck, shoulders, elbows, hips and knees (internal). His head can only rotate around, and cannot tilt up or down. His forearms can only bend forward and backward about 90 degrees, and cannot rotate about the elbows. His internal knee joints can bend about 20 degrees forward, and 40 degrees back. He is fairly stable free standing, so I was able to take all my photos of him without using a doll stand. However for displaying the doll, I would recommend putting him on a doll stand, as he would be much more stable that way, and highly resistant to tipping over.
His outfit consists of a removable mask, a white hat, black jacket and vest, white shirt, red neckerchief, brown pants, and faux leather boots. His jacket and pants have fake dirt stains, as though from riding in rough country. His hat is flexible vinyl, and fits his head snuggly. His black mask is fitted on his head with a thin black flexible string, and the two openings are just large enough to show his eyes. I was a little disappointed to discover that his vest is sewn onto his jacket, so is not a separate piece. His boots are pointy toed and ribbed on top, instead of the usual Prince rounded toe boots with smooth surface.
His accessories include two six-shooters and a gun belt with two holsters. The flexible plastic guns have long barrels, light blue handles, and are painted to look well used. They are fairly realistic looking, but are missing triggers. One of the guns was placed in a clear plastic holder, which fits his hand like a glove. Since I didn't want to figure out how to secure the gun to his hand so it looked natural, I left the gun in the holder when posing him with the gun in his hand. The holsters hold the guns securely, and the gun belt has molded silver bullets.
His skin is not as realistic in texture as the DS OZ (Oscar Diggs) doll. It has a pebbly matte shiny texture, which is probably simulating sweat. His outfit not quite as good in quality, but he does cost $10 less than the OZ doll. However he is a very good looking doll, and seems to be quite movie accurate.
The Lone Ranger Deluxe Action Figure - 12''
US Disney Store
$24.50
Released online and in stores Friday, May 31, 2013.
Bought on release day in my local Disney Store.
And so to the weekend again. And what might be the last orchid-free weekend until well into June or even August.
So, enjoy the churches while you can.
Saturday, and not much really planned. We get up at half six with it fully light outside. The cloud and drizzle had not arrived, instead it was pretty clear and sunny.
No time for thinking about going out to take shots, as we had hunter-gathering to do.
In fact, we didn't need much, just the usual stuff to keep us going. That and the car was running on fumes. So we will that up first, and then into Tesco and round and round we go, fully the trolley up. It being Mother's Day on Saturday, we were having Jen round on Sunday, we were to have steak, so I get mushrooms.
And once back, we have breakfast then go to Preston for the actual steak, three ribeyes, all cut from the same stip. Jools had gone to look at the garden centre for ideas as we're going to dig up the raspberries, so just wondering what to put in their place.
By then the rain had come, and so we dashed back to the car, and on the way home called in at two churches.
First off was Goodnestone, just the other side of Wingham.
Its a fine estate church, covered in wonderfully knapped bricks, giving it an East Anglian feel. Before we went in, we sheltered under a tree to much on a sausage roll I had bought at the butcher, that done, we go to the church, which is open.
I have been here quite recently, five years back, and in truth no much glass to record, but I do my best, leave a fiver of the weekly collection and we drove over the fields to Eastry.
St Mary is an impressive church, with carved and decorated west face of the Norman tower, at its base an odd lean-to porch has been created, leading into the church, which does have interest other than the 35 painted medallions high in the Chancel Arch, once the backdrop to the Rood.
I snap them with the big lens, and the windows too. A warden points out what looks like a very much older painted window high among the roof timbers in the east wall of the Chancel.
I get a shot, which is good enough, but even with a 400mm lens, is some crop.
I finish up and we go home, taking it carefully along nearly flooded roads.
Being a Saturday, there is football, though nothing much of interest until three when Norwich kick off against Stoke: could they kick it on a wet Saturday afternoon in the Potteries?
No. No, they couldn't.
Ended 0-0, City second best, barely laid a glove on the Stoke goal.
And then spots galore: Ireland v England in the egg-chasing, Citeh v Burnley in the Cup and Chelsea v Everton in the league, all live on various TV channels.
I watch the first half of the rugby, then switch over when England were reduced to 14, so did enjoy the lad Haarland score another hat-trick in a 6-0 demolition.
And that was that, another day over with.....
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Set away from the main street but on one of the earliest sites in the village, flint-built Eastry church has an over restored appearance externally but this gives way to a noteworthy interior. Built in the early thirteenth century by its patrons, Christ Church Canterbury, it was always designed to be a statement of both faith and power. The nave has a clerestory above round piers whilst the east nave wall has a pair of quatrefoils pierced through into the chancel. However this feature pales into insignificance when one sees what stands between them - a square panel containing 35 round paintings in medallions. There are four deigns including the Lily for Our Lady; a dove; Lion; Griffin. They would have formed a backdrop to the Rood which would have been supported on a beam the corbels of which survive below the paintings. On the centre pier of the south aisle is a very rare feature - a beautifully inscribed perpetual calendar or `Dominical Circle` to help find the Dominical letter of the year. Dating from the fourteenth century it divides the calendar into a sequence of 28 years. The reredos is an alabaster structure dating from the Edwardian period - a rather out of place object in a church of this form, but a good piece of work in its own right. On the west wall is a good early 19th century Royal Arms with hatchments on either side and there are many good monuments both ledger slabs and hanging tablets. Of the latter the finest commemorates John Harvey who died in 1794. It shows his ship the Brunswick fighting with all guns blazing with the French ship the Vengeur. John Bacon carved the Elder this detailed piece of work.
www.kentchurches.info/church.asp?p=Eastry
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Above the Chancel Arch, enclosed within a rectangular frame, are rows of seven "medallion" wall paintings; the lower group was discovered in 1857 and the rest in 1903. They remained in a rather dilapidated state until the Canterbury Cathedral Wall Paintings Department brought them back to life.
The medallions are evidently of the 13th Century, having been painted while the mortar was still wet. Each medallion contains one of four motifs:
The trefoil flower, pictured left, is perhaps a symbol of the Blessed Virgin Mary to whom the church is dedicated; or symbolic of Christ.
The lion; symbolic of the Resurrection
Doves, either singly, or in pairs, represent the Holy Spirit
The Griffin represents evil, over which victory is won by the power of the Resurrection and the courage of the Christian.
www.ewbchurches.org.uk/eastrychurchhistory.htm
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EASTRY,
THE next parish north-eastward from Knolton is Eastry. At the time of taking the survey of Domesday, it was of such considerable account, that it not only gave name, as it does at present, to the hundred, but to the greatest part of the lath in which it stands, now called the lath of St. Augustine. There are two boroughs in this parish, viz. the borough of Hardenden, which is within the upper half hundred of Downhamford, and comprehends the districts of Hardenden, Selson and Skrinkling, and the borough of Eastry, the borsholder of which is chosen at Eastry-court, and comprehends all the rest of the parish, excepting so much of it as lies within that part of the borough of Felderland, which is within this parish.
THE PARISH OF EASTRY, a healthy and not unpleasant situation, is about two miles and an half from north to south, but it is much narrower the other way, at the broadest extent of which it is not more than a mile and an half. The village of Eastry is situated on a pleasing eminence, almost in the centre of the parish, exhiblting a picturesque appearance from many points of view. The principal street in it is called Eastrystreet; from it branch off Mill street, Church-street and Brook-street. In Mill street is a spacious handsome edisice lately erected there, as a house of industry, for the poor of the several united parishes of Eastry, Norborne, Betshanger, Tilmanstone, Waldershare, Coldred, Lydden, Shebbertswell, Swynfield, Wootton, Denton, Chillenden and Knolton. In Churchstreet, on the east side, stands the church, with the court-lodge and parsonage adjoining the church-yard; in this street is likewise the vicarage. In Brook-street, is a neat modern house, the residence of Wm. Boteler, esq. and another belonging to Mr. Thomas Rammell, who resides in it. Mention will be found hereafter, under the description of the borough of Hernden, in this parish, of the descent and arms of the Botelers resident there for many generations. Thomas Boteler, who died possessed of that estate in 1651, left three sons, the youngest of whom, Richard, was of Brook-street, and died in 1682; whose great-grandson, W. Boteler, esq. is now of Brook-street; a gentleman to whom the editor is much indebted for his communications and assistance, towards the description of this hundred, and its adjoining neighbourhood. He has been twice married; first to Sarah, daughter and coheir of Thomas Fuller, esq. of Statenborough, by whom he has one son, William Fuller, now a fellow of St. Peter's college, Cambridge: secondly, to Mary, eldest daughter of John Harvey, esq. of Sandwich and Hernden, late captain of the royal navy, by whom he has five sons and three daughters. He bears for his arms, Argent, on three escutcheons, sable, three covered cups, or; which coat was granted to his ancestor, Richard Boteler, esq. of Hernden, by Cooke, clar. in 1589. Mr. Boteler, of Eastry, is the last surviving male of the family, both of Hernden and Brook-street. Eastry-street, comprizing the neighbourhood of the above mentioned branches, may be said to contain about sixty-four houses.
At the south-east boundary of this parish lies the hamlet of Updown, adjoining to Ham and Betshanger, in the former of which parishes some account of it has been already given. At the southern bounds, adjoining to Tilmanstone, lies the hamlet of Westone, formerly called Wendestone. On the western side lies the borough of Hernden, which although in this parish, is yet within the hundred of Downhamford and manor of Adisham; in the southern part of it is Shrinkling, or Shingleton, as it is now called, and the hamlet of Hernden. At the northern part of this borough lie the hamlets and estates of Selson, Wells, and Gore. Towards the northern boundary of the parish, in the road to Sandwich, is the hamlet of Statenborough, and at a small distance from it is that part of the borough of Felderland, or Fenderland, as it is usually called, within this parish, in which, adjoining the road which branches off to Word, is a small seat, now the property and residence of Mrs. Dare, widow of Wm. Dare, esq. who resides in it. (fn. 1)
Round the village the lands are for a little distance, and on towards Statenborough, inclosed with hedges and trees, but the rest of the parish is in general an open uninclosed country of arable land, like the neighbouring ones before described; the soil of it towards the north is most fertile, in the other parts it is rather thin, being much inclined to chalk, except in the bottoms, where it is much of a stiff clay, for this parish is a continued inequality of hill and dale; notwithstanding the above, there is a great deal of good fertile land in the parish, which meets on an average rent at fifteen shillings an acre. There is no wood in it. The parish contains about two thousand six hundred and fifty acres; the yearly rents of it are assessed to the poor at 2679l.
At the south end of the village is a large pond, called Butsole; and adjoining to it on the east side, a field, belonging to Brook-street estate, called the Butts; from whence it is conjectured that Butts were formerly erected in it, for the practice of archery among the inhabitants.
A fair is held here for cattle, pedlary, and toys, on October the 2d, (formerly on St. Matthew's day, September the 21st) yearly.
IN 1792, MR. BOTELER, of Brook-street, discovered, on digging a cellar in the garden of a cottage, situated eastward of the highway leading from Eastrycross to Butsole, an antient burying ground, used as such in the latter time of the Roman empire in Britain, most probably by the inhabitants of this parish, and the places contiguous to it. He caused several graves to be opened, and found with the skeletons, fibulæ, beads, knives,umbones of shields, &c. and in one a glass vessel. From other skeletons, which have been dug up in the gardens nearer the cross, it is imagined, that they extended on the same side the road up to the cross, the ground of which is now pretty much covered with houses; the heaps of earth, or barrows, which formerly remained over them, have long since been levelled, by the great length of time and the labour of the husbandman; the graves were very thick, in rows parallel to each other, in a direction from east to west.
St. Ivo's well, mentioned by Nierembergius, in Historia de Miraculis Natureæ, lib. ii. cap. 33; which I noticed in my folio edition as not being able to find any tradition of in this parish, I have since found was at a place that formerly went by the name of Estre, and afterwards by that of Plassiz, near St. Ives, in Huntingdonshire. See Gales Scriptores, xv. vol. i. p.p. 271, 512.
This place gave birth to Henry de Eastry, who was first a monk, and then prior of Christ-church, in Canterbury; who, for his learning as well as his worthy acts, became an ornament, not only to the society he presided over, but to his country in general. He continued prior thirty-seven years, and died, far advanced in life, in 1222.
THIS PLACE, in the time of the Saxons, appears to have been part of the royal domains, accordingly Simon of Durham, monk and precentor of that church, in his history, stiles it villa regalis, quæ vulgari dicitur Easterige pronuncione, (the royal ville, or manor, which in the vulgar pronunciation was called Easterige), which shews the antient pre-eminence and rank of this place, for these villæ regales, or regiæ, as Bede calls them, of the Saxons, were usually placed upon or near the spot, where in former ages the Roman stations had been before; and its giving name both to the lath and hundred in which it is situated corroborates the superior consequence it was then held in. Egbert, king of Kent, was in possession of it about the year 670, at which time his two cousins, Ethelred and Ethelbright, sons of his father's elder brother Ermenfrid, who had been entrusted to his care by their uncle, the father of Egbert, were, as writers say, murdered in his palace here by his order, at the persuasion of one Thunnor, a slattering courtier, lest they should disturb him in the possession of the crown. After which Thunnor buried them in the king's hall here, under the cloth of estate, from whence, as antient tradition reports, their bodies were afterwards removed to a small chapel belonging to the palace, and buried there under the altar at the east end of it, and afterwards again with much pomp to the church of Ramsey abbey. To expiate the king's guilt, according to the custom of those times, he gave to Domneva, called also Ermenburga, their sister, a sufficient quantity of land in the isle of Thanet, on which she might found a monastery.
How long it continued among the royal domains, I have not found; but before the termination of the Saxon heptarchy, THE MANOR OF EASTRY was become part of the possessions of the see of Canterbury, and it remained so till the year 811, when archbishop Wilfred exchanged it with his convent of Christchurch for their manor of Bourne, since from the archbishop's possession of it called Bishopsbourne. After which, in the year 979 king Ægelred, usually called Ethelred, increased the church's estates here, by giving to it the lands of his inheritance in Estrea, (fn. 2) free from all secular service and siscal tribute, except the repelling of invasions and the repairing of bridges and castles, usually stiled the trinoda necessitas; (fn. 3) and in the possession of the prior and convent bove-mentioned, this manor continued at the taking of the survey of Domesday, being entered in it under the general title of Terra Monachorum Archiepi; that is, the land of the monks of the archbishop, as follows:
In the lath of Estrei in Estrei hundred, the archbishop himself holds Estrei. It was taxed at Seven sulings. The arable land is . . . . In demesne there are three carucates and seventy two villeins, with twenty-two borderers, having twenty-four carucates. There is one mill and a half of thirty shillings, and three salt pits of four shillings, and eighteen acres of meadow. Wood for the pannage of ten hogs.
After which, this manor continued in the possession of the priory, and in the 10th year of king Edward II. the prior obtained a grant of free-warren in all his demesne lands in it, among others; about which time it was valued at 65l. 3s. after which king Henry VI. in his 28th year, confirmed the above liberty, and granted to it a market, to be held at Eastry weekly on a Tuesday, and a fair yearly, on the day of St. Matthew the Apostle and Evangelist; in which state it continued till the dissolution of the priory in the 31st year of king Henry VIII. when it came in to the king's hands, where it did not remain long, for he settled it, among other premises, in the 33d year of his reign, on his new created dean and chapter of Canterbury, part of whose possessions it continues at this time. A court leet and court baron is held for this manor.
The manerial rights, profits of courts, royalties, &c. the dean and chapter retain in their own hands; but the demesne lands of the manor, with the courtlodge, which is a large antient mansion, situated adjoining to the church-yard, have been from time to time demised on a benesicial lease. The house is large, partly antient and partly modern, having at different times undergone great alterations. In the south wall are the letters T. A. N. in flint, in large capitals, being the initials of Thomas and Anne Nevinson. Mr. Isaac Bargrave, father of the present lessee, new fronted the house, and the latter in 1786 put the whole in complete repair, in doing which, he pulled down a considerable part of the antient building, consisting of stone walls of great strength and thickness, bringing to view some gothic arched door ways of stone, which proved the house to have been of such construction formerly, and to have been a very antient building. The chapel, mentioned before, is at the east end of the house. The east window, consisting of three compartments, is still visible, though the spaces are filled up, it having for many years been converted into a kitchen, and before the last alteration by Mr. Bargrave the whole of it was entire.
At this mansion, then in the hands of the prior and convent of Christ-church, archbishop Thomas Becket, after his stight from Northampton in the year 1164, concealed himself for eight days, and then, on Nov. 10, embarked at Sandwich for France. (fn. 4)
The present lessee is Isaac Bargrave, esq. who resides at the court-lodge, whose ancestors have been lessees of this estate for many years past.
THE NEVINSONS, as lessees, resided at the courtlodge of Eastry for many years. They were originally of Brigend, in Wetherell, in Cumberland. They bore for their arms, Argent, a chevron, between three eagles displayed, azure. Many of them lie buried in Eastry church. (fn. 5)
THE FAMILY of Bargrave, alias Bargar, was originally of Bridge, and afterwards of the adjoining parish of Patrixbourne; where John Bargrave, eldest son of Robert, built the seat of Bifrons, and resided at it, of whom notice has already been taken in vol. ix. of this history, p. 280. Isaac Bargrave, the sixth son of Robert above-mentioned, and younger brother of John, who built Bifrons, was ancestor of the Bargraves, of Eastry; he was S. T. P. and dean of Canterbury, a man of strict honour and high principles of loyalty, for which he suffered the most cruel treatment. He died in 1642, having married in 1618 Elizabeth, daughter of John Dering, esq. of Egerton, by Elizabeth, sister of Edward lord Wotton, the son of John Dering, esq. of Surrenden, by Margaret Brent. Their descendant, Isaac Bargrave, esq. now living, was an eminent solicitor in London, from which he has retired for some years, and now resides at Eastry-court, of which he is the present lessee. He married Sarah, eldest daughter of George Lynch, M. D. of Canterbury, who died at Herne in 1787, S.P. They bear for their arms, Or, on a pale gules, a sword, the blade argent, pomelled, or, on a chief vert three bezants.
SHRINKLING, alias SHINGLETON, the former of which is its original name, though now quite lost, is a small manor at the south-west boundary of this pa Kent, anno 1619. rish, adjoining to Nonington. It is within the borough of Heronden, or Hardonden, as it is now called, and as such, is within the upper half hundred of Downhamford. This manor had antiently owners of the same name; one of whom, Sir William de Scrinkling, held it in king Edward I.'s reign, and was succeeded by Sir Walter de Scrinkling his son, who held it by knight's service of Hamo de Crevequer, (fn. 6) and in this name it continued in the 20th year of king Edward III.
Soon after which it appears to have been alienated to William Langley, of Knolton, from which name it passed in like manner as Knolton to the Peytons and the Narboroughs, and thence by marriage to Sir Thomas D'Aeth, whose grandson Sir Narborough D'Aeth, bart. now of Knolton, is at present entitled to it.
There was a chapel belonging to this manor, the ruins of which are still visible in the wood near it, which was esteemed as a chapel of ease to the mother church of Eastry, and was appropriated with it by archbishop Richard, Becket's immediate successor, to the almory of the priory of Christ-church; but the chapel itself seems to have become desolate many years before the dissolution of the priory, most probably soon after the family of Shrinkling became extinct; the Langleys, who resided at the adjoining manor of Knolton, having no occasion for the use of it. The chapel stood in Shingleton wood, near the south east corner; the foundations of it have been traced, though level with the surface, and not easily discovered. There is now on this estate only one house, built within memory, before which there was only a solitary barn, and no remains of the antient mansion of it.
HERONDEN, alias HARDENDEN, now usually called HERONDEN, is a district in this parish, situated about a mile northward from Shingleton, within the borough of its own name, the whole of which is within the upper half hundred of Downhamford. It was once esteemed as a manor, though it has not had even the name of one for many years past, the manor of Adisham claiming over it. The mansion of it was antiently the residence of a family of the same name, who bore for their arms, Argent, a heron with one talon erect, gaping for breath, sable. These arms are on a shield, which is far from modern, in Maidstone church, being quarterly, Heronden as above, with sable, three escallop shells, two and one, argent; and in a window of Lincoln's Inn chapel is a coat of arms of a modern date, being that of Anthony Heronden, esq. Argent, a heron, azure, between three escallops, sable. One of this family of Heronden lies buried in this church, and in the time of Robert Glover, Somerset herald, his portrait and coat of arms, in brass, were remaining on his tombstone. The coat of arms is still extant in very old rolls and registers in the Heralds office, where the family is stiled Heronden, of Heronden, in Eastry; nor is the name less antient, as appears by deeds which commence from the reign of Henry III. which relate to this estate and name; but after this family had remained possessed of this estate for so many years it at last descended down in king Richard II.'s reign, to Sir William Heronden, from whom it passed most probably either by gift or sale, to one of the family of Boteler, or Butler, then resident in this neighbourhood, descended from those of this name, formerly seated at Butler's sleet, in Ash, whose ancestor Thomas Pincerna, or le Boteler, held that manor in king John's reign, whence his successors assumed the name of Butler, alias Boteler, or as they were frequently written Botiller, and bore for their arms, One or more covered cups, differently placed and blazoned. In this family the estate descended to John Boteler, who lived in the time of king Henry VI. and resided at Sandwich, of which town he was several times mayor, and one of the burgesses in two parliaments of that reign; he lies buried in St. Peter's church there. His son Richard, who was also of Sandwich, had a grant of arms in 1470, anno 11th Edward IV. by Thomas Holme, norroy, viz. Gyronny of six, argent and sable, a covered cup, or, between three talbots heads, erased and counterchanged of the field, collared, gules, garnished of the third. His great-grandson Henry Boteler rebuilt the mansion of Heronden, to which he removed in 1572, being the last of his family who resided at Sandwich. He had the above grant of arms confirmed to him, and died in 1580, being buried in Eastry church. Richard Boteler, of Heronden, his eldest son by his first wife, resided at this seat, and in 1589 obtained a grant from Robert Cook, clarencieux, of a new coat of arms, viz. Argent, on three escutcheons, sable, three convered cups, or. Ten years after which, intending as it should seem, to shew himself a descendant of the family of this name, seated at Graveney, but then extinct, he obtained in 1599 a grant of their arms from William Dethic, garter, and William Camden, clarencieux, to him and his brother William, viz. Quarterly, first and fourth, sable, three covered cups, or, within a bordure, argent; second and third, Argent, a fess, chequy, argent and gules, in chief three cross-croslets of the last, as appears (continues the grant) on a gravestone in Graveney church. He died in 1600, and was buried in Eastry church, leaving issue among other children Jonathan and Thomas. (fn. 7) Jonathan Boteler, the eldest son, of Hernden, died unmarried possessed of it in 1626, upon which it came to his next surviving brother Thomas Boteler, of Rowling, who upon that removed to Hernden, and soon afterwards alienated that part of it, since called THE MIDDLE FARM, to Mr. Henry Pannell, from whom soon afterwards, but how I know not, it came into the family of Reynolds; from which name it was about fifty years since alienated to John Dekewer, esq. of Hackney, who dying in 1762, devised it to his nephew John Dekewer, esq. of Hackney, the present possessor of it.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sandwich.
The church, which is exempted from the archdeacon, is dedicated to St. Mary; it is a large handsome building, consisting of a nave and two side isles, a chancel at the east end, remarkably long, and a square tower, which is very large, at the west end, in which are five very unmusical bells. The church is well kept and neatly paved, and exhibits a noble appearance, to which the many handsome monuments in it contribute much. The arch over the west door is circular, but no other parts of the church has any shew of great antiquity. In the chancel are monuments for the Paramors and the Fullers, of Statenborough, arms of the latter, Argent, three bars, and a canton, gules. A monument for several of the Bargrave family. An elegant pyramidial one, on which is a bust and emblematical sculpture for John Broadley, gent. many years surgeon at Dover, obt. 1784. Several gravestones, with brasses, for the Nevinsons. A gravestone for Joshua Paramour, gent. buried 1650. Underneath this chancel are two vaults, for the families of Paramour and Bargrave. In the nave, a monument for Anne, daughter of Solomon Harvey, gent. of this parish, ob. 1751; arms, Argent, on a chevron, between three lions gambs, sable, armed gules, three crescents, or; another for William Dare, esq. late of Fenderland, in this parish, obt. 1770; arms, Gules, a chevron vaire, between three crescents, argent, impaling argent, on a cross, sable, four lions passant, quardant of the field, for Read.—Against the wall an inscription in Latin, for the Drue Astley Cressemer, A. M. forty-eight years vicar of this parish, obt. 1746; he presented the communion plate to this church and Worth, and left a sum of money to be laid out in ornamenting this church, at which time the antient stalls, which were in the chancel, were taken away, and the chancel was ceiled, and the church otherwise beautified; arms, Argent, on a bend engrailed, sable, three cross-croslets, fitchee, or. A monument for several of the Botelers, of this parish; arms, Boteler, argent, on three escutcheons, sable, three covered cups, or, impaling Morrice. Against a pillar, a tablet and inscription, shewing that in a vault lieth Catherine, wife of John Springett, citizen and apothecary of London. He died in 1770; arms, Springett, per fess, argent and gules, a fess wavy, between three crescents, counterchanged, impaling Harvey. On the opposite pillar another, for the Rev. Richard Harvey, fourteen years vicar of this parish, obt. 1772. A monument for Richard Kelly, of Eastry, obt. 1768; arms, Two lions rampant, supporting a castle. Against the wall, an elegant sculptured monument, in alto relievo, for Sarah, wise of William Boteler, a daughter of Thomas Fuller, esq. late of Statenborough, obt. 1777, æt. 29; she died in childbed, leaving one son, William Fuller Boteler; arms at bottom, Boteler, as above, an escutcheon of pretence, Fuller, quartering Paramor. An elegant pyramidal marble and tablet for Robert Bargrave, of this parish, obt. 1779, for Elizabeth his wife, daughter of Sir Francis Leigh, of Hawley; and for Robert Bargrave, their only son, proctor in Doctors Commons, obt. 1774, whose sole surviving daughter Rebecca married James Wyborne, of Sholdon; arms, Bargrave, with a mullet, impaling Leigh. In the cross isle, near the chancel called the Boteler's isle, are several memorials for the Botelers. Adjoining to these, are three other gravestones, all of which have been inlaid, but the brasses are gone; they were for the same family, and on one of them was lately remaining the antient arms of Boteler, Girony of six pieces, &c. impaling ermine of three spots. Under the church are vaults, for the families of Springett, Harvey, Dare, and Bargrave. In the church-yard, on the north side of the church, are several altar tombs for the Paramors; and on the south side are several others for the Harveys, of this parish, and for Fawlkner, Rammell, and Fuller. There are also vaults for the families of Fuller, Rammell, and Petman.
There were formerly painted in the windows of this church, these arms, Girony of six, sable and argent, a covered cup, or, between three talbots heads, erased and counter changed of the field, collared, gules; for Boteler, of Heronden, impaling Boteler, of Graveny, Sable, three covered cups, or, within a bordure, argent; Boteler, of Heronden, as above, quartering three spots, ermine; the coat of Theobald, with quarterings. Several of the Frynnes, or as they were afterwards called, Friends, who lived at Waltham in this parish in king Henry VII.'s reign, lie buried in this church.
In the will of William Andrewe, of this parish, anno 1507, mention is made of our Ladie chapel, in the church-yard of the church of Estrie.
The eighteen stalls which were till lately in the chancel of the church, were for the use of the monks of the priory of Christ church, owners both of the manor and appropriation, when they came to pass any time at this place, as they frequently did, as well for a country retirement as to manage their concerns here; and for any other ecclesiastics, who might be present at divine service here, all such, in those times, sitting in the chancels of churches distinct from the laity.
The church of Eastry, with the chapels of Skrinkling and Worth annexed, was antiently appendant to the manor of Eastry, and was appropriated by archbishop Richard (successor to archbishop Becket) in the reign of king Henry II. to the almonry of the priory of Christ-church, but it did not continue long so, for archbishop Baldwin, (archbishop Richard's immediate successor), having quarrelled with the monks, on account of his intended college at Hackington, took this appropriation from them, and thus it remained as a rectory, at the archbishop's disposal, till the 39th year of king Edward III.'s reign, (fn. 10) when archbishop Simon Islip, with the king's licence, restored, united and annexed it again to the priory; but it appears, that in return for this grant, the archbishop had made over to him, by way of exchange, the advowsons of the churches of St. Dunstan, St. Pancrase, and All Saints in Bread-street, in London, all three belonging to the priory. After which, that is anno 8 Richard II. 1384, this church was valued among the revenues of the almonry of Christ-church, at the yearly value of 53l. 6s. 8d. and it continued afterwards in the same state in the possession of the monks, who managed it for the use of the almonry, during which time prior William Sellyng, who came to that office in Edward IV.'s reign, among other improvements on several estates belonging to his church, built a new dormitory at this parsonage for the monks resorting hither.
On the dissolution of the priory of Christ-church, in the 31st year of king Henry VIII.'s reign, this appropriation, with the advowson of the vicarage of the church of Eastry, was surrendered into the king's hands, where it staid but a small time, for he granted it in his 33d year, by his dotation charter, to his new founded dean and chapter of Canterbury, who are the present owners of this appropriation; but the advowson of the vicarage, notwithstanding it was granted with the appropriation, to the dean and chapter as above-mentioned, appears not long afterwards to have become parcel of the possessions of the see of Canterbury, where it continues at this time, his grace the archbishop being the present patron of it.
This parsonage is entitled to the great tithes of this parish and of Worth; there belong to it of glebe land in Eastry, Tilmanstone, and Worth, in all sixtynine acres.
THERE IS A SMALL MANOR belonging to it, called THE MANOR OF THE AMBRY, OR ALMONRY OF CHRIST-CHURCH, the quit-rents of which are very inconsiderable.
The parsonage-house is large and antient; in the old parlour window is a shield of arms, being those of Partheriche, impaling quarterly Line and Hamerton. The parsonage is of the annual rent of about 700l. The countess dowager of Guildford became entitled to the lease of this parsonage, by the will of her husband the earl of Guildford, and since her death the interest of it is become vested in her younger children.
As to the origin of a vicarage in this church, though there was one endowed in it by archbishop Peckham, in the 20th year of king Edward I. anno 1291, whilst this church continued in the archbishop's hands, yet I do not find that there was a vicar instituted in it, but that it remained as a rectory, till near three years after it had been restored to the priory of Christchurch, when, in the 42d year of king Edward III. a vicar was instituted in it, between whom and the prior and chapter of Canterbury, there was a composition concerning his portion, which he should have as an endowment of this vicarage; which composition was confirmed by archbishop Simon Langham that year; and next year there was an agreement entered into between the eleemosinary of Christ-church and the vicar, concerning the manse of this vicarage.
The vicarage of Eastry, with the chapel of Worth annexed, is valued in the king's books at 19l. 12s. 1d. and the yearly tenths at 1l. 19s. 2½d. In 1588 it was valued at sixty pounds. Communicants three hundred and thirty-five. In 1640 here were the like number of communicants, and it was valued at one hundred pounds.
The antient pension of 5l. 6s. 8d. formerly paid by the priory, is still paid to the vicar by the dean and chapter, and also an augmentation of 14l. 13s. 4d. yearly, by the lessee of the parsonage, by a convenant in his lease.
The vicarage-house is built close to the farm-yard of the parsonage; the land allotted to it is very trifling, not even sufficient for a tolerable garden; the foundations of the house are antient, and probably part of the original building when the vicarage was endowed in 1367.
¶There were two awards made in 1549 and 1550, on a controversy between the vicar of Eastry and the mayor, &c. of Sandwich, whether the scite of St. Bartholomew's hospital, near Sandwich, within that port and liberty, was subject to the payment of tithes to the vicar, as being within his parish. Both awards adjudged the legality of a payment, as due to the vicar; but the former award adjudged that the scite of the hospital was not, and the latter, that it was within the bounds of this parish. (fn. 12)
Record number: itp pam 00720
Author: Pavesi, Stefano, 1779-1850
Title: Aspasia e Cleomene; dramma serio per musica, da rappresentarsi nell'Imperial Teatro di via della Pergola nell'autunno del 1812 …
Imprint: Firenze: G. Fantosini [1812?].
Paper description: Block printed paper in red and gold star pattern.
Extent: 165 x 110 mm
Rights info: No known restrictions on access
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, library.utoronto.ca/fisher
Number:
171594
Date created:
1920
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
MacCarthy, Helen Abele
Shaw, Barbara Andrews
Andrews, Eleonor J.
Gontrune, Mildred L. Baer
Beerstecher, Ada M.
Reiter, Marie A. Brunk
Schouten, Irene Burch
Meadd, Beatrice Cornforth
Anderson, Gladys Coulter
Gamble, Isabel E. Davidson
Gray, Dorothy Davis
McBride, Dorothy Filler
Fischer, Laura E.
Pendleton, Christina Furnival
Gleave, Nell
Harman, Lilly
Hawley, Jean C.
Wharton, Louise Hazelhurst
Hensler, Florence
Cockman, Margaret Higgins
King, Anna Howerton
Hulsizer, Mary B.
Bartlett, Ethel Hyde
Irwin, Alicia M.
Jones, Mary Eva
Kapteyn, Willemina J.
Keller, Loe
Lovett, Elizabeth Langenfeldt
Pecore, Geneva Lewis
Jessop, Mrs. Norton Merryman
Webb, Florence Malster
McClure, Ethel M.
O'Neal, Abby Metzger
Miller, Rhelda H.
Miller, Grace Theodora
Mitchell, Blanche
Moran, Elizabeth S.
Pine, Dorothy F. (Mrs.)
Piper, Charlotte S.
Mahaney, Rachel Fuller Preston
Crynes, Mabel Resor
Rogers, Adelaide
Rowe, Frances E.
Warner, Anne Santos
Sewell, Barbara L.
Sheldon, Ruby M.
Shriver, Ruth T.
Smith, Jennie M.
Clement, Mary Spafford
Huyler, Patricia Sproule
Coburn, Gertrude Steffins
Schlaepfer, Helen Stelling
Loucks, Mary Swisher
White, Lillian V.
Wunsch, Marie Adolphine
Taylor, Effie J.
Lawler, Elsie M.
Dick, Christina
Oliver, Evelyn
Kolb, Louisa
King, Daisy B.
Nursing students--Maryland--Baltimore--1920-1930
Nurses--Maryland--Baltimore--1920-1930
Graduation ceremonies--Maryland--Baltimore--1920-1930
Portrait photographs
Group portraits
Notes: Photographer unknown.
Number:
164546
Date created:
1975-06-11
Extent:
1 photographic print : col. ; 8 x 10 in.
Scope and content:
Back row: 1) Maryellen Zakwieia; 2) Beverly Ann Dudley; 3) Daria Christine Malan; 4) Pamela Carol Wright; 5) Laura Edith Sabo; 6) Teri Lura Fink Miller; 7) Raymond Peter Naylor; 8) Gloria Imelda Watts; 9) Virginia Lee Cline; 10) Vicky Sewall; 11) Virginia Huss; 12) Karen Elizabeth Cordell; 13) Dana Sue Garber. Middle row: 1) unidentified; 2) Sue Carol Shankster; 3) Patricia Lee McNeir; 4) April Kristy Harrison; 5) Deborah Fay Pineda; 6) Pace Randal Jagodzinski; 7) Martha L. Wheeler; 8) Tamsen Hooper Smith; 9) C. Karen Covey Moore; 10) Bonnie Celeste Howell; 11) Patricia Marilyn Dick; 12) Erica Ann Grayston; 13) Susanne Lee Cannon; 14) Karen Draper Hill; 15) Mary Claire S. Harris. Front row: 1) unidentified; 2) Julia Gibson Dryden; 3) Linda Grace Neightoff; 4) Patti Joe Horst; 5) Barbara Lynne Bowen; 6) Carole Ann Weeks; 7) Linda Marie Brown; 8) Elaine Carol Dunkelberger; 9) Katherine Margaret Gardner; 10) Beverly Ann Reid; 11) Cynthia Ann Norman; 12) Anita Wendy Shauck; 13) Carol Lynn Volz; 14) Rose Marie Seek France; 15) Angela Marie Lilli; 16) unidentified.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Adams, C. Karen Covey
Bowen, Barbara Lynne
Brown, Linda Marie
Cannon, Susanne Lee
Cline, Virginia Lee
Cordell, Karen Elizabeth
Dick, Patricia Marilyn
Dryden, Julia Gibson
Dudley, Beverly Ann
Dufour, Vickie Lynn
Dunkelberger, Elaine Carol
Miller, Teri Lura Fink
Garber, Dana Sue
Gardner, Katherine Margaret
Grayston, Erica Ann
Harris, Mary Claire S.
Harrison, April Kristy
Hill, Karen Draper
Horst, Patti Joe
Howell, Bonnie Celeste
Huss, Virginia
Jagodzinski, Pace Randall
Lilli, Angela Marie
Malan, Daria Christine
McNeir, Patricia Lee
Naylor, Raymond Peter
Neighoff, Linda Grace
Norman, Cynthia Ann
Pace, Dorcas Cherith
Pineda, Deborah Fay
Reid, Beverly Ann
Sabo, Edith Laura
France, Rose Marie Seek
Shankster, Sue Carol
Shauck, Anita Wendy
Smith, Tamsen Hooper
Volz, Carol Lynn
Watts, Gloria Imelda
Weeks, Carole Ann
Wheeler, Martha L.
Wright, Pamela Carol
Zakwieia, Maryellen
Nursing students--Maryland--Baltimore--1970-1980
Nurses--Maryland--Baltimore--1970-1980
Graduation ceremonies--Maryland--Baltimore--1970-1980
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Uzair gave another example of why the Sunnah of Nabi Kareem (peace be upon him) was from when we were souls. Again the verse was well known. It was when God asked all the soul ever created as they stood before Him if He was their Lord – alastu bi Rabbikum?
وَإِذْ أَخَذَ رَبُّكَ مِنۢ بَنِىٓ ءَادَمَ مِن ظُهُورِهِمْ ذُرِّيَّتَهُمْ وَأَشْهَدَهُمْ عَلَىٰٓ أَنفُسِهِمْ أَلَسْتُ بِرَبِّكُمْ ۖ
قَالُوا۟ بَلَىٰ ۛ شَهِدْنَآ ۛ أَن تَقُولُوا۟ يَوْمَ ٱلْقِيَـٰمَةِ إِنَّا كُنَّا عَنْ هَـٰذَا غَـٰفِلِينَ
And when took your Lord from (the) Children (of) Adam - from their loins - their descendants and made them testify over themselves, "Am I not your Lord?"
They said, "Yes we have testified." Lest you say (on the) Day (of) the Resurrection, “Indeed, we were about this unaware.” – Surah Al-A’raf, Verse 172
“Ibn e Katheer, amongst many other Mufassareen, says that when the question was asked, all the souls became quiet for they did not know God. They had not been raised by Him so they were silent. It was the Prophet Muhammad’s (peace be upon him) soul that first said, “bala.”And in emulation of him, the souls said, “bala,” (yes we have testified).”
“Wow,” I thought. My first moment of emulation! Maybe this was why Ghaus Pak (ra) says that to some extent we all possess the understanding of our Creator (Fayil Haqeeqi). We had already witnessed Him, heard Him, seen Him. If emulation began in the Realm of the Souls (Alim e Arwah), that lent hope that it was possible again.
Uzair continued: “So did Sunnah start then? Sheikh ul Akbar, Hazrat Moeenuddin Ibn e Arabi (ra) says that the reality of Mustafa (peace be upon him) given to him by God is beyond the understanding of human beings. There are no bounds to it. That is why in the Quran it is made crystal clear.
When in doubt, when in confusion or contradiction, within yourself or amongst yourselves, go back to him. Do not use your own intellect, do not make your own decision.”
يَـٰٓأَيُّهَا ٱلَّذِينَ ءَامَنُوٓا۟ أَطِيعُوا۟ ٱللَّهَ وَأَطِيعُوا۟ ٱلرَّسُولَ وَأُو۟لِى ٱلْأَمْرِ مِنكُمْ ۖ
فَإِن تَنَـٰزَعْتُمْ فِى شَىْءٍۢ فَرُدُّوهُ إِلَى ٱللَّهِ وَٱلرَّسُولِ إِن كُنتُمْ تُؤْمِنُونَ بِٱللَّهِ وَٱلْيَوْمِ ٱلْـَٔاخِرِ ۚ ذَٰلِكَ خَيْرٌۭ وَأَحْسَنُ تَأْوِيلًا
O you who believed! Obey Allah and obey the Messenger and those (having) authority among you. Then if you disagree in anything, refer it to Allah and the Messenger, if you believe in Allah and the Last Day. That is best for you and more suitable in the end – Surah An-Nisa, Verse 59
The lecture was amazing. I don’t know if for me it confirmed things more than challenged them but it certainly drove home a single point. As far as learning anything related to God was concerned, everything about everything lay in a single human being.
Then Uzair started smiling.
“But of course those who cannot stomach the fact that there is a dimension of the Prophet (peace be upon him) that is beyond the physical will always find reasons to disbelieve. They will memorize the Quran and read it their entire lives but they will deny its design. They will deny that there is a connection between the Creator and His Beloved (peace be upon him) that is outside their knowing. But the Quran testifies to that too.”
He read one of my most favourite verses of Surah An-Najm to make his point:
فَأَوْحَىٰٓ إِلَىٰ عَبْدِهِۦ مَآ أَوْحَىٰ
Then did God reveal to him what He revealed to him – Surah An-Najm, Verse 10
“Why does God do that? He discloses that he revealed something to Huzoor (peace be upon him) but if He is not going to say what that was, why mention it at all? But He does exactly that. Mentions it and then leaves it there that it is between only the two of them.
But whoever will believe will believe and whoever will disbelieve will disbelieve. Shahabuddin Suhrawardi (ra) says that the sun sometimes hides behind the clouds but it still heats the fields. It cannot be denied even if it cannot be seen. Whatever you are getting from this world you are getting through the bounty of one persons alone, Allah’s Beloved. He is Sirajun Muneera, the sun that gives light in perpetuity.
The Quran says that whenever and whatever comes your way present the difficulty before My Prophet (peace be upon him) because he sees your deeds. And those in emulation of him are the believers and they will see them too because of him.”
وَقُلِ اعْمَلُوا فَسَيَرَى اللَّهُ عَمَلَكُمْ وَرَسُولُهُ وَالْمُؤْمِنُونَ
وَسَتُرَدُّونَ إِلَىٰ عَالِمِ الْغَيْبِ وَالشَّهَادَةِ فَيُنَبِّئُكُم بِمَا كُنتُمْ تَعْمَلُون
And say (unto them O Prophet!), “Act and God will behold your deeds
and so will His Apostle (peace be upon him) and the believers.
And in the end you will be brought before Him who knows all that is beyond a created being’s perception as well as that can be witnesses by a creature’s senses or mind.
And then He will make you understand what you have been doing – Surah At-Tauba, Verse 105
“There are some whose gaze is not different from the Prophet (peace be upon him) and God’s. because of their attachment and connection to the Prophet (peace be upon him) and the Prophet’s (peace be upon him) to God. They are dissolved in him and he is dissolved in God.”
Everything I was hearing cast a new light on verse after verse that I had known and read multiple times. But this was an entirely new layering of meaning. It was where Uzair ended the lecture that was the highest note indeed.
“What do you think the purpose of a Spiritual Master is in one’s life? Why do you think a guide is deemed essential? What is the role that he plays for you that is so critical? It is basically only one. To make you alert to your pride and then make it vanquished within yourself. It is to make you face the encumbrances of your ego.”
In the days I was writing this piece, the month of Rabu Thani started. The month is significant indeed. On the 11th of the lunar calendar (November 26th in 2020) is the Urs Mubarik of the one who I study most intensively as is evident from his most frequent mention in all my writing in the last few years: Hazrat Abdul Qadir Jilani (ra) – Ghaus Pak. I read his books, his sermons, his exegesis of the Quran.
I hope with a burning intensity that my soul connects to his, I pray that he takes me under his wing, I long that my ilm (knowledge) and my shaoor (understanding) are borne from him. His personality is majestic and intimidating. He is both jamali and jalali. One thing is certain; he is dissolved in the Prophet (peace be upon him) and he is dissolved in God!
For me he is a saviour. In my greatest times of difficulty, I have only read to myself a couplet from his famed Qaseeda Ghausia and my anxiety has evaporated before I utter the last words because they always make me smile.
مُرِیْدِیْ ھِمْ وَطِبْ وَاشْطَحْ وَغَنّیْ
وَاِفْعَلْ مَاتَشَآءُ فَالْاِسْمُ عَالِ
O my disciple! Delve into the love of your God, be fearless, rejoice and sing.
And do whatever you will because my name is amongst the highest.
A few days ago, I was saying my namaz at Maghrib in my room. One story kept going in and out of my head. It was an incident that all Muslim children learn about the life of Nabi Kareem (peace be upon him); the woman who threw the garbage on him every single day that he walked down her street. On the day she didn’t throw it, he knocked on her door and and found her to be unwell. He cleaned her home, made her some food and took care of her till she recovered. The lesson in the story for me for 50 years of my life was the same as the first time I heard the story as a child; he was kind.
Then quite randomly the incident came up and a friend of mine posed the question; “Why did he continue to walk on that street day after day? He could have easily changed his route. Why did he submit himself to that difficult experience again and again?” Then she answered it herself. “It was because he knew that it was her need to throw that garbage on him. She was old. Her fury at him was for being who he was, saying what he was, propagating a message that would void her entire beliefs, which formed her identity, her existence. He never took it personally.”
On the prayer mat that evening I realized that the ones I avoid now because their words infuriate me was indeed a shallow response and no doubt it was rooted in pride. My ego was bruised, I took such deep offense from words uttered by those who knew nothing when it came to the faith. Like the old woman they just held onto their beliefs and I’m not certain if they were even their own. They had begun to fear that the faith they were born into might wipe out the identity they had created and with it their superficial existence in the world. They threw garbage on me and my first reaction was to change my route!
I started wondering in the case of the garbage lady, did the difficulty actually befall her or Nabi Kareem (peace be upon him). I used to think it was him but it was really her. He had been taught how to deal with it by his God, his Rabb, the One who raised him. She was old yet still struggling with her demons. It made me feel ashamed. There was nothing to run from except my own sense of superiority that I was masking under feeling attacked.
Soon after I came upon a verse from Surah At-Taghabun about trials and their link to faith:
مَآ أَصَابَ مِن مُّصِيبَةٍ إِلَّا بِإِذْنِ ٱللَّهِ ۗ وَمَن يُؤْمِنۢ بِٱللَّهِ يَهْدِ قَلْبَهُۥ ۚ وَٱللَّهُ بِكُلِّ شَىْءٍ عَلِيمٌۭ
No calamity can ever befall unless it is by Allah’s Will. Hence whoever believes in God, He will guide his heart. And Allah is Knower of all things – Verse 11
Ghaus Pak (ra) says that being steadfast on the belief that any disaster or difficulty that comes one’s way comes only by the Command of God is the way to solidify faith (imaan). The one who believes in God and surrenders all their matters to Him, thinks of Him their Caretaker and considers Him as enough, that person’s heart will receive guidance from Him. That guidance renders the heart lit with signs of His Oneness, thus bringing certainty.
I realize now that when a trial befalls me through another person, the real battle has only three real players, me, my nafs and Iblis. The test in fact came upon all of three of us. Each just hoped for a different outcome. When Iblis failed himself, he simply engaged with the nafs for his desired outcome. My failure!
Uzair ended his lecture: “Hazrat Shabuddin Suhrwardi (ra) and for that matter all Sufiya think the same thing: ‘Think of everyone, each and every person, whether they are a believer (mo’min) or a denier (kafir) as being better than you. Maybe the mo’min who you think doesn’t pray does an act that your worship will never raise your rank to. And maybe the one who doesn’t believe today will become a believer tomorrow and then God might change all their sins to good deeds.”
يَوْمَ يَجْمَعُكُمْ لِيَوْمِ ٱلْجَمْعِ ۖ ذَٰلِكَ يَوْمُ ٱلتَّغَابُنِ ۗ
وَمَن يُؤْمِنۢ بِٱللَّهِ وَيَعْمَلْ صَـٰلِحًۭا يُكَفِّرْ عَنْهُ سَيِّـَٔاتِهِۦ
وَيُدْخِلْهُ جَنَّـٰتٍۢ تَجْرِى مِن تَحْتِهَا ٱلْأَنْهَـٰرُ خَـٰلِدِينَ فِيهَآ أَبَدًۭا ۚ ذَٰلِكَ ٱلْفَوْزُ ٱلْعَظِيمُ
Think of the time when He shall gather you all together unto the Day of the Last Gathering – that Day of loss and gain!
Whoever believes in God and does good deeds, He will efface his sins and admit him into the gardens with rivers flowing through them where they will remain forever.
That is the ultimate success – Surah At-Taghabun, Verse 9
Then he related a hadith I have never heard of before.
“Once Huzoor (peace be upon him) laughed. When asked why he said, ‘I saw the last of the ones who was to be sent to Hell. His sins filled volumes so Allah Almighty said to the angels, “Forget his grave sins (Gunah e Kabeera) for now. Present the smaller ones.’””
Huzoor (peace be upon him) says, “I saw the man looking scared. He was thinking ‘But what will happen to me once these end and the others are brought forward.’ Once the list of sins was related, Allah Subhan Ta’ala said, ‘We are Ghafoor ur Rahim, so change his sins small to good deeds of the same proportion.’
Just as He said that the man leapt up, ‘But what about the larger sins?’”
So the point is no one knows what will happen on that Day and who will get what from Allah. But one thing is certain. Pride is the impediment of evolving and it is the gateway to Hell. So the role of the Spiritual Master is in fact singular. To make a person kill their “I.” The ego is the disease that they cure, that one no one can cure themselves.”
On a different occasion Uzair had told me that the rulers of their times used to send their sons to the Auliya, the Friends of God, in their kingdoms for their character development. The first duty assigned to the princes was for them to sit at the entrance of the mosque and straighten the shoes of the people who went to pray there. That’s what they did, five times a day, every day, to break their sense of entitlement that was in fact written in their destiny. It’s too bad the rich parents of today’s time had nowhere to send their kids.
Nabi Kareem (peace be upon him) said that the one with an iota of pride in their heart would not enter Paradise. He loved the poor, he lived with the poor, he lived like them. He chose weakness over strength. He embraced humility, he called it his pride. He also said that the more one bent, humbled themselves, to please God according to their own effort, the more they would be raised by their Lord according to His Desire.
Ghaus Pak (ra) says that zuhd, detachment from the superficial attractions in this world, cannot be created nor can it be achieved by oneself. It needs time and the emulation, the obedience, being in service of the Friends of God.
فَٱتَّقُوا۟ ٱللَّهَ مَا ٱسْتَطَعْتُمْ وَٱسْمَعُوا۟ وَأَطِيعُوا۟ وَأَنفِقُوا۟ خَيْرًۭا لِّأَنفُسِكُمْ ۗ وَمَن يُوقَ شُحَّ نَفْسِهِۦ فَأُو۟لَـٰٓئِكَ هُمُ ٱلْمُفْلِحُونَ
So be mindful of God as much as you can. Hear and obey and be charitable. For he who is safeguarded from their own selfishness, they are the successful ones – Surah At-Taghabun – Verse 16
In Surah Yaseen is a line I am drawn to because it states again the condition to be able to take heed from Allah’s Beloved (peace be upon him) starting with the word “innama”, only and only.
إِنَّمَا تُنذِرُ مَنِ ٱتَّبَعَ ٱلذِّكْرَ وَخَشِىَ ٱلرَّحْمَـٰنَ بِٱلْغَيْبِ ۖ فَبَشِّرْهُ بِمَغْفِرَةٍۢ وَأَجْرٍۢ كَرِيمٍ
You, O Beloved, can only and only warn the one who follows the message and stands in awe of The Merciful even though He is beyond perception. So give him good news of forgiveness and a generous reward – Surah Yaseen, Verse 11
Tafseer e Jilani: “The one who will receive reformation and the benefit of guidance from your warning, O Prophet (peace be upon you), is the one who listens to the Quran carefully with acceptance, then obeys its commands, who considers it deeply and reads it with truthfulness. It is the one who gains advice from the advice it gives, the examples it presents and learns from the lessons others suffered out of their waywardness.
It will be the one who is afraid of Allah’s Anger and Retribution while it was unseen. It will be the one who saved themself from it before it came down because they held the belief that Allah holds the power to punish any wrongdoer at any time.
So O Beloved (peace be upon you), give glad tidings to the one who did listen willingly, with acceptance the verses and applied its commands with sincerity in deed, being conscious of God and placing hope in Him. And give them the good news that they will receive the forgiveness which is already prepared for them and awaits them from God and that no deed of theirs will be void or wasted or nullified and the reward for their deeds will be multiplied many fold.”
Recently someone in my group class someone asked Qari Sahib to go over the Ayaat e Shifa, the verses of healing. I think a family member was unwell and they wanted to read them and pray for their health to return. The first was this:
وَنُنَزِّلُ مِنَ الْقُرْآنِ مَا هُوَ شِفَاءٌ وَرَحْمَةٌ لِّلْمُؤْمِنِينَ وَلَا يَزِيدُ الظَّالِمِينَ إِلَّا خَسَارً
We sent down from the Quran that which is a healing and a mercy for the believers.
And it only increases the unjust in their loss – Surah Al-Isra’, Verse 82
After we had spent 45 minutes on the first part of the verse, the healing effect of the Book, Qari Sahib moved on to the next verse. I stopped him.
“But Sir, what about the second part of this verse? We have the do’s. What about the don’ts?”
I already knew, as did everyone else in my class, that the Quran was a mercy. My problem was being unjust to myself. The verse was saying that reading the Quran in that state was only going to deteriorate my situation, deepen my “loss.”
Qari Sahib gave the tafseer of the verse from Ghaus Pak (ra).
“The healing from the Quran will come to those who will gain ability (taufeeq) from the honor (sharf) of following and obeying Nabi Kareem (peace be upon him). Then according to their own level of capability to be obedient, they will gain guidance and the secrets and signs in the Book will be unveiled to them.
The zalim, the unjust, are the ones who transgress the boundaries set by Allah as well as disobey His Commands out of denial and pride. But the injustice is upon themselves because for them the Quran becomes a means of loss ever deepening. The khassara is that these people deny hikmat, which in this case means the purpose of their own creation which was to gain ma’rifat, recognizing God and to believe in Tauheed, His Oneness.”
Sometimes I can’t stop sighing. I feel like a rat running around in circles. Or that guy from Memento who kept forgetting everything every 10 minutes. I make the same mistakes again and again. Nothing sticks. In those times, Uzair’s words ring in my head.
The verses of the Quran have a singular purpose, and that is to elevate the human being in terms of their behavior, develop their character. And anyone who enters this realm with the intention to learn will never return without being changed.
In those days I feel like my heart is the darkest night, no shades of gorgeous midnight blues, just an abyss. No stars, no moon in sight, just a waiting, a longing for a shooting star, for that one flash of light to come, even if it has to disappear. Then my friend Abida happens to send me something that felt like a reprieve.
It was poetry written by Hafiz Shirazi, a Master. In it he addresses Hazrat Yaqoub, the Prophet Jacob (as), who was separated from his beloved son, Hazrat Yousaf (as), the Prophet Joseph, for 40 years. For those decades they were apart, as a father he felt his son was alive, but he didn’t know anything more than God wanted him to know. In translating it I understood that every moment experienced was carefully chosen and came in the time it was destined to come.
یکی پرسید از آن گم کرده فرزند
که ای روشن گهر پیر خردمند
Someone asked him, the one who lost his son,
O sage who is wise and enlightened with intelligence!
ز مصرش بوی پیراهن شنیدی
چرا در چاه کنعانش ندیدی؟
You smelt the shirt coming for you from Egypt.
Then why did you not see him in the well in Canaan (your own town)?
بگفت احوال ما برق جهان است
دمی پیدا و دیگر دم نهان است
So he answered, “Our matters are like the lightening strikes of the Universe,
which appear rarely and disappear at once.
گهی بر طارم اعلی نشینیم
گهی بر پشت پای خود نبینیم
Sometimes we are seated in the highest station (nearness to God),
sometimes we cannot even see the top of our own feet.
اگر درویش در حالی بماندی
سر دست از دو عالم برفشاندی
If the seeker stayed in the same state at all times,
then he would become withdrawn from this world and the Hereafter.
Last week I began working on a new video for the Urs Mubarik. The kalam was Hazrat Sultan Bahu’s, a prominent Sufi saint from Jhang. It was in Punjabi and it was an istighaasa – an utterance of a plea. The verse was renowned but I was not familiar with it. The first thing I noticed was how Hazrat Sultan Bahu (ra) had captured in eight lines what was distinct about Ghaus Pak (ra); he was the Saint of the saints, he was Allah’s Beloved, anything he asked of God he received.
Only two people, other than Rasool Allah (peace be upon him), are given the honor by title of being called Allah’s Beloveds: Hazrat Abdul Qadir Jilani (Mehboob e Subhani) and Hazrat Nizamuddin Auliya (ra) (Mehboob e Ilahi). While translating the text with Qari Sahib he said something that changed my whole approach towards the meaning of the plea.
“Think of the help being asked for not for a worldly difficulty but a spiritual impediment. A state of bewilderment that you don’t fathom and you can’t escape.”
سن فریاد پیراں دیا پیرا
میری عرض سنیں کن دھر کے ہُو
Hear my plea O Master of all Spiritual Masters!
Listen to my entreaty and accept it please.
بیڑا اڑیا میرا وچ کپرا ندے
جتھے مچھ نہ بہندے ڈر کے ہُو
My matter is stuck in such a snare of my own self,
that anything that corrupts feels scared treading there with ease.
شاہ جیلانی محبوب سبحانی
میری خبر لیو جھٹ کر کے ہُو
O King of Jilan, Beloved of Almighty Allah!
Respond to me, rescue me hastily.
پیر جنہاندے میراں باہو
اوہ کدھی لگدے ترکے ہُو
The ones whose Spiritual Master are kings (before God), O Bahu!
They reach their purpose most easily.
That night as I recited the verses to myself in the darkness of my room I wept. Every other time I had made a video with kalam of the Sufi Masters, it was an act of love on my part. I did it in honor of them, their words. Tazeeman is exactly the right way to put it in Urdu. But this kalam, this one had to be rendered ahtiyajan, in a state of need. In territory where even Iblis is scared but I exist and endure, only a plea to a healer would work.
And the healer of all healers, the manifestation of God’s Mercy and His most perfect creation gives a way out to all in a single shard of a single date:
قَالَ سَمِعْتُ عَدِيَّ بْنَ حَاتِمٍ ـ رضى الله عنه ـ قَالَ سَمِعْتُ رَسُولَ اللَّهِ صلى الله عليه وسلم يَقُولُ
تَمْرَةٍ اتَّقُوا النَّارَ وَلَوْ بِشِقِّ
Hazrat`Adi bin Hatim narrates that he heard the Prophet (ﷺ) say:
“Save yourself from Hell-fire even by giving half a date-fruit in charity.”
“How hard is it,” I thought, “to give someone a sliver of a single date?” But I knew the answer well. My veils were all related to bukhl, miserliness. Emotional, financial. Even though I try and try to be more generous and in fact, have been more so in the timeline of my life, it is my instantaneous response that betrays the stagnant state of my batin and instantly veils my heart. I usually even end up doing the “right” thing but on too many occasions, my initial reaction is reluctance. And what kills me is that it is always for no real reason. Then I feel the tightening in my chest and I reform my action. Whether it comes to money or my urges to restrain the giving of my love.
Me, my nafs and Iblis. In a tug of war.
I deny or hide from what I have been told and am disobedient. Then I obey. But I wish so much that I only obeyed. Straight off the bat, no hesitation! For bukhl is the most obstinate of the diseases of the heart. It’s the steel covering over mine. Instant darkness! I learnt from a Naqshbandi Master that before one can truly claim submission before Allah, they have to first be able to govern their own behaviour.
“Anyone that is stuck within their vices that they cannot stop, that vice is a lord over them.”
أَفَرَءَيْتَ مَنِ ٱتَّخَذَ إِلَـٰهَهُۥ هَوَىٰهُ وَأَضَلَّهُ ٱللَّهُ عَلَىٰ عِلْمٍۢ وَخَتَمَ عَلَىٰ سَمْعِهِۦ
وَقَلْبِهِۦ
وَجَعَلَ عَلَىٰ بَصَرِهِۦ
غِشَـٰوَةًۭ فَمَن يَهْدِيهِ مِنۢ بَعْدِ ٱللَّهِ ۚ
أَفَلَا تَذَكَّرُونَ
Have you (O Beloved) seen the one who takes his own desires as his god and whom Allah has let go astray knowingly.
And He sets a seal upon his hearing and his heart and puts over his vision a veil?
Then who will guide him after God?
Then will you not reflect?
Surah Al-Jathiyah, Verse 23
Shuggy Aunty says the most difficult thing in the world is being one. Even though that state of one-ness is also God’s Essence.
قُلْ هُوَ ٱللَّهُ أَحَدٌ
Say O Beloved (peace be upon you), “He is Allah, The One.” – Surah Ikhlas, Verse 1
I find it easy. I harbor no bitterness around my own state of being alone. I have no disappointments of what might have been but wasn’t. Whether my solitude was chosen for me or by me I never questioned it. People come and go and my aloneness remains and it doesn’t leave me wanting. Often I have deliberated on it to check if I am perhaps saying it and not meaning it but I know it’s true. Because when I asked for anything for myself, it stopped being about this world years ago.
This year in particular I have been noticing for people my age (50 plus) that what’s killing them is loneliness. But they are not physically alone. They have children or a spouse, or parents, or are surrounded by others day in and day out. Yet they feel alone. They stopped expressing their innermost thoughts except to themselves, if even that. The words that do leave their mouth are in some form of repetition of an expression expected of others or their own overt selves. Then they became resigned to that state.
Despite my probing myself and defining my faults, thinking it caused shift, I was no better off than them. In my dealings with people I failed every day. Through my spiritual journey if my heart hadn’t hardened it hadn’t softened as much as it should have. I realized through this writing that it’s because I’m constantly seeing through a lens that filters right and wrong. Hazrat Mujjadid al Fisani (ra) was right. I’m forever casting others into the pit of munkir and kafir, the deniers of truth.
I was recently skimming a piece I wrote a few years ago. In it I was addressing a set of parents in a village in the mountains where I taught in a school for a week. It was the line I concluded my speech with that caught my eye, “The power of our connection with God is a function of our connection with people.”
The litmus test of the progress of my spirituality is ultimately how my relationships with people changed as a result what I have learnt about God through His Beloved (peace be upon him) and His Friends. From Ghaus Pak (ra) again:
إنقطع ثم اتصل واتصل ثم أوصل
Disconnect (from all others)
then connect (to Me)
and keep connecting
then communicate (with all others through Me).
And years later I was still choosing “disconnect” each time. There was something wrong. I discussed it with Qari Sahib in depth. Told him about my judgmental prideful reactions to people whose behaviour disturbed me. It didn’t create anger, I was clear about that. Relieved actually but I was left rattled. He pointed me to a verse:
أُو۟لَـٰٓئِكَ ٱلَّذِينَ يَعْلَمُ ٱللَّهُ مَا فِى قُلُوبِهِمْ فَأَعْرِضْ عَنْهُمْ وَعِظْهُمْ وَقُل لَّهُمْ فِىٓ أَنفُسِهِمْ قَوْلًۢا بَلِيغًۭا
As for them God know all that is in people’s hearts so ignore what they say (leave them alone), advise them and speak to them about themselves in a gravely searching manner – Surah An-Nisa, Verse 63
Ghaus Pak (ra): Speak to them then in private and say that which will be of influence and affect them, that which will bring a shift in their nature and they might take as advice.
For me the line meant to just continue to be loving with those I already loved. Meeting them was becoming more and more rare as it was. What was the point of being distant, feeling distant? For Ghaus Pak (ra) also is the one why says that how can one who does receive insight (through their faith as a grace from God) forget that it is a gift, a bounty from the Creator that not all people are chosen to receive.
وَلَا يَأْتَلِ أُولُو الْفَضْلِ مِنكُمْ وَالسَّعَةِ أَن يُؤْتُوا أُولِي الْقُرْبَىٰ وَالْمَسَاكِينَ وَالْمُهَاجِرِينَ فِي سَبِيلِ اللَّهِ
And let not those who possess grace and ease among you swear not to give to the near of kin and to the needy and to emigrants for the cause of Allah.
وَلْيَعْفُوا وَلْيَصْفَحُوا أَلَا تُحِبُّونَ أَن يَغْفِرَ اللَّهُ لَكُمْ وَاللَّهُ غَفُورٌ رَّحِيم
Let them forgive and show indulgence.
For do you not desire that God forgive you your sins?
And Allah is Oft-Forgiving, most Merciful – Surah An-Nur, Verse 22
I saw where my error lay. It didn’t matter so much whether others had changed or not or how much. I had been taught how to deal with them. I was still in the old mode of protecting myself, my self esteem, from eons before when I had not known how. This time the sidestepping was not out of necessity or fear or harm they might cause me. It was out of pride. A new choice had to be exerted as a poet once insisted:
دو رنگی خوب نئیں یک رنگ ہو جا
سراپا موم ہو یا سنگ ہو جا
To be of states opposing within yourself is troubling,
so either let your heart melt or let it become hard.
Nabi Kareem’s (peace be upon him) gentleness of manner held the key to his excellence in behaviour. And it was gifted to him from God.
فَبِمَا رَحْمَةٍۢ مِّنَ ٱللَّهِ لِنتَ لَهُمْ ۖ
وَلَوْ كُنتَ فَظًّا غَلِيظَ ٱلْقَلْبِ لَٱنفَضُّوا۟ مِنْ حَوْلِكَ ۖ
فَٱعْفُ عَنْهُمْ وَٱسْتَغْفِرْ لَهُمْ وَشَاوِرْهُمْ فِى ٱلْأَمْرِ ۖ
فَإِذَا عَزَمْتَ فَتَوَكَّلْ عَلَى ٱللَّهِ ۚ إِنَّ ٱللَّهَ يُحِبُّ ٱلْمُتَوَكِّلِينَ
So it was by the Mercy from Allah that you were gentle towards them.
And if you had been rude and harsh of heart, surely they would turned away from you.
Pardon them, ask forgiveness for them, and consult them about the matter.
But once you decide on a course of action, put your trust in God. God loves those who trust Him – Surah Aal –e- Imran, Verse 159
Tafseer e Jilani: Rasool Pak’s (peace be upon him) gentleness in the verse is marked especially because it was precisely towards those who turned away from him, were disobedient to him and refused to follow him. When they harmed him, bringing pain and suffering upon him, he forgave them. Then he prayed to his Lord to forgive them as well so that for the sake of his ask, Allah would forgive them. Then after forgiving them and interceding on their behalf, he brought them into his circle of advisors. But the finality of every matter lies in the decision made by the Beloved (peace be upon him). Once it has been made, everything is left by him to Allah and Allah alone.
After 35 pages and days of agonizing I finally let out a sigh of relief. When the snare is of the self, only the rescue hasty from a Friend of God carries one safely to the other side. Otherwise it’s just stops and starts and a lot of drowning in between.
Ghaus Pak says that anything that is for the sake of God will reach its completion. It will be everlasting, it will increase. Anything for any other will not sustain. It will change, it will disappear. So when you try to do something, whatever it is, separate its doing from your ego, your desires and your sinful urges. The act should not even be attempted unless it is is only for God and in obeyance to His Commands willingly, the commands which have been stated clearly with certainty.
“Detach yourself from your own self and others and the world and Allah will grant you peace from His Creation, all of it. The condition is only to cleanse your heart from its rust, from your desires and your self. Be with the truthful and Allah will aid you as He aids them. For there is no love except His Love. And there is no tranquility without His Remembrance.”
www.youtube.com/watch?v=wh14jE5uueU&feature=youtu.be
Uzair’s lecture: www.youtube.com/watch?v=fkbp0n5H_mo
7 Aug 2012 - Passengers witness the extent of the flooding in the Sta Mesa area while on board the light rail system...
Unusually heavy monsoon rains flood Metro Manila.
This time warning bulletins were issued and offices and classes were suspended which significantly reduced the number of stranded people unlike what happened 3 yrs ago with Typhon Ketsana ( ondoy ) > www.flickr.com/photos/rembcc/sets/72157622458559722/with/...
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
I was more interested in the skyline from Boboli Gardens than the actual gardens! It was so amazing to look at! This was our last morning in Florence, for in the afternoon we would get our coach to Volterra (including a stop off at a winery).
Firenze Santa Maria Novella railway station - theses views were the only ones I had of the railway station in Florence, never actually got to go close to it during our stay in the city.
Firenze Santa Maria Novella (in English Florence Santa Maria Novella) or Stazione di Santa Maria Novella is a terminus railway station in Florence, Italy. The station is used by 59 million people every year and is one of the busiest in Italy.
It is at the northern end of the Florence–Rome direttissima, which was completed on 26 May 1992 and the southern end of the Bologna–Florence Direttissima, opened on 22 April 1934. A new high speed line to Bologna opened on 13 December 2009. The station is also used by regional trains on lines connecting to: Pisa, Livorno (Leopolda railway); Lucca, Viareggio (Viareggio–Florence railway); Bologna (Bologna–Florence railway) and Faenza (Faentina railway).
The station was inaugurated on 3 February 1848 to serve the railway to Pistoia and Pisa, and was initially called Maria Antonia (from the name of the railway, named in honour of Princess Maria Antonia of the Two Sicilies); it was much closer to the Santa Maria Novella church than the current station. It was renamed after the church after the unification of Italy.
In 1932 through a number of newspaper editorials, published in La Nazione, Florence's main daily, Romano Romanelli a reputed and influential Florentine sculptor, criticized the original project by the Architect Mazzoni for the new Firenze Santa Maria Novella railway station.[2] A constructive debate resulted in the final choice of the project sponsored by the Architect Marcello Piacentini and designed by Gruppo Toscano.
The station was designed in 1932 by a group of architects known as the Gruppo Toscano (Tuscan Group) of which Giovanni Michelucci and Italo Gamberini, Berardi, Baroni, Lusanna were among the members; the building was constructed between 1932 and 1934. The plan of the building, as seen from above, looks as if it were based on the fascio littorio, the symbol of Benito Mussolini's National Fascist Party, many documents give this explanation, but, that shape was forced by the pre-existing station. The "blade" represented by the first two-passenger tracks and the postal ones were in fact the extension of the 1861 alignment which included the tracks of the line from Livorno.
The building is a prime example of Italian modernism, but has little to do with the Italian Rationalism movement, being more strongly influenced by the Viennese architecture of Loos and Hoffman, with perhaps a nod to Wright; but it is the building's complete originality that makes it outstanding. The competition to design the station was controversial but the approval by Mussolini of the Gruppo Toscano project was hailed as an official acceptance of modernity. The station was designed to replace the aging Maria Antonia Station, one of the few example of architecture by I. K. Brunel in Italy, and to serve as a gateway to the city centre.
The Gruppo Toscano was only responsible for the main frontal building of the station. The heating plant, platforms, other facilities and details such as benches were all designed in a contrasting style by the official Ministry of Communications architect, Angiolo Mazzoni. The benches and baggage shelves illustrated on this page were not part of the Gruppo Toscano project. Outside and adjacent to the station is also Michelucci's white marble Palazzina Reale di Santa Maria Novella, built to host the Royal family on visits to Florence.
While it is of a 'modern' design, the use of pietra forte for the station's stone frontage was intended to respond to and contrast with the nearby Gothic architecture of the church of Santa Maria Novella. The interior of the station features a dramatic metal and glass roof with large skylights over the main passenger concourse, which is aligned perpendicular to the tracks and acts as a pedestrian street connecting one side of the city with the other. The skylights span the passenger concourse without any supporting columns, giving a feeling of openness and vast space and reinforcing the convergence of all the public functions of the station on the passenger concourse.
Near platform #16 there is a statue and a memorial plaque in remembrance of the train loads of Jewish people who were deported from Italy to Nazi concentration camps during World War II.
The church seen to the left is the Chiesa di San Paolo Apostolo o San Paolino.
Chiesa di San Paolo Apostolo o San Paolino
The church of San Paolo Apostolo , better known as the church of San Paolino, is a place of Catholic worship located in the historic centre of Florence in the square of the same name, near the church of Ognissanti.
According to the transcription of a plaque already near the high altar, the church was founded in 335 and consecrated in 404 , but is remembered for the first time in 1094 , in a list of priests present at the consecration of Santa Maria Novella . In 1217 it was assigned to the Dominicans , who remained there until 1221 , when they moved to Santa Maria Novella , then to the diocesan clergy, with the elevation to the rank of collegiate with prior and canons.
There is almost nothing left of the Gothic structures of the 13th century, prior to the seventeenth-century restructuring. At that time the church had a high and narrow nave, with a hut facade facing the current Via San Paolino.
Giovanni Boccaccio mentioned it in the Decameron as a church where the poor were buried (day IV novella 7), and also Giovanni Villani remembered it in his Chronicle .
In 1477 Angiolo Ambrogini, the Poliziano , was Prior of this church, until 1486 ; later Leone X suppressed the collegiate church and assigned San Paolino to the Canonici del Duomo , as some coat of arms on the façade recall. Cosimo II , in 1618 , ceded it to the Discalced Carmelites who began in 1669 major renovations directed by Giovanni Battista Balatri and subsidized by the Grand Duke himself. In 1693 the works could be said to be concluded.
The exterior today is very sober, with the unfinished facade, without any covering. There are three portals, with the central one much larger, which leads inside, while the side ones, now generally closed, lead to the side chapels. Above the central portal there are some coats of arms, among which one particularly interesting because in polychrome terracotta glazed with Pandolfini arms, placed within a vegetable wreath held by two cherubs. The other three coats of arms belong to Pope Leo X (in the center), Cardinal Giulio de 'Medici (future Pope Clement VII , left) and the Canonici del Duomo (right).
A huge fire burn over Marsden Moor on the night of the 26/02/2019, these photos show the aftermath and the extent of the fire.
Number:
179387
Date created:
1999
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Powell; 2) Scherer; 3) Vasan; 4) Siberry; 5) McMillan; 6) Dover; 7) Iannone; 8) McWilliams; 9) Gesualdo; 10) Roberts.
Second row, from left to right: 1) Reed; 2) Peddy; 3) Aggarwal; 4) Brown; 5) Fields; 6) Robin; 7) Chiang; 8) Yao; 9) Makker; 10) Lewis.
Third row, from left to right: 1) Straub; 2) Hofert; 3) Reimschisel; 4) Greg; 5) Jacobsohn; 6) Choukair; 7) Sard; 8) Snell; 9) Arana; 10) McCurley.
Fourth row, from left to right: 1) Suzuki; 2) Gossett; 3) Erikson; 4) Fleischer; 5) Clendenin; 6) K. Yohay; 7) Law; 8) Koenig; 9) Cristofalo; 10) O'Riordan.
Fifth row, from left to right: 1) Ensor; 2) Ebel; 3) Lantz; 4) Pai; 5) Hirshfeld; 6) Ellison; 7) Schamber; 8) Kaufman; 9) Sessions; 10) Raffini.
Back row, from left to right: 1) Fadrowski; 2) Soergel; 3) Agrawal; 4) Nechyba; 5) A. Yohay; 6) Van Voorhis; 7) Gunn; 8) Rigby; 9) Baggett.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Powell, Kristina Nevin
Sherer, Susan Denys
Vasan, Sandhya
Siberry, George Kelly
McMillan, Julia
Dover, George
Iannone, Robert
McWilliams, Deborah Bohn
Gesualdo, Lisa Ann
Roberts, Wendy Burk
Reed, Erica Kristine
Peddy, Stacie Bershak
Aggarwal, Sanjay Kumar
Brown, Patrick Andrew
Fields, Michael Jay
Robin, Beverley
Chiang, Lydia Ko
Yao, Tong-Yi
Makker, Manisha
Lewis, Karen Elizabeth
Straub, Diane Marie
Hofert, Sheila Mohajer
Reimschisel, Tyler E.
Garg, Ruchira
Jacobsohn, David Alex
Choukair, Mary K.
Sard, Brian Eric
Snell, Julie Elizabeth
McCurley, Robert Skyler
Suzuki, Manaji Mary
Gossett, Jeffrey Gale
Erikson, Dana Wray
Fleischer, David Mark
Clendenin, Colleen Sue
Yohay, Anne-Lise Jacobsen
Yohay, Kaleb Hayim
Law, Paul Aubrey
Koenig, Allison Jill
Cristofalo, Elizabeth Adele
O'Riordan, Declan Patrick
Ensor, Allison Marie
Ebel, Beth E.
Lantz, Karen Elisabeth
Pai, Namrata
Hirshfeld, Amy Babcock
Ellison, Angela Michelle
Schamber, Pamela Christine
Kaufman, Beth Dawn
Sessions, Jessica Christine
Raffini, Leslie Jane
Fadrowski, Jeffrey John
Soergel, David Griffin
Agrawal, Hans R.
Nechyba, Christian Alexander
Van Voorhis, Kerry Thomas
Gunn, Veronica Lawson
Rigby, Mark Ransford
Baggett, Henry Clifford III
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Format:
Still image
Extent:
1 photoprint.
NLM Unique ID:
101400282
NLM Image ID:
A07175
Permanent Link:
1. What name do you go by?
Richa
2. How do you identify ethnically?
Kashmiri, Indian
3. To what extent does your ethnic identity influence your character, if at all?
’Homeland is one of the magical fantasy words like unicorn and soul and infinity that have now passed into the language’ – Zadie Smith. I think that today it is so easy to see your origins and ethnicity as some sort of far away, almost non existent place that has no bearing on who you are. I feel often that my character completely escapes my ethnic identity – that I have become part of a homogenised, developed world that has replaced race with personality. But then it is impossible to forget that homelands are not imaginary, but real places that exist within each person battling a world that they still do not really ‘fit into.’ I think therefore, that sometimes my ethnicity escapes me (or rather, I escape it), but there is always a Bollywood song, a sentence in a novel, or a phonecall from my mother that serves as a reminder that ‘character’ is such that there is nothing, especially something as integral as ethnicity, that can cease to influence it.
4. Describe a particular incident where you have encountered racism. Keep in mind the definition of racism that I am using is broad. Therefore a racist incident is not necessarily something that should shock and disgust readers but also perhaps something that is very subtle and not overtly racist, but had an impact of making you feel different; othered e.g. someone touching your hair, being questioned about your ethnicity, etc…
Sitting in the park one day with my friend in Brighton, a man came over to ask us for a cigarette and we began talking to him. He had just left prison after serving a 10 year sentence for assaulting someone, and he was telling us not only about his life, but his views on the world. He then moved onto the subject of immigration, and was about to speak about the Muslim community, and before he did he turned around to me and said’ Sorry, no offense you meant to you love.’ And then continued to give the usual arguments against immigration and potential terrorism from Islam. And it stayed with me for so long, because I think I had been naiive enough to believe that general prejudices are changing, and that people look beyond the colour of skin. And what most disconcerts me is that many individuals such as that man are from the lowest income backgrounds in the country, with little access to education that might potentially change these biases. There are hundreds of thousands of people in England who will never see me as a student of English Literature, Welfare Officer of the Students’ Union, etc., but will have to say ‘sorry’ before they go ahead with harsh generalisations about communities that they have made no effort to understand or accept.
5. How do you feel your oppression as a woman of colour differs from a white woman's experience?
Women of colour are often times carrying with them the burden of patriarchy and familial values that a white woman will not have to bear. We may fight to be a lawyer, doctor, artist; and then there is a family in a homeland far away calling you to a pre-arranged marriage. We are fighting on two fronts – we are fighting against racism and sexism, and when the two are brought together, the prejudice is unbearably hurtful. It is a war that splits your body in two, and on both fronts, you lose.
6. Do you feel comfortable identifying as a woman of colour?
Yes. Unable to avoid cliches, I am proud of it. I am proud that I can can identify as part of a group of people who are continously struggling against stereotypes and discrimination, but still able to rise above prejudice to create a space for themselves in today’s world. I think when I read and write I identify most strongly as a woman of colour, since the English language is a space that has been historically dominated by the ‘dead white males’ of the literary canon. Being strongly aware of this allows me to approach literature and writing as a place where these boundaries can be explored and broken, helping women (of colour) to find a space within a language that by nature excludes them.
7. Do you feel there is a problem in homogenising women as one oppressed entity and not acknowledging that women's oppression differs depending on your race, class, disability, sexuality?
Oppression is never the same for any individual, and if we are to say that personal character is influenced by ethnicity, then it is naiive to believe that we can homogenise a group of people until their difficulties can be rationalised under one wide banner. There is never one oppressed entity – be it for women, for black people, for those with disabilities. It differs from person to person, and even when we speak about ‘women of colour,’ it is therefore important to recognise the variety of classes, ages, and ethnic backgrounds that are refered to in the overarching term. Homogenising is a euphemisn for labeling, and when we speak of oppression there shouldn’t be any exception to this rule.
8. If yes, do you think the term woman of colour could mobilise a new radical political agenda, where we understand our experiences as different from other women?
Despite my previous answer that seems to say that there can never be a homogenised entity, it is of course these attempts at homogenising or bringing together that give rise to political movements. Women of colour, as I’ve said before, face on many levels a different feminist battle to that of the white woman, and to politicise it would be a positive and inspired movement towards a discourse of social and political change. It is a battle that millions of women across the world individually take on every day, and it is a revolution that I would be honoured to fight for.
Number:
179349
Date created:
1996
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row: 1) Hom; 2) Torjesen; 3) McMillan; 4) Barone; 5) Dover; 6) Domenech; 7) Ahn; 8) Curet; 9) O'Grady; 10) Gerald; 11) Misra.
Second row: 1) Chiello; 2) Siberry; 3) Sills; 4) Cabana; 5) Neuhaus; 6) Slote; 7) Naiman; 8) Wong.
Third row: 1) Kruse; 2) Bardwell; 3) Kadan; 4) LaRosa; 5) Lee; 6) O'Brien; 7) Levey; 8) Metcalf.
Fourth row: 1) Sharkey; 2) Gould; 3) Nguyen; 4) Cuervo; 5) Ferran; 6) Nunez; 7) Crocetti.
Fifth row: 1) Macauley; 2) Jacobs; 3) Meshinchi; 4) Rockcress; 5) Rice; 6) Loeb; 7) Johnson; 8) Leary; 9) Chaitovitz; 10) Ganunis.
Back row: 1) Lovejoy; 2) Barbe; 3) Rosenthal; 4) Mailander; 5) Dudas; 6) Snead; 7) Kumar; 8) Krugman; 9) Barker; 10) Saha.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Hom, Xenia B.
Torjesen, Kristine A.
McMillan, Julia
Barone, Michael A.
Dover, George
Domenech, Laura
Ahn, Sook Hee
Curet-Salim, Maria Theresa
O'Grady, Denise Maryann
Gerald, Laura Iris Nadine
Misra, Vinod Kumar
Chiello, Christine
Siberry, George Kelly
Sills, Marion Ruth
Cabana, Michael D.
Neuhaus, Ellen M.
Slote, Adam Y.
Naiman, Beverly
Wong, Hui-Hsing
Kruse, Debra Lynne
Bardwell, Susan A.
Kadan, Nina Singh
LaRosa, Angela Rose
Lee, Lucia H.
O'Brien, Colleen Hope
Levey, Eric B.
Metcalf, Teri S.
Sharkey, Martha Ann
Gould, Rebecca B.
Nguyen, Theresa T. H.
Cuervo, Elizabeth Halstead
Ferran, Diane A.
Nunez, Jeanne Sabine
Crocetti, Michael T.
Macauley, Robert C. Jr.
Jacobs, Rebecca F.
Meshinchi, Soheil
Rockcress, Beth R.
Rice, James W.
Loeb, David Mark
Johnson, Mary Heather
Leary, Margaret Chaitovitz, Susan Joan
Ganunis, Travis F.
Lovejoy, John Cooper
Barbe, John David
Rosenthal, Marjorie Sue
Mailander, Mary Catherine
Dudas, Robert Arthur
Snead, Katie L.
Kumar, Gaurav
Krugman, Scott Daniel
Barker, Piers Christopher
Saha, Prantik
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city. Puri is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres spread over 30 wards, which includes a shore line of 5 kilometres.
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not be "cut through" by the streams. Because of the sand hills, the Bhargavi River flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons known as Sar and Samang on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on altar or mandapa was venerated near the coast and prayers offered with vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri and the Purusha became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-Jagannatha and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is located in front of Simhadvara across the eastern corner of the Jagannath Temple is reported to have been built in the 16th century during the reign of Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the gates are decorated with guardian statues in the form of lion, horse mounted men, tigers and elephants in the name and order of the gates. A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said to possess "spiritual animation". Children are made to roll down these steps from top to bottom to bring them spiritual happiness. After entering the temple on the left hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, his older brother, and Subhadra his younger sister, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue) which is the pathway for the Rath Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. The temple is under the Jagannath Temple Administration, Puri – the governing body of the main temple. A small band of servitors maintain the temple.
SWARGADWAR
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
DISTRICT MUSEUM
The Puri district museum is located on the station road where the exhibits are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of this religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later during the night the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
PURI PEOPLE
Gopabandhu Das
Acharya Harihar
Nilakantha Das
Kelucharan Mohapatra
Pankaj Charan Das
Manasi Pradhan
Raghunath Mohapatra
Sudarshan Patnaik
Biswanath Sahinayak
Rituraj Mohanty
WIKIPEDIA
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city. Puri is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres spread over 30 wards, which includes a shore line of 5 kilometres.
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not be "cut through" by the streams. Because of the sand hills, the Bhargavi River flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons known as Sar and Samang on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on altar or mandapa was venerated near the coast and prayers offered with vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri and the Purusha became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-Jagannatha and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is located in front of Simhadvara across the eastern corner of the Jagannath Temple is reported to have been built in the 16th century during the reign of Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the gates are decorated with guardian statues in the form of lion, horse mounted men, tigers and elephants in the name and order of the gates. A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said to possess "spiritual animation". Children are made to roll down these steps from top to bottom to bring them spiritual happiness. After entering the temple on the left hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, his older brother, and Subhadra his younger sister, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue) which is the pathway for the Rath Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. The temple is under the Jagannath Temple Administration, Puri – the governing body of the main temple. A small band of servitors maintain the temple.
SWARGADWAR
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
DISTRICT MUSEUM
The Puri district museum is located on the station road where the exhibits are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of this religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later during the night the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
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Gopabandhu Das
Acharya Harihar
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I thought I didn't care about Explore. Oh sure, a couple of times I'd note my stats on the profile page, but that was the extent. Then one day I noticed that I had 99 images in Explore. In the past,I've had more and I've had fewer, but that 99 nagged at me. I wanted an even 100. So I started using Scout to check my numbers, which of course dropped precipitously as soon as I looked at them. For weeks, I saw the numbers inch up and down. Finally, my patience was rewarded. I've captured the moment and now can go back to thinking I don't really care about Explore.
1. ruffles, 2. daffodils in window, 3. Silver Self-portrait, 4. dewy branch, 5. candy canes close, 6. gerbera, 7. tomatoes squaredcircle, 8. sepals,
9. petals2, 10. daisy from below, 11. The Prince, 12. triplets, 13. lily of the valley, 14. wet bleeding hearts, 15. spring vegetables sc, 16. halloween,
17. bouquet, 18. tulips, 19. more oddly colored daisies, 20. glazed fruit tart, 21. sunrise, 22. sunset over frozen Lake Nagog, 23. icicles, 24. snowy sunset,
25. cattails, 26. flame, 27. branch pattern, 28. "It's the Great Pumpkin, Charlie Brown!", 29. foggy morning, 30. morning mist 3, 31. raspberries, 32. variations on a theme,
33. Happy birthday, Jess!, 34. waterlily, 35. Henry at the basement window, 36. cut watermelon squared circle, 37. purple loosestrife4, 38. the sentry, 39. peony, 40. maple leaves,
41. peony, 42. red Japanese maple, 43. workshoes, 44. apple blossom--close, 45. bouquet, 46. asparagus, 47. Huh?, 48. farmstand in winter,
49. brook in early morning, 50. white orchids, 51. Wait your turn!, 52. kiss me, I'm yours, 53. Happy Valentine's Day, 54. cat blanket, 55. lightshow2, 56. hall window from the inside,
57. single lavender hydrangea, 58. furry feet of sleeping cat, 59. classic pincushion, 60. Happy Furry Friday, 61. Henry cleaning himself at the window, 62. snow-covered branches close-up, 63. cat's eye, 64. mirror,
65. What a face!, 66. snowberries, 67. facewash 2, 68. Lucky�for Furry Friday, 69. lady lion tamer (postcard), 70. Lady on ostrich (postcard), 71. Ada and her snake (old postcard), 72. misty field 2
Created with fd's Flickr Toys.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Somehow I had missed Boxley from previous crawls in the area. I guess, once upon a time, Boxley was a quiet village halfway up the downs, relying on sheepfarming for its income. In the 21st century, its just a suburb of Maidstone, though a mile or so outside the county town.
All Saints popped up on the churchcrawling group on Facebook, and thought it looked interesting, which is something of an understatement.
We arrived at just after eleven, in the lych gate there was a sign saying the church was open, so, result!
Approaching the church aloong a stone path it feels very un-Kent-like, especially as entrance to the church is in the very west end.
You enter, and are in a large space, in fact this was the Norman chancel of the original church, then into the space below the west tower, and there is the door into the church as it is now.
But I could hear voices from within, probably wardens cleaning, or so I thought...
But turned out to be a lecture on wildflowers; maybe i should crash it? But don't.
We find a leaflet and find that it had been going on nearly an hour, so we go to sit outside to see if it was going to end on the hour mark....
We give up after 20 minutes, but decide to visit a third church, then come back. Maybe it would be free then......
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The church lies at the far end of the village green. Visitors who do not first walk around the outside of the church wonder if they are ever going to get in - for they have to walk through two rooms first! From the outside it is not so puzzling; the first room is in fact the nave of the Norman church. Then comes the base of the fifteenth-century tower, built on the site of the Norman chancel. Only after we have gone through this do we come to the church proper - a complete fourteenth-century structure. It is wide, with two aisles, and relatively short. The chancel is well proportioned and has a definite lean to the south indicating medieval building error.
www.kentchurches.info/church.asp?p=Boxley
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BOXLEY.
ADJOINING to Maidstone north-eastward lies the parish of Boxley, written in Domesday, Boseleu, and in the Textus Roffensis, Boxele and Boxle, a parish noted, as well for the famous assembly of the whole county, held at Pinenden heath, within the boundaries of it, in the reign of the Conqueror, as for the abbey not long afterwards founded in it.
THE VILLAGE of Boxley situated at the foot of the chalk hills, above which this parish extends among the coppice woods, over a barren dreary country covered with flints, to Dun-street, at the northern boundaries of it. Southward it extends to the rivulet in the valley, at a very small distance from the town of Maidstone, a length of near four miles, the width of it is not more than three at its greatest extent, and in most parts much less; the soil from its extent is of course various, to the northward it is chalk; in the middle, and towards the west a deep sand; to the eastward a wet cludgy earth, and to the south and south-east for the most part a not unfertile loamy soil bounding upon the rock. It is a situation much more healthy than it is pleasant, owing to its chalky and sandy soils, and its bleak situation. The village is watered by a clear spring, which rises just below the church, and directs its course through the street; this spring, as well as another, which rises likewise at the foot of the chalk hill, just above Boxley abbey, are both very inviting to the sight, but the water is very hard and unfit for culinary uses, especially the latter, which in two months will petrify wood, the incrustation resembling brown and unpolished marble. These join just below the abbey, and flow together into the Medway, almost opposite to Allington castle.
The village lies on a descent from the hills, there are several genteel houses in it; at the upper or northern part of it is Boxley house, lord Romney's, inhabited by his three sisters and Mr. Coker; somewhat lower down is a house, which for many years was the property and residence of the family of Charlton, who bore for their arms, Or, a lion rampant gules, the last of them, John Charlton, esq. dying in 1770 unmarried, it came by his will, together with the chief of his other estates, to his eldest nephew, the Rev. George Burville, (son of the Rev. Henry Burville, by Anne his sister). The Burvilles bear for their arms, Argent, a chevron between three oak leaves erect, vert. Mr. Burville married Juliana, daughter of William Bowyer, esq. of Denham, in Buckinghamshire, by whom he has a son John, and daughter Frances, married to the Rev. Philip Rashleigh. He is the present possessor of this house, in which he resides; below this is the parsonage and vicarage, the latter a handsome genteel house, and just above it at a small distance from the east side of the street, the church; almost adjoining to Mr. Burville's house, is another more antient one, called Park-house, once part of the estate of Boxley abbey, and afterwards in like manner, the estate of Sir Thomas Wyatt, whose son forfeited it for treason in the 1st year of queen Mary How it passed afterwards I have not found, though it seems never to have been restored to his descendants; in the beginning of the present century it was in the possession of the family of St. John, in which it remained till Mrs. St. John joining with her son, Paulet St. John, sold it in 1720 to Maudistley Best, esq. (son of Mr. Thomas Best, of Chatham) who resided and kept his shrievalty here in 1730, bearing for his arms, sable, two cross croslets in chief, and a cinquefoil in base, or. He died in 1740, leaving two sons, Thomas, late of Chilston, esq. and James, of Chatham, and a daughter, married to the hon. Robert, afterwards lord Fairfax, of Leeds castle, who died s. p. He gave by will this seat to his youngest son James, who served the office of sheriff in 1751, and resided here at times, and died in 1782, leaving by Frances his wife, one of the daughters of Richard Shelley, esq. four sons and four daughters, to the eldest of the former, Thomas Best, esq. he by will gave this house and his estate in this parish, and he now resides in it. There has been from time immemorial a warren for rabbits here, the lands of which lay close at the foot of the chalk hills, it formerly belonged to Boxley abbey, and was afterwards in the possession of the Wyatts, and is now from them the estate of lord Romney, and there was likewise another part of it used likewise as a warren, lying near Pinenden-heath, which was part of the Park-house estate, and as such, is now the property of Mr. Best, but the name only remains, the rabbits having been for some time destroyed, and the land made arable. About a mile. eastward from the village in a low flat situation, at no great distance from the high road from Rochester to Maidstone, is Boxley abbey, with a small hamlet of houses near it, and nearer to the hills the abbey farm. The plantations of the estate called the Park-house, likewise, the old seat of which was situated in Maidstone parish, near the high road to Rochester, as has been already described, extend into the western part of this parish. The late Sir Henry Calder, whose property it was, pulled down the old house, and on a beautiful spot near adjoining, though within this parish, began a handsome stone mansion, which after his death was finished by his widow, who with her son Sir Henry, for some time resided in it; it is now inhabited by Mr. Osborne. At a small distance eastward from hence, in nearly the centre of this parish, excepting that Maidstone stretches itself with a point or nook over a part of it, is that noted plain Pinnenden, now usually called Pickenden heath, a place made famous in early times; the western part is in Maidstone parish, the remainder in this of Boxley. From its situation almost in the middle of the county or shire of Kent, this heath has been time out of mind used for all county meetings, and for the general business of it, the county house for this purpose, a poor low shed, is situated on the north side of it, where the sheriff continues to hold his county court monthly, and where he takes the poll for the members of the county, and for the coroners, the former of which, after a few suffrages is usually adjourned to Maidstone; on a conspicuous hill on the opposite side of the heath, though in Maidstone parish, is the gallows, for the public execution of criminals condemned at the assizes.
At the time of the conquest it was the noted place for the public meetings of the county; for in the book of Domesday there is mention made, that when the inhabitants of Kent were summoned to meet ad sciram, that is, in public assembly at the shyregemot or Sheriff'stourn, for the trial of certain customs therein mentioned, they should go for that purpose as far as Pinnedenna, but no further.
In the year 1076, being the 11th of the Conqueror's reign, a famous assembly was held at this place on the following occasion.
Odo, bishop of Baieux and earl of Kent, had by means of his great power, defrauded the church of Canterbury of many manors and lands, and of several liberties, and had kept possession of them; but upon Lanfranc's being made archbishop in the year 1070, he represented the whole of the injury done to his church to the king, who forthwith commanded that it should be enquired into and determined by the nobles, and other competent men, not only of this county, but of the other counties of England, assembled for this purpose at this heath.
There were present at this meeting Goisfrid, bishop of Constance, who sat as the king's representative on this occasion; archbishop Lanfranc, who pleaded his church's cause; Odo, earl of Kent, who defended himself against his accusers in what he had done; Ernest, bishop of Rochester; Agelric, bishop of Chester, an antient man, and well versed in the laws of the realm; who on account of his great age was, by the king's order, brought hither in a waggon, in una quadriga; Richard de Tunebrige, Hugh de Montfort, William de Arsic, Hamo Vicecomes or Sheriff, and many others, barons of the king and of the archbishop, many tenants of those bishops, and many others of good and great account, as well of this as of other counties, both French and English.
This trial lasted three days, at the end of which the archbishop recovered several of the antient possessions of his church, as well from Odo as from Hugh Montfort and Ralph de Curva Spina or Crookthorne, and established the liberties of it, in matters between the king and himself. (fn. 1)
On the south side of the heath the turnpike road from Maidstone through Detling to Key-street aud Sittingbourn crosses this parish, and another branches off from hence to Bersted and Ashford; in the southern part of it are the hamlets of Grove green and Wavering-street, Newnham court, and the beautiful seat of Vinters, most pleasantly situated; below which in the vale is the stream which turns the paper mills, and separates this parish from Maidstone. At Grove, as has been already noticed, is a remarkable fine vein of fuller's earth, by the working of which Mr. John Watts, the owner of it, at the beginning of this century, became famous. But this earth was in working in 1630, at which time John Ray, merchant, of London, was sentenced to a severe fine and punishment in the Star Chamber, for transporting of it clandestinely to Holland. (fn. 2) This vein lies about thirty feet deep, and is about seven feet thick. There are two sorts of it, the blue and the dark grey, the latter of which lying under the former is most valuable; a great quantity of this earth is sent from hence by sea for the use of the clothiers in distant countries. For the manufacture carried on in this parish for the making of paper there are four sets of mills, two of which are situated at the south-east extremity of it, on the stream called the Little River, which rises near Lenham, and runs by Leeds castle hither; the upper ones, belonging to lord Aylesford, and the lower ones to Messrs. Hollingworth's; the other two are situated on the western side of the parish, near Aylesford, on the rivulet which rises under the chalk hills, and are made use of for making an inferior kind of merchandize, one of these belongs to lord Romney. The lower mills above-mentioned belonging to Messrs. Hollingworth, stand at a small distance on the north side of the road leading from Maidstone to the Mote, and are called the Old Turkey Mills, they deserve a more particular notice in this place for their superiority, as well in the many extensive buildings, machines and conveniences erected for carrying on this large and curious manufacture, and the number of people continually employed in the different branches of it, as the easy and regular method, and the neatness with which the whole is conducted. They were formerly used as fulling mills, but on the decay of the cloathing trade in these parts, were, by Mr. Gill, the proprietor, converted into paper mills, and used by him as such for a few years; he sold them to Mr. James Whatman, who in 1739 pulled the whole of them down, and erected them on a much more curious and extensive plan, which was afterwards much more improved by his son James Whatman, esq. who with infinite pains and expence, brought his manufactory of writing paper, for no other sort is made here, to a degree of perfection, superior to most in the kingdom. In 1794 he sold these mills to Messrs. Hollingworth, and retired to Vintners, where he now resides, and they now carry on this manufacture here; under the buildings is a strong chalybeat spring, which however does not produce any great quantity of water. In 1711 a Roman urn was dug up at Grove, by the workmen, near the vein of Fuller's earth there, as several others have been since, with other relics of antiquity and coins, both there and at Vintners, most of the coins having the inscription of the emperor Adrian, and the like have been from time to time discovered at Goddard's hill, in this parish, where there are several stones set up similar to those about Horsted.
OUR BOTANISTS have observed the following scarce plants in this parish:
Borago minor silvestris, small white bugloss, or German madwort.
Scopyllum angustifolium glabrum, smooth narrowleased thyme.
Buxus, the box tree, which grows plentifully in the woods here. (fn. 3)
Stellaria sanicula major, ladies mantle.
BOXLEY, at the time of taking the general survey of Domesday, was part of the vast estate of Odo, the great bishop of Baieux and earl of Kent, the Conqueror's half-brother; in which record it is thus described:
Robert Latin holds to ferm Boseleu. It was taxed at seven sulings in the time of king Edward the Confessor, and now at five sulings. The arable land is twenty carucates. In demesne there are three carucates, and fortyseven villeins, with eleven borderers having sixteen carucates. There are three mills of thirty-six shillings and eight-pence, and sixteen servants, and twenty acres of meadow. Wood for the pannage of thirty hogs. In the time of king Edward the Confessor, and afterwards, it was worth twenty-five pounds, now thirty pounds, and Robert yet pay fifty-five pounds. Alnod Cilt held it.
Four years after the taking of the above survey, about the year 1084, this estate, on the bishop of Baieux's disgrace, became forfeited to the crown, among the rest of his possessions.
In the year 1146, (fn. 4) William d'Ipre, earl of Kent, who afterwards became a monk himself at Laon, in Flanders, (fn. 5) founded an ABBEY at this place for monks of the Cistertian order, some of whom he brought from Claravalle, in Burgundy, for this purpose, and dedicated it to the Virgin Mary, as all the houses of this order were. The first monastery of this order in England was at Waverly, which was built in 1129, by Walter Gifford, bishop of Winchester. They were a branch of the Benedictines, called by the English, from their habit, White monks, and likewise Cif tertians; which last name they had from the town of Cistertium or Cisteaux, in the bishopric of Chalons, in Burgundy, where this order was first instituted by Robert, abbot of Molesme, in the year 1098. There were eighty-five houses of this order, at the time of the dissolution, in England.
King Richard I. in his 1st year, anno 1189, gave the MANOR of BOXELE (fn. 6) to this abbey, which king Henry III. in his 37th year, confirmed by his letters of inspeximus. (fn. 7)
King Henry III. in his 37th year, granted to the abbot and convent to hold a market weekly within their manor of Boxley. (fn. 8) The place where it was held appears to have been called Farthings.
In the 7th year of Edward I. the abbot claimed, before the justices itinerant, certain liberties, by the charters of king Henry and king Richard, and the confirmation of them by the charter of king Henry, the then king's father. And he claimed to have warren in all his demesne lands in Kent and Surry, which he had in the time of king Henry, the king's father; and that he and his predecessors had fully used those liberties, &c. and it was then found, that the abbot had in his manor of Boxley a free court, &c. and that the tenants of the manor ought to plead in the hundred of Maidstone, pleas of Withernam, &c. and that the abbot ought to allow pannage, &c, and that the tenants of the manor owed pontage, and paid it to Rochester bridge. (fn. 9)
The abbot of Boxley was summoned to parliament twice in the 23d year of king Edward I. once in the 24th, and twice in the 28th years of that reign, but never afterwards, that I can find. (fn. 10)
In the reign of king Henry III. there were sixtyfour abbots and thirty-six priors summoned to parliament; but this number being thought too great, king Edward III. reduced them to twenty-five abbots and two priors, to which were afterwards added two more abbots, so that there were no more than twentynine in all, who statedly and constantly enjoyed this privilege, of which only St. Austen's, near Canterbury, was in this county. (fn. 11)
King Edward II. in his 15th year, honoured this abbey with his presence, where, on Oct. 25, he granted to the aldermen and citizens of London to nominate a mayor out of their own body, at his will. (fn. 12) King Edward III. in his 33d year, granted to the abbot, &c. free warren in their manor of Boxele, &c. (fn. 13)
In the reign of king Richard II. the revenues of this abbey were valued at 218l. 19s. 10d. of which 98l. 19s. 7d. was in the diocese of Canterbury, (fn. 14)
John Dobbes, the last abbot, and the convent of Boxley, surrendered it into the hands of Henry VIII. on January 29, in the 29th year of his reign, (fn. 15) and it was, together with all the lands and possessions belonging to it, confirmed to the king and his heirs, by the general words of the act, passed in the 31st year of that reign for this purpose; after which there were pensions allowed to the abbot, 50l. and to eight of the canons, from 2l. 13s. 4d. to 4l. yearly, for their lives, or until the person was promoted to a benefice of equal or superior value; the five last of which pensions remained in charge in 1553. (fn. 16)
It was endowed, at its dissolution, with 204l. 4s. 11d. per annum, clear revenue, according to Dug dale; or, according to Speed, with 218l. 9s. 10d. per annum, yearly income. (fn. 17)
The coat of arms belonging to it was, Argent, a dexter bend lozenge, gules; on a canton of the second, a crozier or pastoral staff of the field. (fn. 18) This coat, without the crozier, as also another, being a pastoral staff, surmounted of a bend, are still remaining carved in stone on the capitals of two pillars, from which springs a small circular arch in the garden, at the back of this abbey.
There was a chapel, dedicated to St. Andrew the apostle, founded hard by the outer gate of this monastery, which was served by a curate appointed for that purpose.
The lands of the abbey of Boxley, of the order of Cistertians, were as such, in particular circumstances, exempted from the payment of tithes. Pope Pascal II. exempted all the religious in general from the payment of tithes for lands in their own occupation, and this continued till the reign of Henry II. when pope Hadrian IV. restrained this exemption to the three religious orders of Cistertians, Templars, and Hospitallers, to which pope Innocent III. added a fourth, viz. the Præmonstratenses, from whence these were generally called the four privileged orders. After which the general council of Lateran, in 1215, further restrained this exemption to lands in their own occupation, and to those which they possessed before that time. After this the Cistertians procured bulls to exempt all their lands likewise which were letten to farm. To restrain which, the statute of the second of king Henry IV. cap. 4. was made, which enacted, that whoever, religious as well as secular, should put these bulls in execution, and purchase any others, and by colour of them should take any advantage in any shape, should be guilty of a præmunire. This restrained their privilege again to such lands only as they had before the Lateran council above mentioned; so that the lands they afterwards acquired are in no wise exempted, and this statute left them subject to the payment of such composition for tithes of their demesne lands as they had made with any particular rectors, &c. who contesting their privileges, even under that head, brought them to compound. This monastery of Boxley was one of those dissolved by the act of the 31st of king Henry VIII. the only ones which continued these privileges to their possessors afterwards; by which act, as well the king, his heirs and successors, as all others who should have any of those monasteries, their lands or possessions, were to hold and enjoy them, according to their estates and titles, discharged and acquitted of payment of tithes, as freely, and in as large and ample a manner as the late abbots, priors, &c. of the same before held them. (fn. 19)
In the Registrum Roffense, (fn. 20) are the names of the fields, woods, and other premises in the parish of Boxley, of which the abbot and convent here should in future be free and exempt from the payment of all tithes whilst they were in their own hands.
In the church of this abbey was the statue of St. Rumbald, usually called by the common people, St. Grumbald, which was held in great reverence for his fancity by them, for the miracles it was said to perform.
¶King Henry VIII. in his 32d year, exchanged with Sir Thomas Wyatt, of Allynton, for other premises, the house and scite of this monastery, lately dissolved, and the church, steeple, and church yard of it, with the buildings, lands, &c. as well nigh and adjoining to the scite and precinct of it, his lordship of Boxley, Hoo, and Newenham court, with their appurtenances and the farm and lands, called Upper Grange, and all lands, tenements, and other premises late belonging to it, in the parishes, townships, or hamlets of Boxley, Boxley-street, Burley, Burthin, Sandelyng, Wilston, Wavering, Havurland, Oxefiyth, Dunstreet upon the Hill, and elsewhere, in Kent, excepting to the king the parsonage of Boxley and the advowson of the parish church; (fn. 21) all which were soon afterwards again vested in the crown, as appears by the Escheat rolls of the 38th year of that reign, (fn. 22) when the king regranted the whole of them to Sir Thomas Wyatt, son of Sir Thomas before mentioned, to hold in capite by knight's service, who having, in the 1st year of queen Mary, with other gentlemen of note in this county, raised a rebellion, was found guilty of high treason, and executed that year, and his estate was consiscated to the crown; but the queen, through her bounty, the next year, granted the manor of Boxly, with the Upper Grange, and some other lands adjoining, to his widow, the lady Jane Wyatt, (daughter and coheir of Sir William Haut, of Bourne) and her heirs male, to hold in like manner. On her death, her son, George Wyatt, succeeded to them; but the abbey seems to have continued in the crown, for queen Elizabeth, in her 11th year, granted the scite and mansion of it to John Astley for a term of years. In the 13th year of that reign, George Wyatt, esq. was restored in blood by act of parliament, after which he became possessed of this seat, and resided here, having the fee of it granted to him by the crown. He died in 1624, and was buried in the chancel of this church, as were his several descendants, who bore for their arms, Per fess azure and gules, a barnacle argent, the ring or; he left several sons and daughters, of whom the second son, Haute Wyatt, was vicar of this parish; and Francis, the eldest, succeeded him in the manor of Boxley, the mansion of the abbey, the Grange, and his other estates in this parish. He was afterwards knighted, and was twice governor of Virginia. He died in 1644, leaving two sons, Henry, his eldest son and heir, and Edwin, who afterwards became possessed of this manor, seat, and estates, above mentioned, and a daughter, Elizabeth, who married Thomas Bosvile, esq. of Littlemote in Eynsford, esq. whose daughter Margaret became the wife of Sir Robert Marsham, bart. great grandfather of the present lord Romney.
Henry Wyatt, esq. was of Boxley abbey, and left an only daughter and heir, Francis, who carried this manor, seat, with the Grange and other estates above mentioned, in marriage to Sir Thomas Selyard, bart. but Edwin Wiat, the younger brother of Henry above mentioned, disputing at law the lady Selyard's title to them, recovered the manor of Boxley, with other estates last mentioned, in this parish and elsewhere; but the abbey, with the lands belonging to it, remained in the possession of Sir Thomas Selyard, as will be mentioned hereafter.
BOXLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to All Saints, stands on the east side of the village; it is not large, but neat, and contains three isles and a chancel, with a handsome square tower at the west end, in which hang four small bells, which were cast in 1652, by M. Darby.
In this church, before the Reformation, was a famous rood, called the Rood of Grace, which was held in great esteem for the miracles it was supposed to work. It was broken to pieces by the king's command at St. Paul's cross, in London, on Sunday, February 24, 1538, in the presence of John Hilsey, bishop of Rochester, and a vast concourse of the populace. (fn. 35)
The church of Boxley was given by king Henry I. in 1130, to the church of Rochester, with all its liberties and rights, in like manner as his chaplain, Jeffry or Ansfrid, the clerk, had ever held it; but that church and monastery, having been destroyed by fire, and the monks dispersed abroad, king Stephen, in 1137, dispossessed them of this church, which, howeever, on their return to their monastery, was on their remonstrance to the court of Rome, by the pope's bull, restored and confirmed to them; and Walter, bishop of Rochester, not only confirmed to them the appropriation of it, but granted to them the free disposal and presentation of the vicarage, saving the right of the bishop of the diocese; which grant was confirmed likewise by the several archbishops of Canterbury afterwards.
In the year 1180, there was an agreement made between the monks of Boxley and those of Rochester, concerning the parochial tithes of this church; by which the latter granted to the former a certain field belonging to the parish church of Boxley, above the hills, but by the consent of the former they retained out of it for ever half an acre of wood for fencing; and the monks of Rochester granted to those of Boxley all the tithes above the hills of all lands, as well of those free lands, which the latter had of the king's gift, as of those which they had acquired, to be held finally in villenage, or might acquire in future, at any time for their own use; and likewise certain land belonging to this parish church, under the hill, with the meadow adjoining, between the abbey and village of Boxley; on the other hand, the monks of Boxley granted to those of Rochester all their tithes under the hills, without the bounds of the abbey and grange; that is to say, of all corn only and pulse, of all their lands under the hills, as well of those antiently as newly cultivated, and which they had from the foundation of the abbey, or might bring into culture at any time in future; and that the monks of Rochester should have all the tithes on the sides of the hills of all lands which at that time, or before were reduced to culture, excepting the field which the monks of Boxley bought of John de Horespole; which composition was confirmed by Richard, archbishop of Canterbury.
The confirmations of this church to the priory seem afterwards to have been but little regarded, and they were again dispossessed of it, with a reservation of 60s. annual pension only from it; and it appears, that the bishop of Rochester, together with the prior and convent, used to present to it on a vacancy, till the time of archbishop Islip, who at the petition of the monks, with the consent of the bishop, in 1363, restored this church to them, in as ample a manner as they had before held it; and he granted them full liberty to reenter into the corporal possession of it, with all its rights and appurtenances, on the vacancy of the rector then incumbent on it; reserving, nevertheless, in the first place, a proper portion out of the fruits and profits, for the maintenance of a perpetual vicar, at the presentation of the bishop, to be instituted by him and his successors, and for the due support of the episcopal and archidiaconal burthens, and others belonging to it; and a vicarage was afterwards accordingly endowed in it by archbishop Sudbury, in the year 1377. (fn. 36)
In 1403, a definitive sentence was passed concerning the tithes of this vicarage; (fn. 37) at which time, and so late as the year 1485, this church and advowson belonged to the priory of Rochester, for in the latter year, archbishop Bouchier, cardinal and apostolic legate, confirmed the appropriation of it to them; and a composition was entered into, anno 20 Richard II. between the prior and convent, and Adam Motrum, archdeacon of Canterbury; that as the archdeacon and his archdeaconry was detrimented in the yearly sum of 6s. 8d. the like sum should be yearly paid to the latter, out of the profits of it so long as they possessed it.
The appropriation, as well as the advowson of the vicarage, seems very soon afterwards to have passed into the hands of the prior and convent of Boxley, tho' by what means I do not find, before its dissolution, which happened in the 29th year of king Henry VIII. for that king, by his dotation charter, in his 32d year, settled his rectory and church of Boxley, late belonging to the dissolved monastery of Boxley, and the vicarage of it, on his new erected dean and chapter of Rochester, part of whose possessions they now remain.
In the 15th year of king Edward I. this church was valued at 32l. the vicarage is valued in the king's books at 12l. 19s. 2d. and the yearly tenths at 1l. 5s. 11d.
King Henry VIII. in his 29th year, let to Thomas Vicary, one of his surgeons, the tithes of corn and the glebe lands of this rectory, and the capital messuage, houses, and buildings belonging to it, and ten pieces of land, late belonging to the monastery of Boxley and the advowson of the vicarage, for twenty-one years, at the yearly rent of forty pounds.
In the exchange of lands, made between Henry VIII. and Sir Thomas Wyatt, in the 32d year of his reign, the parsonage of Boxley, and the advowson of the vicarage, with their appurtenances, were particularly excepted, to remain to the king's use.
By a survey of this parsonage, on the abolition of deans and chapters, after the death of king Charles I. in 1649, by order of the state, is appears, that the par sonage-house, a fair and goodly house, with its appurtenances, tithes, &c. late belonging to the late monastery there, and forty-eight acres, three roods, and two perches of land, in the improved rents, were the whole of them worth 140l. 3s. 6d. per annum; and were let by the dean and chapter, anno 15 Charles I. to Robert Parker for twenty-one years, at the yearly rent of 26l. 13s. 4d. and twelve couple of conies, or 16s. in money; that the lessee was bound to repair the chancel, and that the vicarage, which was excepted out of the lease, was worth sixty pounds per annum.
The present lessee of the parsonage is Mr. William Fowle; the vicarage is reserved out of the lease of it, and is in the disposal of the dean and chapter.
The vicar of Boxley has belonging to him all tithes of wood, hops, hay, clover, cinquefoil, flax, wold, wool, lambs, milk, eggs, apples, cherries, and other fruit, and of pasture; his dues are, for burials, 2s. for marriages, 5s. for christenings in houses, 2s. 6d. and for churchings at church, 6d. at home, 1s. for Easter offerings he can demand of every person, above sixteen years old, 6d. so of a man and his wife, 1s.
He has a pension of 8l. per annum, payable out of the exchequer, as an augmentation; the fees for receiving of which are, if he receives it himself, 12s. if by another, 20s. (fn. 38)
¶The land the vicarage house, with its appurtenances, stands on, with the garden and court yard, is not above the third part of an acre; which, with the herbage of the church yard, is all the glebe the vicar has. The house, which is built of brick, and sashed, is handsome and commodious, and has proper offices adjoining to it. It was erected by Mr. archdeacon Spratt, whilst vicar of this parish; since which it has been considerably improved by Dr. Markham, vicar likewise, now arch bishop of York, who sometimes resided in it, as did his successor, Dr. North, now bishop of Winchester.
In 1733, the vicarage was valued at 200l. it is now 300l. per annum.
Bishop Henry de Sandford, by his decree temp. Henry III. at the petition of the vicar and parishioners, changed the feast of the dedication of this church, from the 10th of February to the Monday next after the feast of St. Peter and St. Paul.
This scene has certainly changed - but to what extent is not clear from satellite images.
1983 September 21.
Number:
164495
Creator:
Brinley of Baltimore
Date created:
1963-09-04
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Scope and content:
Front row: 1) Helena E. M. Stratton; 2) Patience Anne Menicon; 3) Connie Stoltzfus; 4) Jane Balfor; 5) Margo Alin Tafft; 6) Jo Ann Hughes. Second row from front: 1) Cynthia Elaine Nizer; 2) Chrisitine Agnes Canoles; 3) Merrill Cecelia Scharnagle; 4) Rebecca Jane Sharpless; 5) Karen Ann Hellmers; 6) Katherine Louise Senger; 7) Sandra Lee Savage; 8) Elizabeth Penelope Walters; 9) Linda Ann Edwards; 10) Joan Marie Scheeler; 11) Carole Elaine Drabo Heil; 12) Carol Island Crawford; 13) Eileen Marda Wallace; 14) Joanne May Vogel; 15) Barbara Jane Richards; 16) Barbara Ann Ray; 17) Kathryn Ann Hughes; 18) Jane Blue Alrich; 19) Margaret Catherine Parry. Leftmost row up stairs: 1) unidentified; 2) Susan Manning Field; 3) Sally Ellen McKinney; 4) Margaret Rose Leshko. Rightmost row up stairs: 1) Mildred Chloe Burch; 2) Laura Louise Cutting; 3) Mary Deborah Byrnes; 4) Gemima Leonardo; 5) Marilyn Jo Epperson; 6) Joyce Marie Parks
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Alrich, Jane Blue
Blevins, Betty Lou
Burch, Mildred Chloe
Byrnes, Mary Deborah
Cannoles, Christine Agnes
Crawford, Carol Island
Cutting, Laura Louise
Deane, Linda Rae
Edwards, Linda Ann
Epperson, Marilyn Jo
Field, Susan Manning
Haviland, Penelope Cooper
Heil, Carole Elaine
Hellmers, Kaaren Ann
Hughes, Jo Ann
Hughes, Kathryn Ann
Leonardo, Gemima
Leshko, Margaret Rose
McKinney, Sally Ellen
Menicon, Patience Anne
Nizer, Cynthia Elaine
Nuttle, Emily Dabney
Parks, Joyce Marie
Parry, Margaret Catherine
Ray, Barbara Ann
Richards, Barbara Jane
avage, Sandra Lee
Scharnagle, Merrill Cecelia
Scheeler, Joan Marie
Senger, Katherine Louise
Sharpless, Rebecca Jane
Stratton, Helena Elizabeth
Tefft, Margo Alin
Vogel, Joanne May
Wallace, Eileen Marda
Walters, Elizabeth Penelope
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Graduation ceremonies--Maryland--Baltimore--1960-1970
Nursing schools--Faculty
Group portraits
Portrait photographs
SOURCE: www.youtube.com/watch?v=nbzei7qXvsA
The full Yad Vashem video used to be at the URL below, but they soon replaced it with an edited version.
www.youtube.com/watch?v=6OftL05GLq8
While Russia’s ongoing assault on historical truth is no longer a surprise, it was amazing to witness the extent to which the fake history that Russian propagandists have invented was given a platform at the “World Holocaust Forum” that took place at Yad Vashem in Israel in January 2020, just ahead of Holocaust Remembrance Day and the 75th anniversary of the liberation of Auschwitz. The forum, which was organised by Russian oligarch Viatcheslav “Moshe” Kantor (a Moscow-born fertiliser magnate and close ally of Vladimir Putin) in collaboration with Yad Vashem, and sponsored by Israel's president and foreign ministry, coincided with a hysterical barrage of disinformation and propaganda that Russia launched against Poland as the 75th anniversary of the allied victory over Nazi Germany was approaching.
stillunusual.tumblr.com/post/190432779246/the-kremlin-thi...
As well as allowing a despot like Putin to take the stage and spout a ton of hypocritical nonsense about “peace” and “tolerance”, the forum’s opening presentation showed a highly inaccurate map of Europe on the eve of the Second World War that included a fake border dividing Poland roughly into the areas assigned to Nazi Germany and the Soviet Union in the secret protocol of the Molotov-Ribbentrop pact, which the two dictatorships signed on 23rd August 1939, prior to their mutual invasion of Poland.
Not only that, the map implied that Polish territory to the east of this fake border was a separate country called Belarus, which didn’t actually exist at the time. It’s true that the USSR did subsequently incorporate the northern part of eastern Poland into the Byelorussian Soviet Socialist Republic, but this only happened after the Nazi-Soviet invasion and occupation of Poland had taken place. The southern part of eastern Poland was simultaneously incorporated into the Ukraininan Soviet Socialist Republic, but I guess that inventing a fake pre-war Ukrainian state wouldn’t make sense to Russian propagandists, in view of contemporary Russia’s ongoing annexation of Ukrainian territory and its brutal campaign to destroy Ukrainian independence.
The presentation then showed Nazi Germany invading and taking over the parts of Europe that were in its “sphere of influence” according to the Molotov-Ribbentrop pact, but failed to show that the Soviet Union was doing the same thing at the same time - invading and occupying not just eastern Poland but also Lithuania, Latvia and Estonia, as well as parts of Finland and Romania (and committing war crimes against the people of those countries).
Pretending that these events never happened was a calculated insult to the victims of Soviet oppression that fits perfectly with Russia’s fake version of history in which the Second World War only started in 1941 (when the Soviet Union performed the great patriotic u-turn and joined the allies fighting against Germany, after being betrayed by their former allies the Nazis).
When the presentation moved on to the subsequent defeat of Nazi Germany, no distinction was made between the western allies liberating the countries of western Europe, and the Soviet Union adding the countries of eastern Europe to its empire, subjecting them to a decade of Stalinist terror and a total of nearly half a century trapped behind the Iron Curtain - wasted years that left them destitute in every sense of the word when they finally overthrew communist rule at the end of the 1980s.
In his keynote speech, Putin made the false claim that 40% of the Jews who died in the holocaust were Soviet Jews, which could only be true if territories invaded and occupied by the USSR as a result of the Molotov-Ribbentrop pact were regarded as Soviet.
While accusing others of collaborating with the Nazis, he had nothing to say about the extensive collaboration between Nazi Germany and the Soviet Union that lasted from August 1939 to June 1941.
He somehow forgot to mention the fact that the Nazis and Soviets held a joint military parade in Brest-Litovsk during their invasion of Poland in September 1939.
en.wikipedia.org/wiki/German%e2%80%93Soviet_military_para...
He also avoided talking about the huge economic and military support that the USSR provided to their Nazi allies, which ironically also helped the Germans in their preparations to launch Operation Barbarossa in June 1941.
More details here....
Nazi–Soviet economic relations (1934–1941)
en.wikipedia.org/wiki/Nazi%E2%80%93Soviet_economic_relations
The Nazi–Soviet Commercial Agreement (1939)
en.wikipedia.org/wiki/German%E2%80%93Soviet_Commercial_Ag...
The Nazi–Soviet Commercial Agreement (1940)
en.wikipedia.org/wiki/German%E2%80%93Soviet_Commercial_Ag...
The Nazi–Soviet Border and Commercial Agreement (1941)
en.wikipedia.org/wiki/German%e2%80%93Soviet_Border_and_Co...
From 1939 to 1941, the friendship between Nazi Germany and the Soviet Union was also promoted to the Soviet people in state propaganda - even that which was aimed at children.
www.tumblr.com/stillunusual/696491665705385984/pionerskay...
And as well as indoctrinating the citizens of the USSR with pro-Nazi and anti-western messaging, Stalin ordered communist parties throughout the world to stop all agitation against Hitler's regime and to follow suit.
But Putin forgot all about that too....
However, while listing some of the major atrocities committed by Nazi Germany, he made sure to single out “the burned-down village of Khatyn” - a crime that was brought to prominence as a propaganda tool during the Soviet era, as its name is so similar to Katyn (where the Soviet NKVD massacred thousands of Polish prisoners of war in 1940 and subsequently blamed the Germans). But Putin failed to mention that the Khatyn villagers were massacred by Schutzmannschaft Battalion 118 - an auxilliary police battalion of Soviet Nazi collaborators which mainly consisted of Ukrainians but also included Russians. While talking about Nazi “accomplices” in general, Putin picked on Lithuania and Ukraine, with not a single word about other Russian Nazi collaborators like the notorious Russkaya Osvoboditelnaya Narodnaya Armiya (also known as SS Sturmbrigade RONA).
en.wikipedia.org/wiki/Kaminski_Brigade
And the fact that hundreds of thousands of Soviet citizens had volunteered to fight on the German side during Operation Barbarossa also somehow slipped his mind (as much as 20% of Nazi Germany's military manpower during the invasion of the USSR consisted of Soviet citizens fighting against their own country, about half of whom were ethnic Russians).
Putin failed to mention the Russische Nationalarmee (AKA First Russian National Army) and the Russische Befreiungsarmee (AKA Russkaja Oswoboditel'naja Armija – Russian Liberation Army - ROA).
en.wikipedia.org/wiki/First_Russian_National_Army
en.wikipedia.org/wiki/Russian_Liberation_Army
He also had nothing to say about the Trawnikimänner ("Trawniki men") - officially named SS-Wachmannschaften, but also known as Hiwis or Askaris - who were Nazi collaborators mainly recruited from Soviet POWs (including Armenians, Azerbaijanis, Belarusians, Estonians, Georgians, Latvians, Lithuanians, Russians, Tatars and Ukrainians) captured by the Germans during Operation Barbarossa. The Trawnikis took part in Operation Reinhard, the Nazi plan to exterminate the Jews of Poland, and were directly responsible for many massacres of Jewish and non-Jewish civilians. They also served as guards at German camps and participated in the suppression of the Warsaw ghetto uprising and the liquidation of other Jewish ghettos.
Putin even managed to forget how Soviet propaganda had hypocritically claimed that the Zionist movement was an ideological bedfellow of Nazi Germany and that Zionist leaders had collaborated with the Nazis.
Needless to say, he didn’t mention any of the USSR's numerous crimes against humanity, and most definitely didn't say anything about how the Soviet NKVD had collaborated with the German Gestapo in the suppression of Poland’s wartime resistance movement from 1939-41, or that they delivered to the Gestapo over 4000 Jews and German communists who had taken refuge in Soviet held territory, or how the Soviets had subsequently re-opened Nazi camps like Majdanek after the USSR re-occupied Poland in 1944-45, and used them imprison Polish resistance fighters and anyone else who they saw as a threat their takeover of the country.
The contrast between today's Germany (a modern democracy that's no longer a threat to its neighbours) and today's Russia (an authoritarian fascist dictatorship that still regularly invades other countries and poses an existential threat to all of its neighbours) also didn't get a mention at Yad Vashem....
The Polish president Andrzej Duda decided to boycott the forum, after being told that he would not be allowed to speak, because only the representatives of Russia, the USA, Britain, France, Germany and Israel would be given that privilege. I’m not a fan of Duda or the populist political party he represents, but given the amount of agenda-driven historical revisionism on display at the forum, his decision was clearly justified.
Poland was the country with by far the largest Jewish population at the start of Second World War. In fact - if we exclude the USSR - Poland’s pre-war Jewish population was larger than that of all the other countries in Europe put together (Great Britain, Ireland, Portugal, Spain, Italy, France, Belgium, Luxembourg, Netherlands, Germany, Austria, Switzerland, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Lithuania, Czechoslovakia, Hungary, Romania, Yugoslavia, Bulgaria, Albania, Greece and Turkey). Poland’s Jewish population was also considerably larger than that of the USSR despite the fact that Poland was a fraction of the USSR’s size.
encyclopedia.ushmm.org/content/en/map/european-jewish-pop...
Approximately 50% of the Jews who died in the holocaust were Polish Jews....
Poland was also the only country whose forces fought against Nazi Germany for the entire duration of the war in Europe - in stark contrast to the Soviet Union (which spent the first two years in bed with Hitler), the USA (which finally turned up two years late), Britain (which was a few months late) and France (which chickened out of helping Poland in 1939, then surrendered to Germany without much of a fight and formed a Nazi collaborationist regime that played a direct role in perpetrating the holocaust).
Poland made the fourth largest contribution to the allied cause, behind the USSR, USA and Britain. The Polish government-in-exile also informed the world about the holocaust as it was actually happening, based on evidence gathered by the Polish resistance, which included brave people like Natalia Zarembina, Jan Karski and Witold Pilecki.
For example, on 10th December 1942, the Polish government sent a diplomatic note, written and signed by Minister of Foreign Affairs Edward Raczyński, to the governments of the 26 signatory states of the United Nations Declaration. The nine-page note described what was known about the mass extermination of the Jewish people in German-occupied Poland. It was also a call to action that asked the signatory states to condemn and respond to the crimes the Germans were committing against the Jewish population.
The note clearly stated that more than a million Polish jews had already been killed, and that the Germans intended to kill the rest, as well as Jews from all over Europe. It also included a detailed account of Grossaktion Warschau - the deportation of most of the inhabitants of the Warsaw ghetto to the Treblinka extermination camp during the summer of 1942 (from 23rd July to 21st September), where they were killed in gas chambers disguised as showers.
www.flickr.com/photos/stillunusual/albums/72177720313303622
The Polish government was the first allied government to recognise that the Germans planned to completely exterminate the Jews of Europe - a view that was not shared by Britain or the USA (or most Jewish leaders in the west) when Raczyński's note was published.
Poland's exiled government also created and funded Żegota - an underground Polish resistance organisation affiliated with the Armia Krajowa (Home Army), which was dedicated to saving Jews from the holocaust. Poland was the only country in German-occupied Europe where such an organisation, run jointly by Jews and non-Jews, existed. Operatives of Żegota worked in extreme circumstances, under constant threat of death (Poland was also the only country in German-occupied Europe in which aiding Jews in any way was routinely punished by execution), but nevertheless they provided aid to tens of thousands of Jews.
After the war, instead of being recognised as heroes, Żegota's members faced another threat - persecution from Poland's puppet communist regime, which was installed by Stalin and sought to erase any vestiges of independent Polish resistance that could undermine Soviet control. Many who had fought against the Nazis were arrested, imprisoned and/or executed during the decade of Stalinist terror that followed the Second World War in Poland. Żegota was largely unrecognised for many years, overshadowed by post-war political struggles. Outside of Poland, the vast majority of people have still never heard of Żegota….
Poland's exiled government also included Jewish members. After the Germans liquidated the Warsaw ghetto in 1943, one of them, Szmul Zygielbojm, committed suicide in protest against the indifference and inaction of the western allies in the face of the holocaust. In a long suicide note, he said that...."I cannot continue to live and to be silent while the remnants of Polish Jewry, whose representative I am, are being murdered. My comrades in the Warsaw ghetto fell with arms in their hands in the last heroic battle. I was not permitted to fall like them, together with them, but I belong with them, in their mass grave. By my death, I wish to give expression to my most profound protest against the inaction with which the world watches and permits the destruction of the Jewish people"....
Poland's role in the defeat of Nazi Germany, and the unique and highly dangerous work carried out in the occupied country to resist the Germans, document the Nazi programme of genocide and get the word out to the disbelieving western allies - only to find that they didn't do anything about it - was completely eliminated from the carefully manipulated narrative of Yad Vashem's forum. It was also no surprise that RT (Russia's main propaganda channel for the international audience) featured wall to wall coverage of the forum and used the occasion to simultaneously pump out a torrent of anti-Polish disinformation that was even worse than usual.
A few days later on Holocaust Remembrance Day, the commemoration in Poland organised by the Auschwitz Memorial Museum at the site of the former German concentration camp was infinitely more dignified and respectful of the memory of the holocaust. Although there were speeches by politicians, they were kept to a minimum and largely avoided the kind of political point scoring, historical revisionism and holocaust distortion that characterised the forum in Israel. The Polish commemoration was dominated by the presence of 200 elderly Auschwitz survivors - several of whom made poignant, often deeply emotional speeches that put the vacuous drivel parroted by Putin and others at Yad Vashem to shame (and it was sad to see how little attention the international news media paid to the Auschwitz commemoration in comparison to the extensive coverage that was given to the forum in Israel).
It really is shocking that an organisation like Yad Vashem was so willing to insult the memory of the holocaust’s victims, as well as the millions of non-Jewish victims of the Nazis and Soviets, by allowing itself to be used as a conduit for the dissemination of the Kremlin’s revisionist lies and propaganda to a global audience, while licking the Russian president’s boots in public for all to see.
By doing so Yad Vashem embarrassed its own scholars, some of whom made critical statements in subsequent days, after which Yad Vashem issued an apology and also edited its official video of the event (which were welcome signs that the institution does retain some integrity and credibility, but the impact of this back-tracking was obviously tiny compared to that of the Vladimir Putin Show itself)....
www.haaretz.com/israel-news/.premium-yad-vashem-apologize...
UPDATE
In 2022, after Russia launched its invasion of Ukraine, Viatcheslav "Moshe" Kantor, was sanctioned for his ties to Vladimir Putin's war economy.
www.eureporter.co/world/russia/2022/04/11/moshe-kantor-st...
In the run up to the war, Yad Vashem had used its influence in an attempt to exclude another Russian oligarch, Roman Abramovich, from being sanctioned, as he was one of their biggest donors (as well as being a major funder of Israeli settlements in the occupied territories).
www.timesofisrael.com/yad-vashem-chief-rabbi-urged-us-not...
The museum eventually announced that they were going to stop taking his money, but only after he was sanctioned by the UK.
It's sad that an organisation with such an important mission has been so dependent on donations of dodgy Russian cash that two of Putin's oligarch buddies stole from the Russian people....
Saturn's icy moon Enceladus poses above the gas giant's icy rings in this Cassini spacecraft image. The dramatic scene was captured on July 29, while Cassini cruised just below the ring plane, its cameras looking back in a nearly sunward direction about 1 million kilometers from the moon's bright crescent. At 500 kilometers in diameter, Enceladus is a surprisingly active moon though, its remarkable south polar geysers are visible venting beyond a dark southern limb. In fact, data collected during Cassini's flybys and years of images have recently revealed the presence of a global ocean of liquid water beneath this moon's icy crust. Demonstrating the tantalizing liquid layer's global extent, the careful analysis indicates surface and core are not rigidly connected, with Enceladus rocking slightly back and forth in its orbit. via NASA go.nasa.gov/1IsOHK6
Red River Basin Investigation. A Map Showing the Extent of the Red River Flood of 1950 in Manitoba [map]. 1:221,760. In: Red River Basin Investigation, Water Resources Division. Report on Investigations into Measures for the Reduction of the Flood Hazard in the Greater Winnipeg Area. [Ottawa]: Dept. of Resources and Development, Engineering and Water Resources Branch, 1953, plate 15.
One of the main hazards of living on the Red River Plain is shown on this map – spring flooding. The flood of 1950 not only inundated many parts of Winnipeg but, as the map shows, hundreds of square miles of farmland were also covered, with the water extending for over 15 miles from the Red River in Places. It is estimated that 640 square miles of land were flooded in the Canadian portion of the Red river basin. Earlier major floods on which information is available occurred in 1826, 1852, and 1861. These floods are a result of the concurrence of a number of conditions, including heavy rains in the previous fall; severe frost before snow falls, sealing up the marshes, lakes, and saturated ground; heavy snowfall during winter with little early melting; late and sudden spring melting; and above normal rainfall during break-up.
(Warkentin and Ruggles. Historical Atlas of Manitoba. map 264, p. 502)
-------------------
Report on investigations into measures for the reduction of the flood hazard in the Greater Winnipeg area. (Plan No. C-17, Fig. 15, Appendix B) / prepared by Red River Basin Investigation, Water Resources Division. Published: [Ottawa, Ont.] : Canada Dept. of Resources and Development, Engineering and Water Resources Branch, Water Resources Division, 1953. Description: 9 v. : ill. ; 29 cm. Scale 1 inch to 3.5 miles.
Tolka River Valley Park (TRVP)
Finglas/Cabra Dublin Ireland 01-05-2023
[order] Podicipediformes | [family] Podicipedidae | [latin] Tachybaptus ruficollis | [UK] Little Grebe | [FR] Grèbe castagneux | [DE] Zwergtaucher | [ES] Zampullín Chico | [IT] Tuffetto | [NL] Dodaars
spanwidth min.: 41 cm
spanwidth max.: 43 cm
size min.: 23 cm
size max.: 29 cm
Breeding
incubation min.: 20 days
incubation max.: 21 days
fledging min.: 44 days
fledging max.: 48 days
broods 1
eggs min.: 2
eggs max.: 7
Spagáire tonn
Dabchick
Status: Resident on ponds and lakes throughout Ireland.
Conservation Concern: Amber-listed in Ireland due to a contraction in the breeding range. The European population is regarded as Secure by BirdLife International.
Identification: The smallest of the grebes, Little Grebes have a very dumpy body, a short neck, tiny straight bill and no ornamental head feathers giving a rounded shape to the head. They swim buoyantly with feathers often fluffed out at rear giving a power- puff effect. In breeding adults the throat and cheeks are a bright chestnut, the fleshy gap patch takes on a pale colour and the body becomes a rich dark brown above and paler below. Out of the breeding season birds are less striking with the neck taking on a buff-brown colour and the body becoming dull brown above and paler below.
Similar Species: Slavonian Grebe & Black-necked Grebe in winter and can be mistaken for a duckling.
Call: High-pitched calls with sulking birds often located by a loud whining trill, which can be heard throughout the year.
Diet: A range of invertebrates (particularly insect larvae), small fish and molluscs.
Breeding: Age of first breeding: 1 year. Breeding sites are relatively widely scattered with slightly higher densities in the northeast of Ireland. Pairs are highly territorial, nesting mostly on floating plant material hidden in dense vegetation at the margins of shallow, freshwater rivers, streams, loughs and ponds. They are typically shy and skulking when breeding. Some pairs occupy breeding territories throughout the years, while at some sites birds disperse from their inland breeding sites over the winter.
Wintering: Little Grebes extend their wintering habitat to include ephemeral wetlands and are often encountered on sheltered coasts, estuaries and coastal lakes and lagoons at this time of the year.
Where to See: During the breeding season look and listen for Little Grebes on water bodies where there is thick vegetation, numbers are highest in low-lying areas. There are 15 sites that regularly support nationally important numbers over the winter and nine sites holding the largest concentration - Loughs Neagh & Beg (County Antrim), Lough Arrow (Co. Sligo), Strangford Lough (Co. Down), Tacumshin Lake (Co. Wexford), Upper Lough Erne (Co. Fermanagh), Wexford Harbour & Slobs (Co. Wexford), Lough Eorna (Co. Tipperary), Cork Harbour (Co. Cork), Corofin Wetlands (Co. Clare).
Physical characteristics
As in most grebes, female marginally smaller. Chestnut throat, cheeks and foreneck separates from oter Tachybaptus. Iris red-brown, yellow in E Asia. Non-breeding adult paler, especially on throat and foreneck, which lackchestnut, Juvenile similar to non-breeding adult, but head striped black and whitish. Races separated mainly on size, amount of white in secondaries; also slight differences in coloration.
Habitat
Wide range of wetlands normally small and shallow, including small lakes, ponds, canals. Sheltered bays, vegetated shores of larger lakes and reservoirs. Outside breeding season, occurs on more open waters, rarely on coast, also in estuaries protected from large waves.
Other details
Tachybaptus ruficollis is a widespread breeder across much of western and central Europe, which accounts for less than a quarter of its global breeding range. Its European breeding population is relatively large (>99,000 pairs), and was stable between 1970-1990. Although there were declines in a few countries—notably the sizeable Turkish population—during 1990-2000, populations in the vast majority of its European range were stable or increased, and the species remained stable overall.
Feeding
Mainly insects and larvae, especially mayflies, stoneflies, waterbugs, beetles. Also molluscs, crustaceans and amphibians. Feeds mainly by diving for 10-25 seconds to a depth of 1-2 m.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population estimated to be 470,000-2,600,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
Breeding season very variable, depending on growth of emergent vegetation and water level. The nest is floating platform of aquatic plants anchored to submerged vegetation.The female usually lays 4 eggs, and both parents share in the incubation
Migration
Resident, dispersive, and migratory. Less marked shift to coasts or large lakes for winter than in other European grebes. Some move to sheltered estuaries and harbours, accentuated in severe winters, but not normally seen in significant numbers on sea. Extent of movement in different parts of breeding range linked to winter temperatures.
Number:
164434
Date created:
1942-05-18
Extent:
1 photographic print : gelatin silver ; 10 x 8 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Kane, Catherine Cecelia
Evans, Mary Isabelle
Johnson, Borghilo Helen
Haynes, Mary Virginia
Clopper, Catherine Marie
Eye, Margaret Elizabeth
Marshall, Ruth Pearl
Haddich, Ruth Mae
Doub, Vivian Winifred
Johnston, Pauline Gladys
Wise, Margaret Elizabeth
Shauck, Anita Cabello
Stifler, Margaret Ann
Turnbull, Janet Marie
Wharton, June J.
Sappington, Margaret S.
McCullen, Carmen M.
Shepphard, Boyde Catherine
Clayton, Lydia Rae
Simons, Alma Louise
Rutherford, Eleanor Lee
Chell, Naomi Doll
Johnson, Mary Virginia
Aylsworth, Jane A.
Singleton, Margaret Rosalie
McGee, Mary Evelyn
Thompson, June
Wharton, Mary Lucille
Gleim, Doris Kathryn
Fisher, Jeanne Elizabeth
Dix, Navilla Mae
Hunt, Idell Virginia
Knight, Marie Eleanor
Ball, Lillian C.
Mason, Helen Betty
Sander, Julia Margaret
Cullen, Thomas Stephen, 1868-1953
Nash, Jane Evans, 1880-1955
Creutzburg, Freda Lewis, 1898-1963
Elliott, Margaret, 1884-1966
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Graduation ceremonies--Maryland--Baltimore--1940-1950
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Number:
171674
Date created:
1930
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Front row (seated): 1) H. Grose; 2) M. Hart; 3) R. Baron; 4) M. Crockett; 5) M. Grainger; 6) J. Black; 7) F. Caplan; 8) D. McAlpine; 9) H. Darlington; 10) R. Ammerman; 11) G. Gladfelter; 12) M. Welker; 13) Lewis; 14) H. Moran; 15) G. Nunan; 16) J. White. Second row (standing): 1) T. Arner; 2) U. Thompson; 3) E. Mohr; 4) E. Jacoby; 5) D. Best; 6) Lewis; 7) E. Barber; 8) C. Wasserberg; 9) E. Elgert. Third row: 1) C. Yarnall; 2) C. Minter; 3) A. Armbruster; 4) A. Harnish; 5) L. Hoffmeister; 6) R. Marker; 7) E. Kurtz; 8) E. Dick; 9) F. Raffensberger; 10) D. Richards. Last rows: 1) E. Thorne; 2) A. Meyer; 3) M. Vaiden; 4) E. Thomason; 5) R. Von Kleist; 6) M. Grande; 7) V. Rhea; 8) ___; 9) N. Maxwell; 10) L. Wainwright; 11) E. Hawkins; 12) M. Vander Kam; 13) J. Buckley; 14) R. Worley; 15) E. Custer; 16) M. May; 17) M. Hansbarger; 18) A. Sykes; 19) J. Norris; 20) C. Rohrbaugh; 21) H. Burnham; 22) M. Irvine; 23) S. Carroll; 24) L. Geddes; 25) E. Jones.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Slavik, Ruth Ammerman
Grayib, Arlene Armbruster
Clark, Twila Arner
McPhee, Eleanor Barber
Ray, Ruth Baron
Best, Dorothy R.
McVicar, Jessie Black
Brawner, Justina Buckley
Burnham, Hilda C.
Caplan, Florence B.
Carroll, Sophia G.
Schwentker, Madalyn Crockett
Custer, Eleanor Wade
Darlington, Hannah W.
Dick, Edith R.
Elgert, Esther M.
Barry, Louise Geddes
Benedict, Grace Gladfelter
Grainger, Margaret F.
Winship, Myrtle Grande
Fallon, Helen Gross
Disney, Madge Hansbarger
Harnish, Anna D.
Best, Mary Woodward Hart
Hawkins, M.M. Elizabeth
Tighe, Loretta H. Hoffmeister
Carr, May Irvine
Jacoby, Esther
Hill, I. Elizabeth Jones
Muffly, Ethna Kurtz
Douglas, Alice Lewis
Altimas, Mary Lewis
Lewis, Mary Land
Loving, Eleanor
Caspari, Ruth Marker
Lunn, Natalie Maxwell
May, Mildred
Young, Dorothy McAlpine
Woke, Anna Meyer
Smith, Catherine Minter
Foerster, Elizabeth Mohr
Lohr, Helen Moran
Cotton, Josephine Norris
Dean, Gertrude Nunan
Raffensberger, Florence M.
Rea, Virginia P.
Brundick, Doris Richards
Rohrbaugh, Catherine
Schlayer, Katherine
Sykes, Agnes L.
Roach, Elizabeth (Betty) Thomasen
Thompson, Ursula
Thorne, Ethel
Aird, Mildred Vaiden
Macaulay, Margaret Vander Kam
Wainwright, Leta
Welker, Marianne H.
White, Julia Elizabeth
Schaffer, Ruth Worley
Yarnall, Catherine
Nursing students--Maryland--Baltimore--1930-1940
Nurses--Maryland--Baltimore--1930-1940
Graduation ceremonies--Maryland--Baltimore--1930-1940
Portrait photographs
Group portraits
Notes: Photographer unknown.