The cotton-top tamarin (Saguinus oedipus) is a small New World monkey weighing less than 0.5 kg (1.1 lb). This New World monkey can live up to 24 years, but most of them die by 13 years. One of the smallest primates, the cotton-top tamarin is easily recognized by the long, white sagittal crest extending from its forehead to its shoulders. The species is found in tropical forest edges and secondary forests in northwestern Colombia, where it is arboreal and diurnal. Its diet includes insects and plant exudates, and it is an important seed disperser in the tropical ecosystem.

 

The cotton-top tamarin displays a wide variety of social behaviors. In particular, groups form a clear dominance hierarchy where only dominant pairs breed. The female normally gives birth to twins and uses pheromones to prevent other females in the group from breeding. These tamarins have been extensively studied for their high level of cooperative care, as well as altruistic and spiteful behaviors. Communication between cotton-top tamarins is sophisticated and shows evidence of grammatical structure, a language feature that must be acquired.

 

Up to 40,000 cotton-top tamarins are thought to have been caught and exported for use in biomedical research before 1976, when CITES gave them the highest level of protection and all international commercial trade was prohibited. Now, the species is at risk due to large-scale habitat destruction, as the lowland forest in northwestern Colombia where the cotton-top tamarin is found has been reduced to 5% of its previous area. It is currently classified as critically endangered and is one of the rarest primates in the world, with only 6,000 individuals left in the wild.

 

Taxonomy and naming

S. oedipus has the common names "cotton-top tamarin" and "cotton-headed tamarin" in English. Its name comes from the white hair that spans its head and flows down past the neck. In Spanish, it is commonly called bichichi, tití pielroja, "tití blanco, tití cabeza blanca, or tití leoncito. In German-speaking areas, the cotton-top tamarin is commonly known as Lisztaffe (literally "Liszt monkey") due to the resemblance of its crest to the hairstyle of Hungarian composer and piano virtuoso Franz Liszt.

 

The species was first described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae. as Simia oedipus. Linnaeus chose the specific name oedipus, which means swollen foot, but as the species does not have particularly large feet, it is unknown why he chose this name. (Linnaeus often selected names from mythology without any particular rationale, and he may have used the name of Oedipus, the mythical Greek king of Thebes, more or less arbitrarily.) In 1977, Philip Hershkovitz performed a taxonomic analysis of the species based on fur coloration patterns, cranial and mandibular morphology, and ear size. He classified Geoffroy's tamarin S. geoffroyi as a subspecies of S. oedipus. Subsequent analyses by Hernández-Camacho and Cooper (1976), Russell Mittermeier and Coimbra-Filho (1981), and later Grooves (2001) consider the S. oedipus and S. geoffroyi types to be separate species.

 

Some researchers, such as Thorington (1976), posit that S. oedipus is more closely related to the white-footed tamarin (S. leucopus) than to S. geoffroyi. This view is supported by Hanihara and Natoria's analysis of toothcomb dental morphology (1987) and by Skinner (1991), who found similarities between S. oedipus and S. leucopus in 16 of 17 morphological traits considered.

 

This species of white-headed tamarin is thought to have diverged from the other Amazonian forms such as S. leucopus. This is supported by morphological considerations of the transition from juvenile to adulthood, during which the fur coloration patterns change. significantly and are similar between the two species. Hershkovitz proposed that the separation of the two species happened in the Pleistocene at the height of the Atrato River, where it intersected the Cauca-Magdalena. At that time, the area was covered by a sea, which created a geographic barrier that caused the species to diverge through the process of allopatric speciation. Today, the two species are principally separated by the Atrato River.

 

Physical characteristics

The cotton-top tamarin is part of the most diminutive family of monkeys, Callitrichidae, the marmosets and tamarins; it weighs 432 g (15.2 oz) on average. Its head–body length is 20.8–25.9 cm (8.2–10.2 in), while its tail—which is not prehensile—is slightly longer at around 33–41 cm (13–16 in). The species is not sexually dimorphic, the male and female are of a similar size and weight. Members of the Callitrichinae subfamily (including this species) have sharp nails (tegulae) on all digits except the big toes, which have the flat nails (ungulae) common to other primates. Tegulae resemble a squirrel's claws and help with movement through trees.

 

The cotton-top tamarin has a long sagittal crest, consisting of white hairs, from forehead to nape flowing over the shoulders. The skin of the face is black with gray or white bands located above the eyes. These bands continue along the edge of the face down to the jaw. Tamarins are generally divided into three groups by their facial characteristics: hairy-faced, mottled-faced, and bare-faced. The cotton-top tamarin has fine white hair covering its face, but they are so fine as to appear naked, thus it is considered a bare-faced tamarin. Its lower canine teeth are longer than its incisors, creating the appearance of tusks. Like other callitrichids, the cotton-top tamarin has two molar teeth on each side of its jaw, not three like other New World monkeys.

 

The cotton-top tamarin has fur covering all of the body except the palms of the hands and feet, the eyelids, the borders of the nostrils, the nipples, the anus, and the penis. The back is brown, and the underparts, arms, and legs are whitish-yellow. The rump and inner thighs and upper tail are reddish-orange. The fur is distributed with varying densities throughout the body: the genital region (scrotum and pubic zone), axilla, and the base of the tail have lower densities, while the forward region is much higher. Many individuals have stripes or whorls of fur of striking coloration on their throats. The cotton-top also has whiskers on its forehead and around its mouth.

 

Habitat and distribution

The cotton-top tamarin is restricted to a small area of northwest Colombia, between the Cauca and Magdalena Rivers to the south and east, the Atlantic coast to the north, and the Atrato River to the west. They are found exclusively in Colombia; 98% of their habitat has been destroyed. Historically, the entire area was suitable for the cotton-top tamarin, but due to habitat loss through deforestation, it survives in fragmented parks and reserves. One of the most important areas for the cotton-top is the Paramillo National Park, which consists of 460,000 hectares (1,800 sq mi) of primary and secondary forests.

 

The cotton-top tamarin is found in both primary and secondary forests, from humid tropical forests in the south of its range to tropical dry forests in the north. It is seldom found at altitudes above 400 m (1,300 ft), but has been encountered up to 1,500 m (4,900 ft). It prefers the lower levels of the tropical forests, but may also be found foraging on the ground and between the understory and the canopy. It can adapt to forest fragments and can survive in relatively disturbed habitats. In the dry forests are pronounced seasons. Between December and April, it is dry, while heavy rainfall occurs between August and November which can flood the forest floor. Across its range, annual rainfall varies between 500 and 1,300 mm (20 and 51 in).

 

Ecology

The cotton-top tamarin has a diet of mainly fruit (40%) and animal material (40%). This includes insects, plant exudates such as gum and sap, nectar, and occasionally reptiles and amphibians. Due to its small body size and high food passage rate, its diet must be high-quality and high-energy. Insectivory is common in the cotton-top and the species hunts for insects using a variety of methods: stealth, pouncing, chasing, exploring holes, and turning over leaves.

 

Tamarins act as seed dispersers in tropical ecosystems. While larger primates eat larger seeds, tamarins eat the smaller ones. The expelled seeds have a higher germination rate than others and ingesting larger seeds may help to dislodge and expel intestinal parasites.

 

The cotton-top tamarin is diurnal and sleeps with its social group in trees with foliage cover. The group leaves the sleeping tree together an hour after dawn and spends the day foraging, resting, travelling, and grooming. The species is thought to rise late and increases the speed of its foraging and travelling before dusk to avoid crepuscular and nocturnal predators. Its main predators include raptors, mustelids, felids, and snakes. The cotton-top tamarin is extremely vigilant, always looking for potential predators. When the group is resting, one individual moves apart and acts as a lookout to alert the group if it sees a threat.

 

Behavior

The cotton-top tamarin is a highly social primate that typically lives in groups of two to nine individuals, but may reach up to 13 members. These small familial groups tend to fluctuate in size and in composition of individuals and a clear dominance hierarchy is always present within a party. At the head of the group is the breeding pair. The male and female in this pair are typically in a monogamous reproductive relationship, and together serve as the group's dominant leaders.

 

Dominant pairs are the only breeding pair within their groups, and the female generally has authority over the breeding male. While nonbreeding group members can be the leading pair's offspring, immigrant adults may also live with and cooperate in these groups. This social grouping in cotton-top tamarins is hypothesized to arise from predation pressure. Cotton-top tamarins exhibit prosocial behavior that benefits other members of the group, and are well known for engaging in cooperative breeding whereby the group's subordinate adults help in rearing the offspring of the dominant pair. The dominant female is more likely to give birth to non-identical twins than a singleton, so it would be too energetically expensive for just one pair to raise the young.

 

To prevent younger, subordinate females within the group from breeding, the dominant female uses pheromones. This suppresses sexual behavior and delays puberty. Unrelated males that join the group can release the females from this reproductive suppression; this may result in more than one female of the group becoming pregnant, but only one of the pregnancies will be successful.

 

Cooperation

In cooperative breeding, the effort put into caring for the dominant breeders' offspring is shared by the group members. Parents, siblings, and immigrant adults share young rearing duties for the breeding pair's young. These duties include carrying, protecting, feeding, comforting, and even engaging in play behavior with the group's young. Cotton-top tamarins display high levels of parental investment during infant care. Males, particularly those that are paternal, show greater involvement in caregiving than do females. Despite this, both male and female infants prefers contact and proximity to their mothers over their fathers. Males may invest additional support in rearing offspring as a form of courtship to win the favor of the group's dominant female. However, evidence indicates that time spent carrying infants does not correlate with a male's overall copulation frequency.

 

Since only one female in a group breeds, heavy investment in infant care ensures that all offspring survive until independence. Accordingly, cotton-top tamarins bear excessive costs to care for the group's young. Male carriers, especially paternal carriers, incur large energetic costs for the sake of the group's young. This burden may cause some male cotton-tops to lose up to 10–11% of their total body weight. The large weight loss may occur from reduced food intake as infant-carrying inhibits foraging ability for a carrier. The trend of male-carrier weight loss and decreased food intake is in contrast to the dominant female's periovulatory period, when she gains weight after increasing her own food intake and relinquishing much of her infant-carrying duties.

 

Altruism

While caregiving by males appears to be altruistic, particularly in cotton-top sires, the costs of infant care may in fact be tolerated for selfish reasons. Namely, the costs to male weight and foraging ability may, in turn, promote consecutive pregnancies in dominant females, thereby providing more offspring bearing the sire's genes. Additionally, the cooperative breeding structure of cotton-tops can change with group size and parental experience. First-time sires spend a greater amount of time carrying the infant than experienced ones, and in smaller groups, sires do a greater proportion of carrying and feeding the infant than in larger groups, where helpers take on more of the work. Total care for infants remains constant with varying group size, and infant outcome is not significantly different in groups that have differing levels of experience in raising offspring.

  

Once infants reach sufficient age, they permanently leave the backs of their carriers and begin contributing to the group.

The cooperative breeding hypothesis predicts that cotton-top tamarins engage with this young-rearing paradigm, and in turn, naturally embrace patterns of prosocial behavior. These monkeys engage in such behavior by acting altruistically within their groups in caring for infants, vocalizing alarm calls, and in sharing food. Though some studies indicate that cotton-top tamarins have the psychological capacity to participate in reciprocally mediated altruism, it is unclear whether the cotton-top tamarin acts solely using judgments on reinforcement history.

 

Other studies involving cotton-top tamarins have hinted that positive reciprocity and reciprocal altruism are irrelevant in the prosociality of these primates. Some researchers believe these primates tend to cooperate for selfish reasons and in situations where they incur some benefit for themselves. That is, cooperation in cotton-top tamarins can be better described by mutualism than by true altruism.

 

Tamarins in captivity have shown the ability to distinguish other individuals based on cooperative tendencies and past behavior. Cotton-tops ultimately use this information to guide future cooperation. Brief periods of defection tend to cause swift, irreparable breakups between these primates and their cooperators. To avoid this, cotton-top tamarins may make economically driven decisions based on the projected incentives of a potential cooperator.

 

Spite and aggression

Despite an expansive array of altruistic behaviors, cotton-top tamarins engage in great bouts of spite through negative reciprocity and punishment. They have been observed to immediately start denying cooperation with monkeys that deny them benefits. Further, in captivity, these primates are not observed to increase altruistic behavior with fellow primates that are committed fully to cooperation. Based on this, researchers believe that repeated interactions in a cooperative society like that of the cotton-top tamarin can heighten the chances that an individual will designate behavioral punishments to others in its group. This reaction has also been observed in other species. However, these reciprocal punishments, or relative lack of altruistic actions, may alternatively happen as a result of response facilitation that increases the chances of a cotton-top punishing another primate after watching that individual perform a similar action.

 

Another way to look at punishment in cotton-top tamarins is by observing their aggressive behavioral responses within and between groups, as well as between species. The cotton-top tamarin, like many marmosets, other tamarins, and specifically those in the genus Saguinus, stages aggressive displays almost exclusively towards fellow monkeys that belong to the same gender. These intrasexual displays of aggression are more frequent in females, and are vital when a breeding female is forcing both subadult and adult females to emigrate out of a familial group.

 

Though aggression can occur within groups, the response towards intruders of another species is much more drastic and can involve a sexual dimorphism in displays. Females typically employ scent-marking intruder response tactics, whereas males are more prone to vocalizing threats, physical aggression, and piloerection. Scent-marking in cotton-top tamarins is done in two ways: either using anogenital scent-marking, or suprapubic scent-marking. The ability to use both of these separate glandular fields for threat signals may indicate females have developed diverging evolutionary threats through differential use of these markings. These variable signals may be used to sign a territorial encounter, or serve as a reproductive signal. The intensity of female threats is generally comparable when directed at intruders of either gender. In contrast, male cotton-tops are considerably more threatening towards fellow males than towards females.

 

Communication

The cotton-top tamarin vocalizes with bird-like whistles, soft chirping sounds, high-pitched trilling, and staccato calls. Researchers describe its repertoire of 38 distinct sounds as unusually sophisticated, conforming to grammatical rules. Jayne Cleveland and Charles Snowdon performed an in-depth feature analysis to classify the cotton-top's repertoire of vocalizations in 1982. They concluded that it uses a simple grammar consisting of eight phonetic variations of short, frequency-modulated "chirps"—each representing varying messages—and five longer constant frequency "whistles". They hypothesize that some of these calls demonstrate that the cotton-top tamarin uses phonetic syntax, while other calls may be exemplars of lexical syntax usage. Each type of call is given a letter signifier; for example, C-calls are associated with finding food and D-calls are associated with eating. Further, these calls can be modified to better deliver information relevant to auditory localization in call-recipients. Using this range of vocalizations, the adults may be able to communicate with one another about intention, thought processes, and emotion, including curiosity, fear, dismay, playfulness, warnings, joy, and calls to young.

 

Language acquisition

Over the first 20 weeks, after a cotton-top tamarin is born, it is not fully capable of producing the range of vocalizations that an adult monkey can. Despite this limitation on speech producibility, researchers believe that language acquisition occurs early on with speech comprehension abilities arising first. Infants can at times produce adult-like chirps, but this is rarely done in the correct context and remains inconsistent across the first 20 weeks of life. Regardless, infant cotton-tops are able to respond in behaviorally appropriate ways to varying contexts when presented with adult chirps. This indicates that verbal perception is a quickly acquired skill for offspring, followed closely by auditory comprehension, and later by proper vocal producibility.

 

Castro and Snowdon (2000) observed that aside from inconsistent adult-like chirping, cotton-top infants most often produce a prototype chirp that differs in vocalization structure from anything seen in the full adult range of vocalizations. Infants are thought to imitate adult speakers, which use differing calls in various contexts, but by using solely the infant prototypical chirp. For instance, adult cotton-tops are known to significantly reduce the amount of general alarm calling in the presence of infants.[ This is likely adapted so that adults in close proximity to the groups young do not attract the attention of predators to infant-dense areas. Additionally, infants reduce their prototype chirping in the presence of predators. Whether infants are shadowing the calling behavior of adults or they are comprehending danger remains unclear. However, researchers argue that young cotton-top tamarins are able to represent semantic information regardless of immature speech production.

 

To confirm the notion that language acquisition occurs as a progression of comprehension before production, Castro and Snowdon (2000) showed that infants respond behaviorally to vocalizing adults in a fashion that indicates they can comprehend auditory inputs. When an adult produces a C-call chirp, used to indicate food preference and when navigating to a food source, an infant approaches the adult caller to be fed, but do not use the prototype calling as a proxy for C-calls. This finding argues for the idea that infants are able to understand vocalizations first, and later acquire the ability to communicate with adult vocalizations.

 

General calling

Among the typical cotton-top tamarin communicative vocalizations, the combination long call (CLC) and the alarm call (AC) are the most heavily represented in the literature. CLCs encompass a range of contact calls that are produced by isolated individuals using chirps and whistles. This type of call is also used for seemingly altruistic alarm calls, thus adding to its range of cooperative behaviors. It is issued in the presence of kin when a threatening llamas predator is seen. Predators of the cotton-top tamarin include snakes, ocelots, tayras, and most notably, hawks. Early observations by Patricia Neyman even showed that cotton-tops produce diverse sets of alarm calls that can discriminate the presence of birds of prey versus ground-based predators.

 

CLCs involve the production of complex sequence multisyllabic vocalizations. Researchers have argued that long calls exhibit individual differences, thus can carry information sufficient for recipients to determine caller identity. Using habituation-discrimination paradigms in language experiments, this theory has been confirmed multiple times in literature. However, the individual syllables within a complete CLC vocalization in isolation of each other do not transfer sufficient information to communicate messages between monkeys. Scientists thus consider the whole, intact string of vocalizations to be the unit of perception for CLCs in the cotton-top tamarin. These examinations may confirm that cotton-tops incorporate a lexical syntax in areas of their communication.

 

Since tamarins can discriminate between predatory threats using varying vocalizations, recipients of an AC are thought to extract various complex signals from this form of communication. Primarily, cotton-tops are able to glean the identity of the cooperating tamarin through differences in individuals' alarm calls. Further, adults are able to discriminate the gender of callers from their ACs and determine the range of calls within a related tamarin's alarm calling repertoire. Alarm call-based identification is postulated to play a number of functional roles in the cotton-top tamarin. Firstly, an AC recipient is able to identify a cooperating tamarin, and by recognizing which in their group it is, be able to judge the reliability of the AC from past experience. This may arise from a selective pressure for being able to statistically determine the amount of risk present, and how endangered an individual and its group are.

 

Additionally, being able to localize auditory signals may help determine predator location, especially in the presence of a second AC from a different tamarin in the group. This can help confirm predator presence, type (e.g. flying versus ground-based), and support the recipient in triangulating a predator's location. In the context of the cotton-top's cooperative breeding groups, this is postulated as being adaptive for determining the variable risk to one's group members. For example, a call recipient is able to determine which of its kin are and are not at risk (e.g. young offspring, mates, subordinates, relatives, carriers, etc.) and plan subsequent actions accordingly.

 

Food calls

The cotton-top tamarin makes selective, specialized vocalizations in the presence of food. These include the C-call, produced when a cotton-top approaches and sorts through food, and the D-call, which is associated with food retrieval and is exhibited while eating.

 

C-call chirping is believed to be an honest signal for communicating food preference, and a cotton-top tamarin more often and more rapidly vocalizes with these chirps when approaching a highly favored food source. Functionally, this behavior may inform other tamarins of the actions the caller will take in a feeding context and whether a preferable food source is available. Despite this research indicating that food calls may be informative to fellow group mates, other observations of cotton-tops show that quantity and distribution of food and audience do not significantly alter a caller's food-centered vocalizations.

 

The cotton-top tamarin is seen to produce food calls both in the presence and absence of group members. Additionally, response to food calls are directed back to an original caller independent of visual confirmation of a food source. While this may appear to be a result of a very primitive form of communication, Roush and Snowdon (2005) maintain that the food-calling behavior confers some mentally representable information about food to recipient tamarins.

 

Conservation status

The wild population is estimated at 6,000 individuals, with 2,000 adults. This species is critically endangered, and was listed in "The World's 25 Most Endangered Primates between 2008 and 2012." The publication lists highly endangered primate species and is released every two years by the International Union for Conservation of Nature Species Survival Commission Primate Specialist Group. The cotton-top tamarin was not selected for the 2012–2014 publication.

  

The species is critically endangered, with a wild population of merely 6,000 individuals including about 2,000 free-roaming adults.

Habitat destruction through forest clearing is the main cause of this collapse, and the cotton-top has lost more than three-quarters of its original habitat to deforestation, while the lowland forest in which it lives has been reduced to 5% of its historical range. This land is then used for large-scale agricultural production (i.e. cattle) and farming, logging, oil palm plantations, and hydroelectric projects that fragment the cotton-top tamarin's natural range.

 

The illegal pet trade and scientific research have also been cited as factors by the IUCN. While biomedical studies have recently limited their use of this species, illegal capture for the pet trade still plays a major role in endangering the cotton-top. Before 1976, when CITES listed the species under Appendix I banning all international trade, the cotton-top tamarin was exported for use in biomedical research.

 

In captivity, the cotton-top is highly prone to colitis, which is linked to an increased risk of a certain type of colon cancer. Up to 40,000 individuals were caught and exported for research into those diseases, as well as Epstein-Barr virus, for the benefit of humans. The species is now protected by international law. Although enough individuals are in captivity to sustain the species, it is still critically endangered in the wild.

 

The Proyecto Tití ("Project Tamarin") was started in 1985 to provide information and support in conservation of the cotton-top tamarin and its habitat in northern Colombia. Proyecto Tití's programs combine field research, education, and community programs to spread awareness about this endangered species and encourage the public to participate in its protection. It now has partner status with the Wildlife Conservation Network.

 

In January 2015, two captive cotton-top tamarins at the Alexandria Zoological Park in Alexandria, Louisiana, died when a caretaker left them outside overnight in temperatures as low as 30 °F. One other individual survived.

Cathedral

Old CathedralIn 1878 the Scottish Hierarchy was restored. Bishop Angus MacDonald, the first Bishop of the Diocese, organised the building of the first Cathedral in Oban. Made out of corrugated iron, it was supposed to last for only a short while. In fact, it stood for over 50 years.

 

Cathedral NewIn 1932 Bishop Donald Martin began the building of a new Cathedral for the Diocese of Argyll and the isles. He raised much of the money in America, Canada, and Ireland. The final act in building the present Cathedral was the blessing of the great bells 'Brendan ' and 'Kenneth' in 1959 - 27 years after the first sod was cut and 21 years after the death of Bishop Martin.

WindowsStained glass windows depicting the three Archangels Michael, Raphael, and Gabriel that were commissioned by the Marquis of Bute for the original Cathedral at Oban. These can now be seen in St Patrick's Church, Mallaig.

The architect chosen to design St Columba's Cathedral was Sir Giles Gilbert Scott. He designed the Anglican Cathedral at Liverpool and the famous red telephone box.

 

The Cathedral is in the neo-Gothic style and pink and blue granite are the materials used throughout making the Cathedral a tangible symbol of the sturdiness of the tradition of the faith of the people of the West Highlands and Islands of Scotland.

 

Inside CathedralSt. Columba's Cathedral stands on the edge of Oban Bay looking west across the Firth of Lorne to Iona and beyond, across the Atlantic to North America and Canada.

Thanks to all our benefactors we are able to welcome visitors drawn here from all over the world yet wanting to celebrate with us in the Eucharist our 'one faith, one Lord, one baptism', a unity we believe goes beyond those who share our faith, for there is no human being who ever has existed or whoever will, who is outside the Lord's saving work. We hope you enjoy your stay.

 

Title: Hierarchies.

Author: John T. Phillifent.

Publisher: Ace Books.

Date: 1973.

Artist: Frank Kelly Freas.

My sketchnote from the talk on the 18th March 2013.

Blog post here: www.flickr.com/photos/yahnyinlondon/8569382477/in/photost...

 

Description from RIGB

"The Internet is not just a series of tubes (or physical networks); it's also a series of ideas. These ideas express how the world works or, at least, how it would work if the geeks where in charge. Digital enthusiasts point to Wikipedia - the quintessential Internet project - to argue that decentralization beats centralization. Or they invoke the Arab Spring or Occupy Wall Street to show that networks beat hierarchies.

Likewise, techno-dystopians point to the Internet to make arguments about the inevitable rise of state and corporate surveillance or the imminent death of reading or the unavoidable triumph of cats. But are we investing the Internet with too much meaning? Is there a grand story - perhaps on the state of modernity - to be told about the Internet?

In this talk Evgeny Morozov will take a penetrating look at the shape of society in the digital age, of the direction in which the 21st Century may take us, and of the alternate paths we can still choose.

www.rigb.org/contentControl?action=displayEvent&id=1427

The concept derives from how the was modern society is reflected, constantly striving hard to be prosperous (symbolizes by the crown and the chandeliers - which is bigger in size and on top of the hierarchy) but if you look closely, you’ll see a smaller shape of scattered animals, insects and floras; which represent mother nature and as equivalent important as the crown and chandeliers.

 

I strongly felt that one must keep in equilibrium with work, family and nature.

Ariel weighs about 15 lbs and Ollie weighs about 85 lbs.

 

When Ollie gets a drink, Ariel comes running and Moves him out of the way. Then Her Highness leisurely drinks while Ollie watches and waits.

 

Before they were officially friends, Ariel used to bravely weave in and out of his legs while he ate. It used to scare me, but I guess she knew what she was doing...this is the third dog she has trained.

 

I can never get the exposure right on Ariel...how do I do that?

 

Edit: Thanks for the suggestions, I'm going to keep working on this shot.

Sun., Jul. 7, 2019-Archbishop Elpidophoros presides at the Hierarchical Concelebration of the Divine Liturgy

Greek Orthodox Cathedral of the Annunciation, Chicago, Illinois

 

Photos: GOA/D. Panagos

 

Press Office - Stavros Papagermanos, pressoffice@goarch.org

Illustration Friday, Theme: Hierarchy

Hierarchical Divine Liturgy

I was trying to describe a system in which a PLN encourages mentorship at lower levels. At some stage, the course experts should encourage participants below them to recover old ground and attempt to guide new participants along their learning journey. This would have the benefit of:

a) not excluding new members from old discussions

b) forcing the body of knowledge to be re-evaluated and re-inforced among participants

c) allowing higher-level experts to continue along their learning journey without getting bored with lower level theory (should still be involved, but able to take a step back)

Built between 1921 and 1926, this Renaissance Revival-style Cathedral Basilica was designed by Emile Ulrich as a shrine paying homage to the Blessed Mother Mary. The basilica replaced the previous St. Patrick’s Parish Church, a Gothic Revival-style structure that stood on the same site that was damaged by fire in 1916, leading to temporary repairs, with Father Nelson Baker, whom built up the surrounding charitable institutions that were once located in a series of red brick Queen Anne-style buildings around the basilica, subsequently making plans for a new, grander church to replace the old building. Dedicated as a shrine to the Virgin Mary, the basilica was constructed with funds from a direct-mail fundraising club, which sourced funding from across the United States, and was built without incurring debt in the process.

 

The church was complete enough by late 1925 to hold its first worship services, with the first mass being held on Christmas in 1925, with the church being consecrated in May of 1926, with the church being elevated to the status of Minor Basilica by Pope Pius XI in July of 1926, being the second church being bestowed the title in the United States, with The Basilica of Saint Mary in Minneapolis, Minnesota preceding it by five months.

 

The building originally featured two 165-foot-tall towers that were inspired by Portuguese Renaissance and Baroque architecture, but a thunderstorm in 1941 saw the towers struck by lightning and severely damaged, being lowered and simplified into their present form, with copper domes replacing what used to be the third tier of the towers, shortening them considerably, and the remaining portion of the towers being fully enclosed. This has led to the dome over the crossing being made more dominant in the building’s profile and front facade, with the original towers having stood as tall as the lantern on top of the dome, unbalancing the hierarchy of the composition to lean more towards the dome in the back, with it no longer being balanced as it originally was by the towers in the front.

 

The building is clad in marble with green copper on the domes, with the largest dome, located at the crossing of the nave and transepts, being 165 feet in height, and holding the distinction when completed in 1925 of being the second-largest dome in the United States, only surpassed in size by the dome atop the United States Capitol. However, much larger domes have since been built than the one on either building. The dome features a lantern at the top, and four copper statues of angels with trumpets, which are positioned at 90 degree intervals around the base, shifted 45 degrees from the rest of the building. The building features a multi-tiered massing with setbacks at the semi-circular apse on the rear facade, with roman arched and oxeye stained glass windows, a high gabled central nave and transepts with low shed and hipped-roofed aisles to either side, a recessed arched portion of the front facade between the base of the two towers with statues above a first floor portico with a domed copper roof and doric columns at the main entrance to the building, flanked by pilasters, quoins at the corners of the bases of the towers, and arcing colonnades flanking the front facade, with sculptures atop the ends, doric columns and pilasters, and pediments at the end bay of the colonnades. The interior of the basilica is richly decorated with murals, sculptures, classical columns and pilasters, an organ loft above the entrance, multiple tabernacles around the perimeter of the sanctuary, an ornate high altar with sculptures and spiraling stone columns with ionic capitals, African mahogany pews, and stone floors with multiple colors creating a decorative composition.

 

The basilica is in active use as the primary Catholic church for Lackawanna and South Buffalo, as well as being a popular pilgrimage site for devout Catholics in the Buffalo region. The basilica is part of the Diocese of Buffalo, though the diocese is seated at St. Joseph Cathedral in Downtown Buffalo.

Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.

 

Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.

 

The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.

 

The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.

 

The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.

 

Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.

 

In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.

 

The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.

 

By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.

 

John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.

 

By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.

 

Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.

 

In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.

 

Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.

 

By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.

 

In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.

 

In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.

 

In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.

 

Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.

 

Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.

 

More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.

 

Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.

 

Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.

 

Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.

 

From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.

 

The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.

 

The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.

 

Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.

 

Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.

 

In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.

 

The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.

 

The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".

 

West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.

 

The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.

 

At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.

 

Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.

 

The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.

 

The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."

 

The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.

 

In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.

 

According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.

 

Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.

 

The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.

 

The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".

 

The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.

 

The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.

 

Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.

 

In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.

 

The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.

 

The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.

 

The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.

 

The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.

 

Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.

 

Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.

 

The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.

 

The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.

 

The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.

 

Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.

 

The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.

 

The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.

 

The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.

 

The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.

 

The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.

 

Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.

 

The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.

 

Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".

 

The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.

 

The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.

 

Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.

 

Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.

 

The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.

 

In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.

 

The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.

 

On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.

 

In 2010 the official clock-winder retired and was replaced by an electric mechanism.

 

The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.

 

The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.

 

Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.

 

The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.

 

There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.

 

The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.

 

In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.

 

The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.

 

The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.

 

The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.

 

The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.

 

Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.

 

Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.

 

To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.

 

To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.

 

The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.

 

The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.

 

The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.

 

An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.

 

The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.

Hierarchical Divine Liturgy

Sunday, July 3, 2016 â NASHVILLE, Tenn. â Almost a thousand people attended the Hierarchical Divine Liturgy this morning that began the 43rd Biennial Clergy-Laity Congress of the Greek Orthodox Archdiocese of America.

The Orthros service and Hierarchical Concelebration of the Divine Liturgy were held in the Grand Ole Opry House.

His Eminence Archbishop Demetrios Geron of America presided over the Divine Liturgy concelebrating with all the Metropolitans of the Holy Eparchial Synod of the Archdiocese. Taking part in the Liturgy were His Eminence Metropolitan Iakovos of Chicago, His Eminence Metropolitan Methodios of Boston, His Eminence Metropolitan Isaiah of Denver, His Eminence Metropolitan Alexios of Atlanta, His Eminence Metropolitan Nicholas of Detroit (the host Metropolitan of this yearâ s Congress), His Eminence Metropolitan Savas of Pittsburgh, His Eminence Metropolitan Gerasimos of San Francisco, and His Eminence Metropolitan Evangelos of New Jersey.

 

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social hierarchy of asia.. or just a temple..

SeaLife DC1400

All brown bears live by an unspoken hierarchy, but one that is very much known amongst their kind nonetheless. The Katmai NP brown bears are no different.

 

These bears generally prefer to live in their own territorial space, but when the food is plentiful, such as when the salmon are running, or when they have other things on their mind, like attracting a female to mate with, they find a way to co-exist. That doesn't mean that confrontations don't happen.

 

In this image, these two males were challenging each other for the affection of one of the nearby females. In the enormity of the wilderness and grassy areas to feed upon, they managed to cross paths. I, being totally against blood shed of these amazing creatures, was preparing myself for the worse.... having never been witnessed to the bears in the mating season. I wondered.... would they defend their own right fiercely by fighting upright, with their ferocious growling and snapping? Would it be quick or long and drawn out? Would a winner ever be declared?

 

to my surprise, these two met face-to-face or should I say muzzle-to-muzzle and gave long deep growls of warning. Hackles became prominent and the saliva was flowing and the stand-off was on. It did, however, end peacefully as the smaller of the two, who by the way started the whole confrontation, realized he might as well quit while he was ahead - so he just dropped his head and began grazing on the green grass. The "winner" then did the same.... as if nothing had ever happened!

 

It's quite fascinating to watch the behavior of these powerful animals. It's also amazing to see how they yield to the hierarchy that exists in their world and, in doing so, co-exist for the time.

 

Thanks for stopping by to view and comment, as they are both greatly appreciated. I'll have another week or so of Alaska images, then start mixing them in again.

 

Happy Hump Day!

Raša, the youngest town in Istria, was built in just 547 days due to the needs of the local coal mine as one of a series of newly built towns (città di fondazione) during the Italian administration, i.e. during the so-called fascist era. Construction of the settlement began at the end of April 1936, in April 1937 most of the buildings were completed, so the residents began moving in, and Raša was officially inaugurated on November 4, 1937 in the presence of the government envoy Horst Venturi and the king's envoy the Duke of Spoleto, and numerous high-ranking state officials. A year later, the new municipality of Raša was established.

 

During construction, the working name of the settlement was Liburnia, but later the name Arsia (Raša) prevailed, after the river of the same name, which with its tributaries geographically and morphologically defines this area. The Raša River (Arsia flumen), known since ancient times, has repeatedly been a significant border between various state entities, including the Croatian state in the 10th century.

 

The construction of the settlement was preceded by extensive land reclamation works in the Raša and especially Krapan valleys, in the period from 1928 to 1934, organized by a special Consortium headed by a Labin native, Baron Giuseppe Lazzarini.

 

Mining activities in this area date back to the 17th century, during the Venetian administration, as the first known concession for coal mining in the Krapan valley dates back to 1626. Continuous coal production took place during the 18th century with about forty miners who produced about 560 tons of coal per year. General industrialization, with the widespread use of the steam engine, enabled significant development of coal mines, so during the Austrian administration, at the end of the 19th and beginning of the 20th centuries annual production increased to about 90,000 tons with the use of about 1,500 workers. At that time, Krapan flourished with the construction of a number of new buildings, both commercial and residential, all in the function of the mine. In 1905, a small church of St. Barbara, the patron saint of miners, was built there.

History of Raša

The Italian administration, due to the needs of its autarkic economy, worked on a significant increase in production, so that in 1936 it amounted to 735,610 tons with plans for a million tons with the use of about 7,000 workers with a tendency for constant growth. That is why the coal mining company "Raša" ("Arsa" Società Anonima Carbonifera) and its true successor A.Ca.I. (Azienda Carboni Italiani) commissioned the construction of a new settlement. The settlement design and construction supervision were entrusted to the Trieste architect Gustavo Pulitzer Finali and his architectural studio STUARD (Ceppi, Lah, Kosovel). He had a unique opportunity to solve the urban planning of the entire settlement and to architecturally design each building. In addition, he designed many interiors, especially public buildings, and created furniture designs, interpreting in his own way the principles of the complete work (Gesamtswerk) that he had adopted at the Munich School. Pulitzer divided the settlement hierarchically, into a workers' and an official part, and a central square that served to connect but also separate these two entities. The workers' part is dominated by a house with four two-room apartments, each with a separate entrance and a piece of garden. He also designed a coal-fired stove that allows heating of the entire apartment. Apartments for officials and managers are more comfortable and are heated by hot water from the city heating plant. A total of 96 houses were built. The town, planned for 2,000 to 3,000 inhabitants, had all the necessary facilities, from the municipal building and gendarmerie station, to schools, kindergartens, post offices, cafes, restaurants, hotels, shops, a cinema and hospital, sports fields and even an outdoor swimming pool of Olympic proportions. The infrastructure was also enviably well-designed: water supply and sewage networks, city lighting and asphalt-paved roads, hot water in all public buildings. Of course, the mine administration was located on the edge of the town.

 

History of Raša

The heart of the town is the town square, to the design of which the architect paid special attention. It is dominated by the imposing church of St. Barbara with a carefully thought-out roof structure obtained by arranging reinforced concrete arched ribs that are reminiscent of a pit support, just as the square attached bell tower is reminiscent of a miner's lamp, which is found in the municipal coat of arms. The interior of the church, with a very harmonious modern design with simple but refined details of the marble altar and sprinkling font, is enlivened with side ceiling lighting, two elongated glass window openings on the facade and very interesting lighting effects in the side sacristy with a glazed dome. Next to the church is a covered loggia, a building element common in many Istrian towns, which with its openings was supposed to help the air flow and ventilate the square during the summer heat. The main facade also features a stone relief figure of St. Barbara, the work of the Trieste sculptor Ugo Carà. The square was once adorned with a stone statue of a miner-fighter, whose author was the equally famous Trieste sculptor Marcello Mascherini, but the sculpture was immediately

  

10972 R Raša 26.VI.1959. Putnik Zagreb Fotoslužba Snimio Đuro Griesbach 14751 FK Fotopapir

 

Raša, najmlađi grad u Istri, zbog potreba tamošnjeg rudnika ugljena, izgrađen je u svega 547 dana kao jedan od niza novo izgrađenih gradova (città di fondazione) u doba talijanske uprave, odnosno u vrijeme tzv. fašističke ere. Izgradnja naselja započela je krajem travnja 1936., u travnju 1937. veći dio zgrada bio je dovršen, pa je počelo useljavanje stanara, a Raša je svečano inaugurirana 4. studenog 1937. u nazočnosti vladinog izaslanika Horsta Venturija i kraljeva izaslanika vojvode od Spoleta te brojnih visokih državnih dužnosnika. Godinu dana kasnije uspostavljena je nova općina Raša.

 

Tijekom gradnje radni naziv naselja glasio je Liburnia, no kasnije je prevagnuo naziv Arsia (Raša) po istoimenoj rijeci koja sa svojim pritocima geografski i morfološki određuje ovo područje. Rijeka Raša (Arsia flumen), poznata od antičkih vremena, višekratno je bila značajna granična međa između raznih državnih entiteta, pa tako i Hrvatske države u 10. stoljeću.

 

Izgradnji naselja prethodili su opsežni melioracijski radovi raške i osobito krapanske doline, u vremenu od 1928. do 1934. godine, u organizaciji posebnog Konzorcija na čijem se čelu nalazio Labinjanin, barun Giuseppe Lazzarini.

 

Rudarska djelatnost ovog područja seže u 17. stoljeće, u doba mletačke uprave, jer iz godine 1626. potječe zasad prva poznata koncesija za vađenje ugljena u dolini Krapna. Kontinuirana proizvodnja ugljena odvijala se tijekom 18. stoljeća s četrdesetak rudara koji su proizvodili oko 560 tona ugljena godišnje. Sveopća industrijalizacija, uz široku primjenu parnog stroja, omogućila je značajan razvoj ugljenokopa, pa se tako u doba austrijske uprave, krajem 19. i početkom 20. st. godišnja proizvodnja povećala na oko 90.000 tona uz uporabu od oko 1500 djelatnika. U tom je vremenu Krapan procvao s izgradnjom niza novih objekata, gospodarske i stambene naravi, svi u funkciji rudnika. Godine 1905. podignuta je tamo i manja crkva sv. Barbare, zaštitnice rudara.

Povijest Raše

Talijanska uprava, zbog potreba svoje autarkične privrede, poradila na značajnom povećanju proizvodnje, pa je ista 1936. g. iznosila 735.610 tona s planovima prema milijun tona uz uporabu oko 7000 djelatnika s tendencijom stalnog rasta. Upravo stoga je ugljenokopno društvo „Raša“ („Arsa“ Società Anonima Carbonifera) i njegov pravi slijednik A.Ca.I. (Azienda Carboni Italiani) naručilo izgradnju novog naselja. Projekt naselja i nadzor izgradnje povjeren je tršćanskom arhitektu Gustavu Pulitzeru Finaliju i njegovom arhitektonskom studiju STUARD (Ceppi, Lah, Kosovel). On je imao jedinstvenu priliku da urbanistički riješi kompletno naselje i da arhitektonski oblikuje svaki objekt. Osim toga uredio je mnoge unutrašnjosti, osobito objekte javnog sadržaja, a izradio je i nacrte namještaja, interpretirajući na osobni način principe cjelovitog djela (Gesamtswerka) koje je usvojio na Učilištu u Münchenu. Pulitzer je naselje hijerarhijski podijelio, na radnički i službenički dio te na središnji trg koji je u službi povezivanja, ali i razdvajanja ova dva entiteta. U radničkom dijelu dominira kuća s četiri dvosobna stana, svaki s odvojenim ulazom i komadom vrta. Projektirao je i peć na ugljen koja omogućava grijanje cijelog stana. Stanovi za službenike i rukovoditelje imaju veći komfor i grijanje im je omogućeno posredstvom tople vode iz gradske toplane. Ukupno je izgrađeno 96 kuća. Grad, planiran za 2000 do 3000 stanovnika, imao je sve potrebite sadržaje, od općinske zgrade i žandarmerijske postaje, do škole, vrtića, pošte, kavane, restorana, hotela, trgovina, kino dvorane i bolnice, sportskih igrališta pa čak i otvorenog bazena olimpijskih razmjera. Infrastruktura bila je također zavidno dobro riješena: vodovodna i kanalizacijska mreža, gradska rasvjeta i prometnice s asfaltnim tepihom, topla voda u svim javnim objektima. Naravno uz rub grada nalazila se i uprava rudnika.

 

Povijest Raše

Srce grada je gradski trg, čijem je projektiranju arhitekt posvetio posebnu pozornost. Na njemu dominira impozantna crkva sv. Barbare s pomno promišljenom krovnom konstrukcijom koja je dobivena nizanjem armirano betonskih lučnih rebara koji podsjećaju na jamsku podgradu, kao što četvrtasti pripojeni zvonik podsjeća na rudarsku lampu, koja se nalazi u općinskom grbu. Unutrašnjost crkve, vrlo skladnog modernog dizajna s jednostavnim, ali profinjenim detaljima mramornog oltara i škropionice, produhovljena je s bočnom stropnom rasvjetom, s dva izdužena staklena prozorska otvora na pročelju i s vrlo zanimljivim svjetlosnim efektima u bočnoj sakristiji s ostakljenom kupolom. Uz crkvu naslanja se pokrivena lođa, graditeljski element čest u mnogim istarskim gradovima, koja je svojim otvorima trebala pripomoći strujanju zraka i ventiliranju trga u doba ljetnih vrućina. Na glavnoj fasadi ističe se i kameni reljefni lik sv. Barbare, djelo tršćanskog kipara Uge Carà. Trg je svojevremeno krasio i kameni kip rudara-borca, čiji je autor bio isto tako poznati tršćanski kipar Marcello Mascherini, no skulptura je odmah u poračju uništena. Pulitzer je sasvim prirodno opskrbio trg skladnom, kamenom, okruglom fontanom.

 

Povijest Raše

Temeljni princip kojim se rukovodio Pulitzer bio je racionalizam, na tragu onovremenih europskih arhitektonskih strujanja. Jednostavne stroge linije, čiste, svijetle plohe našle su široku primjenu kod njega. Vežući se na mediteransku tradiciju, pravokutnim rješenjima pridodao je i luk, tako da su njegove arhitektonske kompozicije razigrane ne samo linearno već i dubinski zbog igre svjetla i sjene. No, Pulitzer se nije zadovoljio samo ovime. Modernom i suvremenom, dakle europskom, dodao je i tradicionalno, lokalno, istarsko, kako u primjeru obrade elementa baladura tako i u znalačkoj uporabi mjesnog kamena. Zbog svega toga Pulitzerova arhitektura, koja sadržava sva bitna obilježja racionalizma i modernizma u primjeru Raše, postala je svojevrsni uzor i model za urbanističko i arhitektonsko oblikovanje novih naselja, koji je potom našao primjenu u Carboniji, Sabaudiji i drugdje širom Italije.

 

Nakon drugog svjetskog rata Raša je doživjela paradoksalnu sudbinu. S jedne strane je zbog svoje, nehotične, fašističke prošlosti sistematski zapostavljana i prepuštena propadanju, a s druge je strane kao proizvođač dragocjenog crnog zlata veličana i poštovana, ali sve u cilju njezinog maksimalnog iskorištavanja. U doba jugoslavenske uprave općina Raša integrirana je u općinu Labin, da bi potom u novoj Hrvatskoj državi iznova dobila status samostalne općine. Otada se sustavno vrše napori za valorizaciju ovog nekada izuzetno značajnog rudarskog središta.

 

tekst izvor:

www.rasa.hr/o-opcini/povijest/

  

I thought I had visited St Mary years ago. And indeed I had, or stood on the green in front of it, but didn't set foot inside.

 

This I didn't realise until Saturday when I was standing outside it looking at the row of cottages leading to the lych gate, I knew the scene was new to me.

 

The drizzle was still falling, so I could not linger in the churchyard, and scampered along the south side of the building, looking for the porch, but there wasn't one. Instead a simple door near to the chancel gave way when I turned the handle, after stepping over the void that acts as a drain for rainwater falling from the roof.

 

I tried hard to find the lightswitches, as in the gloom of the early afternoon, it was almost dark inside. Even when I found the switches in the south chapel, there seemed to be no power to them, so the church remained in half darkness.

 

What I did see, and was dazzled by, were tiles used to line the lower part of the chancel walls, like a mosaic, creating fantastic patterns.

 

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A mainly thirteenth century church restored by Sir George Gilbert Scott. There is a high window which originally shed light onto the Rood figures (see also Capel le Ferne). Some medieval glass survives in the heads of the windows in the chancel showing angels holding crowns. The west window was designed by Morris and Co in 1874 to commemorate a former Rector, whilst the south chapel has a set of continental glass brought here by the Beckingham family from their house in Essex. Above the nave arcade is a good set of murals including a figure of St Nicholas. The famous Elizabethan theologian Richard Hooker is commemorated in the chancel.

 

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

 

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Bishopsbourne is another example of a parish church belonging to the church (the archbishop, in this case), which was totally rebuilt on a large(r) scale in the 13th century (cf. Chartham). The chancel, as rebuilt, was as wide as the nave, and there is no chancel arch (and probably never has been).

The nave and chancel both show at least two phases of work of about the mid to later 13th century, so it seems likely that a rebuilding programme was being carried on in stages during the 2nd half of the 13th century (no sign exists, above-ground, of the earlier church).

Perhaps the earliest visible work are the two pairs of two-light windows on either side of the chancel. They have geometrical tracery and all sit on an internal moulded string course (there is medieval glass at the top of all these windows). This string course rises up in the east wall, and has on it the five-light east window, within trefoiled lancets, which is perhaps slightly later in date. There is also a late 13th century piscina at the east end of the south wall (though with a 19th century back wall). Externally the N.E. and S.E. corners of the chancel have angle buttresses, but these are heavily restored. It is also just possible that there were further geometrical windows further west in the chancel, which were covered/removed when the 15th century additions were made.

In the nave, as John Newman has pointed out, the two slender arcades have slight differences (N. capitals more complex than the S. ones). Also that the nave abaci are undercut, while the chancel string course is not. Originally the south arcade was at least three bays long (ie. longer than the present nave), but on the north this is not so clear. The aisles themselves are very narrow, with shed roofs continuing the slope of the main nave roof (though this shape may only be 15th century when the aisles were remodelled). The only surviving feature of the 13th century in the outer aisle walls (again heavily restored externally in the 19th century) is the north doorway with its niche (called a stoup by some writers, but not necessarily one) immediately to the east. This doorway has slightly projecting pilasters on either side, and the whole was covered by a porch until 1837.

The second main phase of work took place in the later 15th century. First, the whole of the west end of the church was demolished and a new tower was constructed with diagonal buttresses. The tower is of three main stages with the top stage rendered. The whole of the south face is mostly rendered. As this was being built, short walls were erected from the eastern diagonal buttresses to the 13th century arcade (ie. leaving the western ends of the aisles outside). (This is perhaps due to a population decrease in the parish). New west walls (containing two light perpendicular square headed windows) to the shortened aisles were also built, and four new 2-light perpendicular windows were inserted into the outer aisle walls. Along the top of the inside of the aisles walls a new moulded timber stringcourse was made (the roofs were perhaps also remade, but they are hidden beneath plaster in the aisles, and the main nave roof was replaced in 1871). At the west end of the nave the new short north and south walls contain five 3-light windows with perpendicular tracery under a 2-centred arch in their heads. On the upper nave walls, above the arcade, are remains of some fine painted figures on a painted 'ashlar' background. These were perhaps painted after the 15th century rebuilding (a date of around 1462 for the rebuilding is perhaps suggested by the will of William Harte (see below). At the extreme west end of the nave are two areas (N. and S.) of in situ medieval floor tiles. It is just possible that they predate the tower building work. (They must continue eastwards under the pews). There is also a 15th cent. octagonal font bowl (on a 1975 base). The southern chapel (the Bourne Pew after the Reformation) with its diagonal buttresses and 3-light east window is also 15th century but it was very heavily restored in c. 1853 (date over new S. door). It has a separate roof (and plaster ceiling). The rectangular N. addition with a plinth is also 15th century and was perhaps built as a vestry. It had an external door and only a small door into the chancel until the rebuilding of 1865, when a massive new arch was put in to accommodate a new organ (earlier the organ was under the tower arch). At this time also a totally new pitched roof was built over the vestry, perhaps replacing a low pitched 15th century roof. There is a high up window on the north side above the pulpit, with some old glass in it.

A new boiler house was dug under the western half of the vestry (in the 1880s - date on radiator), and its N.W. corner was rebuilt, incorporating a fireplace and chimney. The cut through N. chancel wall (and foundation) can be seen in the boiler room below.

The door into the Rood loft is in the S.E. corner of the nave.

In 1871-2 a major restoration took place under Scott, when the boarded wagon roofs were put in (nave and chancel) and new pews were installed (and choir stalls). The c. 18th century pulpit was remodelled and has its larger tester removed. The west window contains 1874 Morris & Co glass with figures by Burne Jones. There is also much c. 1877 mosaic work on the lower chancel walls and a large Reredos. The chancel floor was also raised.

 

BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles, etc.):

The main building materials are flintwork with Rag and Caenstone quoins/jambs, etc. However much of this has been removed externally by the heavy 19th century restoration. The nave arcades are of Reigate stone. The 15th century tower has fine large quoins of Kent Rag (Hythe/Folkestone stone with boring mollusc holes), and a few reused pieces of Caen, Reigate and Roman brick.

The south chapel was "partly of brick" in 1846 (Glynne) but this has now gone in the Restoration. There is also some fine early post-medieval glass in the east window of this chapel.

 

(For medieval glass, wall paintings and floor tiles ,see above).

 

(Also 15th century choir stalls, see below). There are also the arms and Cardinals Cap of Cardinal Morton (hence 1494-1500) in the S.W. chancel window.

 

There are now 4 bells (2 J Hatch of 1618; Christopher Hodson 1685 and Robert Mot 1597). The later from St. Mary, Bredman, Canterbury was installed in 1975 (a cracked bell was 'discarded').

 

A late medieval brass (of John and Elizabeth Colwell) lies under the organ - another of 1617 (John Gibon) is under the choir stalls.

 

EXCEPTIONAL MONUMENTS IN CHURCH To Richard Hooker (1633) - originally on N chancel wall and moved to S chancel will c. 1865.

 

Also John Cockman (+1734) - also on N. chancel wall and moved to E. wall of N. aisle c. 1865 (when the organ was put under new vestry arch).

 

Also a fine Purbeck marble (14th century) grave slab under the N.E. corner of the tower.

 

There are also two fine 15th century (c. 1462) stall fronts in the chancel with carved panels and ends (and 'poppy heads'). The added Victorian choir stalls copy them.

 

CHURCHYARD AND ENVIRONS:

Shape: Rectangular

 

Condition: Good

 

Earthworks:

enclosing: drop on N. and W. sides (?Ha-Ha) into Bourne Park adjacent:

 

Building in churchyard or on boundary: Lychgate of 1911

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book

 

Evidence of pre-Norman status (DB, DM, TR etc.):

 

Late med. status: Rectory

 

Patron: The Archbishop

 

Other documentary sources: Test. Cant. (E. Kent 1907) 23 mentions 'one piece of that stone on which the Archangel Gabriel descended when he saluted the 'BVM' to the Image of the BVM of the church of Bourne. Towards the work of the Church of Bourne, of the stalls and other reparations, 4 marcs. Wm. Haute (1462). Also 'Beam, now before altar of B. Mary in the church' (1477) and Lights of St. Mary, St. Katherine and St. Nicholas (1484) and light of Holy Cross (1462) and 'The altar of St. Mary and St. Nicholas in the nave' (1476).

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:

Inside present church: Good - main nave and chancel floor raised in 19th century (earlier levels should be intact beneath (except where burials, etc.).

 

Outside present church: Drainage trench cut round outside of church.

 

Quinquennial inspection (date\architect): October 1987 David Martin

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: A fine 13th and 15th century church, with an impressive collection of medieval wall paintings, stained glass, floor tiles and pew fronts inside. The 13th century architectural details of the chancel windows and nave arcade are very good. There are, no doubt, the remains of the earlier church beneath.

 

The wider context: One of a group of fine later 13th century rebuildings (cf. Hythe, Chartham, Adisham, etc.)

REFERENCES: Notes by FC Elliston Erwood, Arch. Cant. 62 (1949), 101-3 (+ plan) + S. R. Glynne Notes on the Churches of Kent (1877), 130-1 (He visited in 1846); Hasted IX (1800), 335-7; Newman BOE (N.E. and E Kent) (3rd ed. 1983) 144-5.

 

Guide book: by Miss Alice Castle (1931, rev. 1961, 1969, 1980) - no plan.

 

Plans & drawings: Early 19th century engraving of interior looking W. NW (before restoration).

 

DATES VISITED: 25th November 1991 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/BIS.htm

 

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BISHOPSBORNE

LIES the next parish eastward from Bridge, described before, in the hundred of that name. It is called in Domesday, Burnes, that is, borne, from the bourn or stream which rises in it, being the head of the river, called the Lesser Stour; and it had the name of Bishopsborne from its belonging to the archbishop, and to distinguish it from the several other parishes of the same name in this neighbourhood. There is but one borough in this parish, namely, that of Bourne.

 

THIS PARISH lies about five miles eastward from Canterbury, just beyond Bridge, about half a mile from the Dover road, and the entrance of Barham downs in the valley on the left hand, where the church and village, the parsonage, the mansion and grounds of Bourne place, and the seat of Charlton at the opposite boundary, with the high hills behind them, topped with woods, from a most pleasing and luxuriant prospect indeed. In this beautiful valley, in which the Lesser Stour rises, and through which the Nailbourne at times runs, is the village of Bourne-street, consisting of about fifteen houses, and near it the small seat of Ofwalds, belonging to Mr. Beckingham, and now inhabited by his brother the Rev. Mr. Beckingham, and near it the church and court-lodge. On the rise of the hill is the parsonage, an antient building modernized, and much improved by the present rector Dr. Fowell, and from its whiteness a conspicuous object to the road and Barham downs. About a mile distant eastward, in the vale, close to the foot of the hills, is Charlton, in a low and damp situation, especially when the nailbourne runs. On the opposite side of the church westward, stands the ornament of this parish, the noble mansion of Bourne-place, (for several years inhabited by Sir Horace Mann, bart. but now by William Harrison, esq.) with its paddocks, grounds, and plantations, reaching up to the downs, having the bourn, which is the source of the Lesser Stour, which rises here in the front of it, directing its course from hence to Bridge, and so on by Littleborne, Ickham and Wickham, till it joins the Greater Stour river. This valley from this source of the bourn upwards, is dry, except after great rains, or thaws of snow, when the springs of the Nailbourn occasionally over flow at Liminge and Elham, and directing their course through this parish descend into the head of the bourn, and blend their waters with it. From this valley southward the opposite hills rise pretty high to the woodland, called Gosley wood, belonging to Mr. Beckingham, of large extent, and over a poor, barren and stony country, with rough healthy ground interspersed among it, to the valley at the southern boundary of the parish, adjoining to Hardres; near which is the house of Bursted, in a lonely unfrequented situations, hardly known to any one.

 

THE MANOR OF BOURNE, otherwise Bishopsborne, was given by one Aldhun, a man of some eminence in Canterbury, from his office of præfect, or bailiff of that city, (qui in hac regali villa bujus civitatis prafectus suit), (fn. 1) to the monks of Christ-church there, towards the support of their refectory. After which, anno 811, the monks exchanged it, among other estates, with archbishop Wlfred, for the manor of Eastry, and it continued part of the possessions of the see of Canterbury, at the time of taking the survey of Domesday, in which it is thus entered, under the title of the archbishop's lands:

 

In Berham hundred, the archbishop himself holds Burnes in demesne. It was taxed for six sulings. The arable land is fifty carucates. In demesne there are five carucates, and sixty-four villeins, with fifty-three borderers having thirty carucates and an half. There is a church, and two mills of eight shillings and six pence, and twenty acres of meadow. Wood for the pannage of fifteen hogs. Of herbage twenty-seven pence. In its whole value, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, now thirty pounds.

 

The manor of Bishopsborne appears by the above entry to have been at that time in the archbishop's own hands, and it probably continued so as long as it remained part of his revenues, which was till the 35th year of king Henry VIII. when archbishop Cranmer, by an act specially passed for the purpose, exchanged this manor with the park, grounds and soil of the archbishop in this parish, called Langham park, with Thomas Colepeper, sen. esq. of Bedgbury, who that year alienated it to Sir Anthony Aucher, of Otterden, who gave this manor, with the rest of his possessions in this parish, to his second son Edward. Since which it has continued in the same line of ownership as Bourne-place, as will be more particularly mentioned hereafter, down to Stephen Beckingham, esq. the present owner of it. A court leet and court baron is held for this manor.

 

BOURNE-PLACE, formerly called the manor of Hautsbourne, is an eminent seat in this parish, for the manor has from unity of possession been for many years merged in the paramount manor of Bishopsborne. It was in very early times possessed by a family who took their name from it. Godric de Burnes is mentioned in the very beginning of the survey of Domesday, as the possessor of lands in it. John de Bourne had a grant of free-warren and other liberties for his lands in Bourne and Higham in the 16th year of king Edward I. He left an only daughter Helen, who carried this estate in marriage to John de Shelving, of Shelvingborne, whose grandson, of the same name, died anno 4 Edward III. at which time this manor had acquired from them the name of Shelvington. He left an only daughter and heir Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, whose son Nicholas Haut gave to William, his youngest son, this estate of Bishopsborne, where he afterwards resided, and died in 1462, having been knight of the shire and sheriff of this county. From him it descended down to Sir William Haut, of Hautsborne, sheriff in the 16th and 29th year of king Henry VIII. whose son Edmund dying unmarried in his life-time, his two daughters, Elizabeth, married to Thomas Colepeper, esq. of Bedgbury, and Jane, to Sir Thomas Wyatt, of Allington-castle, became his coheirs, and on the division of their estates, this of Hautsborne was allotted to the former, and her hus band Thomas Colepeper, in her right, became possessed of it, and having acquired the manor of Bishopsborne by exchange from the archbishop, anno 35 Henry VIII. immediately afterwards passed away both that and Hautsborne to Sir Anthony Aucher, of Otterden, whose family derived their origin from Ealcher, or Aucher, the first earl of Kent, who had the title of duke likewise, from his being intrusted with the military power of the county. He is eminent in history for his bravery against the Danes, in the year 853. They first settled at Newenden, where more of the early account of them may be seen. He at his death gave them to his second son Edward, who afterwards resided here at Shelvington, alias Hautsborne, as it was then called, whose great-grandson Sir Anthony Aucher was created a baronet in 1666, and resided here. He left surviving two sons Anthony and Hewitt, and two daughters, Elizabeth, afterwards married to John Corbett, esq. of Salop, LL. D. and Hester, to the Rev. Ralph Blomer, D. D. prebendary of Canterbury. He died in 1692, and was succeeded by his eldest son, who dying under age and unmarried, Hewitt his brother succeeded him in title and estate, but he dying likewise unmarried about the year 1726, the title became extinct, but his estates devolved by his will to his elder sister Elizabeth, who entitled her husband Dr. Corbett afterwards to them, and he died possessed of the manor of Bishopsborne, with this seat, which seems then to have been usually called Bourneplace, in 1736, leaving his five daughters his coheirs, viz. Katherine, afterwards married to Stephen Beckingham, esq. Elizabeth, to the Rev. Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignat. Geohegan, esq. and Margaret-Hannah-Roberta, to William Hougham, esq. of Canterbury, the four latter of whom, with their respective husbands, in 1752, jointed in the sale of their shares in this estate to Stephen Beckingham, esq. above-men tioned, who then became possessed of the whole of it. He married first the daughter of Mr. Cox, by whom he had the present Stephen beckingham, esq. who married Mary, daughter of the late John Sawbridge, esq. of Ollantigh, deceased, by whom he had an only daughter, who married John-George Montague, esq. eldest son of John, lord viscount Hinchingbrooke, since deceased. By his second wife Catherine, daughter of Dr. John Corbet, he had two daughters, Charlotte and Catherine, both married, one to Mr. Dillon and the other to Mr. Gregory; and a son John Charles, in holy orders, and now rector of Upper Hardres. They bear for their arms, Argent, a sess, crenelle, between three escallop shells, sable. He died in 1756, and his son Stephen Beckingham, esq. above-mentioned, now of Hampton-court, is the present owner of the manor of Bishopsborne, and the mansion of Bourneplace.

 

BURSTED is a manor, in the southern part of this parish, obscurely situated in an unfrequented valley, among the woods, next to Hardres. It is in antient deeds written Burghsted, and was formerly the property of a family of the same name, in which it remained till it was at length sold to one of the family of Denne, of Dennehill, in Kingston, and it continued so till Thomas Denne, esq. of that place, in Henry VIII.'s reign, gave it to his son William, whose grandson William, son of Vincent Denne, LL. D. died possessed of it in 1640, and from him it descended down to Mr. Thomas Denne, gent. of Monkton-court, in the Isle of Thanet, who died not many years since, and his widow Mrs. Elizabeth Denne, of Monktoncourt, is the present possessor of it.

 

CHARLTON is a seat, in the eastern part of this parish, which was formerly the estate of a family named Herring, in which it continued till William Herring, anno 3 James I. conveyed it to John Gibbon, gent. the third son of Thomas Gibbon, of Frid, in Bethers den, descended again from those of Rolvenden, and he resided here, and died possessed of it in 1617, as did his son William in 1632, whose heirs passed it away to Sir Anthony Aucher, bart. whose son Sir Hewitt Aucher, bart. in 1726, gave it by will to his sister Elizabeth, and she afterwards carried it in marriage to John Corbett, LL. D. of Salop, who died possessed of it in 1735, leaving his window surviving, after whose death in 1764 it came to her five daughters and coheirs, who, excepting Frances, married to Sir William Hardres, bart. joined with their husbands in the sale of their respective fifth parts of it in 1765, to Francis Hender Foote, clerk, who resided here. Mr. Foote was first a barrister-at-law, and then took orders. He married Catherine, third daughter of Robert Mann, esq. of Linton, by whom he had three sons, John, mentioned below, who is married and has issue; Robert, rector of Boughton Malherb, and vicar of Linton, who married Anne, daughter of Dobbins Yate, esq. of Gloucestershire, and Edward, in the royal navy; and three daughters, of whom two died unmarried, and Catherine, the second, married first Mr. Ross, and secondly Sir Robert Herries, banker, of London. Mr. Foote died possessed of them in 1773, leaving his wife Catherine surviving, who possessed them at her death in 1776, on which they descended to their eldest son John Foote, esq. of Charlton, who in 1784, purchased of the heirs of lady Hardres, deceased, the remaining fifth part, and so became possessed of the whole of it, of which he is the present owner, but Mr. Turner now resides in it.

 

Charities.

MRS. ELIZABETH CORBETT, window, executrix of Sir Hewit Aucher, bart. deceased, in 1749, made over to trustees, for the use and benefit of the poor, a tenement called Bonnetts, and half an acre of land adjoining, in this parish; now occupied by two poor persons, but if rented, of the annual value of 3l.

 

The poor constantly relieved are about eleven, casually seven.

 

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

 

¶The church, which is dedicated to St. Mary, is a large building, consisting of three isles and three chancels, having a tower steeple at the west end, in which are four bells. This church is a large handsome building, but it is not kept so comely as it ought to be. In the chancel is a monument for Richard Hooker, rector of this parish, who died in 1600; on it is his bust, in his black gown and square cap. A monument for John Cockman, M. D. of Charlton. His widow lies in the vault by him, obt. 1739; arms, Argent, three cocks, gules, impaling Dyke. Memorial for Petronell, wife of Dr. John Fowell, the present rector, second daughter of William Chilwich, esq. of Devonshire, obt. 1766. She lies buried in a vault under the altar. A large stone, twelve feet long, supposed to be over the remains of Mr. Richard Hooker. A memorial on brass for John Gibbon, gent. of this parish, obt. 1617; arms, Gibbon, a lion rampant-guardant, between three escallops, impaling Hamon, of Acrise, quartering Cossington. Memorials for Mrs. Jane Gibbon, his wife, obt. 1625, and for William Gibbon, gent. obt. 1632. A memorial for William Gresham, obt. 1718. In one of the windows are the arms of the see of Canterbury impaling Warham. In the middle isle, in the south wall, above the capital of the pillar, opposite the pulpit, is a recess, in which once stood the image of the Virgin Mary, the patron saint of this church, to which William Hawte, esq. by will anno 1462, among the rest of his relics, gave a piece of the stone on which the archangel Gabriel descended, when he saluted her, for this image to rest its feet upon. On the pavement near this, seemingly over a vault, is a stone with an inscription in brass, for William, eldest son of Sir William Hawt. A memorial for Farnham Aldersey, gent. of this parish, only son of Farnham Aldersey, gent. of Maidstone, obt. 1733. Memorials for several of the Dennes, of this parish. In a window of the south isle, are the arms of Haut, impaling Argent, a lion rampant-guardant, azure. The south chancel is inclosed and made into a handsome pew for the family of Bourne-place, under which is a vault appropriated to them. The window of it eastward is a very handsome one, mostly of modern painted glass; the middle parts filled up with scripture history, and the surrounding compartments with the arms and different marriages impaled of the family of Beckingham. On each side of this window are two ranges of small octagon tablets of black marble, intended for the family of Aucher, and their marriages, but they were not continued. In the church-yard, on the south side, is a vault for the family of Foote, of Charlton, and a tomb for Mrs. Elizabeth Corbett, obt. 1764; arms, Corbett, which were Or, two ravens, sable, within a bordure, gules, bezantee. At the north-east corner of the church-porch are several tombs for the Dennes.

 

The church of Bishopsborne, with the chapel of Barham annexed, was antiently appendant to the manor, and continued so till the exchange made between the archbishop and Thomas Colepeper, in the 35th year of king Henry VIII. out of which the advowson of this rectory was excepted. Since which it has continued parcel of the possessions of the see of Canterbury to the present time, his grace the archbishop being the present patron of it.

 

This rectory, (including the chapel of Barham annexed to it) is valued in the king's books at 39l. 19s. 2d. and the yearly tenths at 3l. 19s. 11d. In 1588 here were communicants one hundred. In 1640 one hundred and forty-eight, and it was valued, with Barham, at two hundred and fifty pounds per annum.

 

Church of Bishopsborne with the Chapel of Barhan annexed.

 

www.british-history.ac.uk/survey-kent/vol9/pp328-337

 

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

 

Richard Hooker (March 1554 – 3 November 1600) was an English priest in the Church of England and an influential theologian.[2] He was one of the most important English theologians of the sixteenth century.[3] His defence of the role of redeemed reason informed the theology of the seventeenth century Caroline Divines and later provided many members of the Church of England with a theological method which combined the claims of revelation, reason and tradition.[3] Scholars disagree regarding Hooker's relationship with what would later be called "Anglicanism" and the Reformed theological tradition. Traditionally, he has been regarded as the originator of the Anglican via media between Protestantism and Catholicism.[4]:1 However, a growing number of scholars have argued that he should be considered as being in the mainstream Reformed theology of his time and that he only sought to oppose the extremists (Puritans), rather than moving the Church of England away from Protestantism.

 

This sermon from 1585 was one of those that triggered Travers attack and appeal to the Privy Council. Travers accused Hooker of preaching doctrine favourable to the Church of Rome when in fact he had just described their differences emphasising that Rome attributed to works "a power of satisfying God for sin;..." For Hooker, works were a necessary expression of thanksgiving for unmerited justification by a merciful God.[11] Hooker defended his belief in the doctrine of Justification by faith, but argued that even those who did not understand or accept this could be saved by God.

 

Of the Lawes of Ecclesiastical Politie is Hooker's best-known work, with the first four books being published in 1594. The fifth was published in 1597, while the final three were published posthumously,[2] and indeed may not all be his own work. Structurally, the work is a carefully worked out reply to the general principles of Puritanism as found in The Admonition and Thomas Cartwright's follow-up writings, more specifically:

 

Scripture alone is the rule that should govern all human conduct;

Scripture prescribes an unalterable form of Church government;

The English Church is corrupted by Roman Catholic orders, rites, etc.;

The law is corrupt in not allowing lay elders;

'There ought not to be in the Church Bishops'.[12]

Of the Lawes has been characterised as "probably the first great work of philosophy and theology to be written in English."[13] The book is far more than a negative rebuttal of the puritan claims: it is (here McAdoo quotes John S. Marshall) 'a continuous and coherent whole presenting a philosophy and theology congenial to the Anglican Book of Common Prayer and the traditional aspects of the Elizabethan Settlement."[14]

 

Quoting C. S. Lewis,[15] Stephen Neill underlines its positive side in the following terms: Hitherto, in England, "controversy had involved only tactics; Hooker added strategy. Long before the close fighting in Book III begins, the puritan position has been rendered desperate by the great flanking movements in Books I and II. . . . Thus the refutation of the enemy comes in the end to seem a very small thing, a by-product."[16]

 

It is a massive work that deals mainly with the proper governance of the churches ("polity"). The Puritans advocated the demotion of clergy and ecclesiasticism. Hooker attempted to work out which methods of organising churches are best.[2] What was at stake behind the theology was the position of the Queen Elizabeth I as the Supreme Governor of the Church. If doctrine were not to be settled by authorities, and if Martin Luther's argument for the priesthood of all believers were to be followed to its extreme with government by the Elect, then having the monarch as the governor of the church was intolerable. On the other side, if the monarch were appointed by God to be the governor of the church, then local parishes going their own ways on doctrine were similarly intolerable.

 

In political philosophy, Hooker is best remembered for his account of law and the origins of government in Book One of the Politie. Drawing heavily on the legal thought of Thomas Aquinas, Hooker distinguishes seven forms of law: eternal law ("that which God hath eternally purposed himself in all his works to observe"), celestial law (God's law for the angels), nature's law (that part of God's eternal law that governs natural objects), the law of reason (dictates of Right Reason that normatively govern human conduct), human positive law (rules made by human lawmakers for the ordering of a civil society), divine law (rules laid down by God that can only be known by special revelation), and ecclesiastical law (rules for the governance of a church). Like Aristotle, whom he frequently quotes, Hooker believes that humans are naturally inclined to live in society. Governments, he claims, are based on both this natural social instinct and on the express or implied consent of the governed.

 

The Laws is remembered not only for its stature as a monumental work of Anglican thought, but also for its influence in the development of theology, political theory, and English prose.

 

Hooker worked largely from Thomas Aquinas, but he adapted scholastic thought in a latitudinarian manner. He argued that church organisation, like political organisation, is one of the "things indifferent" to God. He wrote that minor doctrinal issues were not issues that damned or saved the soul, but rather frameworks surrounding the moral and religious life of the believer. He contended there were good monarchies and bad ones, good democracies and bad ones, and good church hierarchies and bad ones: what mattered was the piety of the people. At the same time, Hooker argued that authority was commanded by the Bible and by the traditions of the early church, but authority was something that had to be based on piety and reason rather than automatic investiture. This was because authority had to be obeyed even if it were wrong and needed to be remedied by right reason and the Holy Spirit. Notably, Hooker affirmed that the power and propriety of bishops need not be in every case absolute.

 

King James I is quoted by Izaak Walton, Hooker's biographer, as saying, "I observe there is in Mr. Hooker no affected language; but a grave, comprehensive, clear manifestation of reason, and that backed with the authority of the Scriptures, the fathers and schoolmen, and with all law both sacred and civil."[17] Hooker's emphasis on Scripture, reason, and tradition considerably influenced the development of Anglicanism, as well as many political philosophers, including John Locke.[2] Locke quotes Hooker numerous times in the Second Treatise of Civil Government and was greatly influenced by Hooker's natural-law ethics and his staunch defence of human reason. As Frederick Copleston notes, Hooker's moderation and civil style of argument were remarkable in the religious atmosphere of his time.[18] In the Church of England he is celebrated with a Lesser Festival on 3 November and the same day is also observed in the Calendars of other parts of the Anglican Communion.

 

en.wikipedia.org/wiki/Richard_Hooker

092023

Andi Lanuza

Hierarchical Divine Liturgy

Processed with VSCOcam with a6 preset

en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs

 

FYI: I prefer ERG theory (Existence, Relatedness and Growth).

en.wikipedia.org/wiki/ERG_theory

 

www.valuebasedmanagement.net/methods_alderfer_erg_theory....

Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.

Japan

"But who polices that police police?"

This is a linguistics joke:

en.wikipedia.org/wiki/Buffalo_buffalo_Buffalo_buffalo_buf...

 

From my animation "Police Show Commercial": www.youtube.com/watch?v=YdyY1qR6gps

Almost all biomedical ontologies are either simple tree structures that represent hierarchical classifications or directed acyclic graphs (DAGs). The difference is that the latter allows a term to be related to multiple broader tems (green arrows) whereas the former does not. Directed cyclic graphs are very rarely used for ontologies; the reason is that cycles (red arrows) can only arise in ontologies that make use of other relationships than is-a and part-of are used [28]. We illustrate each structure with simplified examples, namely an ontology of vertebrates, an ontology of cellular components, and an ontology of cell-cycle regulation that shows the mutual regulation of cyclin-dependent kinase (CDK) and anaphase-promoting complex/cyclosome (APC/C).

doi:10.1371/journal.pbio.1000374.g001

 

Taken from Figure 1 of Ontologies in Quantitative Biology by Lars Juhl Jensen and Peer Bork

 

The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.

 

the-project.co.nz/

 

One of the keynote speakers:

 

Alec Ross

 

Senior Advisor for Innovation to Secretary of State Hillary Clinton.

  

Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.

 

Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.

 

In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.

 

Power to every citizen

 

To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.

 

What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.

 

I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.

 

Another Keynote speaker:

Emily Banks

Associate managing editor for Mashable

Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.

 

Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".

 

Abstract: Social media and the newsroom: the Revolution of the Newsroom

Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.

 

newzealand.usembassy.gov

 

twitter.com/usembassynz

 

facebook.com/newzealand.usembassy

 

(page 3 of 5)

 

We are, therefore, sending this appeal to each member of the Irish Hierarchy, who will, we trust, take it as coming not so much from us as from the Catholic Soldiers in France, and in the East, who cannot themselves voice their claims and wishes.

  

Signatures

 

His Hon. Judge Brereton Barry, K.C., Langara, Glengeary, Co Dublin.

Philip Harold-Barry, J.P., Ballyyellis, Buttevant, Co. Cork

Sir Henry Bellington, Bart., H.M.J., Bellingham Castle, Co. Louth.

William Bergin, M.A., Professor of Physics, University College, Cork.

Thomas Boylan, J.P., Hilltown, Drogheda.

Edward T Boylan, Lieut., R.H.A.

Francis M Boylan.

Stephen J. Brown, Ard Caein, Co. Kildare.

Thomas Butler, 97 Baggot Street, Dublin

George Byrne, 30 Elgin Road, Dublin.

Sir Arthur Chance, F.R.C.S.I., 90 Merrion Square, Dublin.

Elias B. Corbally, Rathbeal Hall, Swords, Co. Dublin.

Right Hon. Micheal F. Fox, P.C., M.D., LL.D., F.R.C.P.I., 26 Merrion Square, Dublin.

Col. Gerald Dease, D.L., J.P., Turbotstown, Co. Westmeath.

Edmund F. Dease, J.P., Culmullen, Drumree, Co Meath.

Sir Henry Doran, Clonard, Terenure, Co. Dublin.

John T. Dudley, 60 Wellington Road, Dublin.

P. J. Davy, Killaghbeg, Galway.

J. O’Dowd Egan.

Capt. John Edward Farrell, D.L., Moynalty House, Co. Meath.

William Gallwey, J.P., Rockfield, Tramore, Co. Waterford.

His Hon. Judge George C. Green, K.C., Herberton, Blackrock, Co. Dublin.

Stephen Greham, D.L., Clonmeen, Banteer, Co. Cork.

Brig.-General Dayrell T. Hammond, C.B., Curragh Camp.

Sir Henry Harrington, Kt., Commissioner of National Education, Co. Cork.

Raoul Joyce, Glenina, Galway.

Earl Of Kenmare, Killarney House, Co. Kerry.

Surgeon Lieut.-Col. C. R. Kilkelly, Grenadier Guards, Drimcong, Moycullen, Co.

Galway

F. St. John Lacy, F.R.A.M., Professor of Music, University College, Cork.

T. J. Leary, High Sheriff, Woodford, Mallow, Co. Cork.

C. E. T. Leslie, J.P., Killowen, Co. Down.

Sir John P. Lynch, Belfield, Stillorgan Road, Dublin.

James Mahony, 7 Raglan Road, Dublin.

George Mansfield, H.M., Vice-Lieutenant, Morristown-Lattin, Naas, Co. Kildare.

C. O. Martin, 28 Clyde Road, Dublin.

J. M. Maxwell, J.P., Roxboro’ Road, Dublin.

P. J. Merriman, M.A., Professor of History and Registrar, University College, Cork.

M. J. Minch, Clonfadda, Blackrock, Dublin.

Joseph Mooney, Cabra Lodge, Dublin.

Sir Walter Nugent, Bart., M.P., Donore, Co. Westmeath.

J. R. O’Brien, 6 Lesson Park, Dublin.

Sir Morgan O’Connell, Bart., D.L., Lakeview, Killarney.

Sir John R. O’Connell, M.A., Ll.D., 34 Kildare Street, Dublin.

John O’Conor, Solicitor, Congested Districts Board, 4 New Brighton, Monkstown.

O’Conor Don, H.M.L., Clonalis, Castlerea, Co. Roscommon.

Charles H. O’Conor, Taney House, Dundrum, Dublin.

Thomas A. O’Farrell, 30 Landsdowne Road, Dublin.

Richard O’Hagen, Killowen, Co.Down.

Major John Ed. Loftus, Machine Gun Corps., Mount Loftus, Co. Kilkenny.

Sir Albert Meldon, Knt, J.P., Vevay House, Bray.

Rt. Hon. Lord Justice Molony, 35 Fitswilliam Place, Dublin.

The MacDermot, D.L., Coolavin, Co. Sligo.

Major John Murray, XIV Hussars.

John O’Neill, J.P., The Pointneb, Killowen, Co. Down.

P. J. O’Neill, J.P., Chairman, Co Dublin Co. Council, Kinsealy House, Malahide.

Joseph O’Reilly, D.L., Sans Souci, Booterstown, Co. Dublin.

P. J. O’Sullivan, M.D. Professor of Medical Jurisprudence, University College, Cork.

Rt. Hon. Christopher Palles, P.C., Mount Anville House, Dundrum, Co. Dublin.

Thomas L. Plunkett, D.L., Portmarnock House, Co. Dublin.

(Mrs) A. Purcell, Buttevant , Co. Cork.

Sir John Ross Of Bladensburg, K.C.B., D.L., Rostrever House, Co Down.

William Ryan, Anerly, Cowper Road, Dublin.

George Ryan, D.L., Inch, Thurles, Co. Tipperary.

Mary Ryan, M.A., Professor, Romance Languages, University College, Cork.

Fras. S. Sheridan, 7 Pembroke Road, Dublin.

J. Smiddy, M.A., Professor of Economics and Warden of Honan Hostel, University

College, Cork.

Alfred Smith, F.R.C.S.I., 30 Merrion Square, Dublin.

Joseph Smyth, J.P., M.D., Green Awn, Gowra, Naas.

Sir Thomas Stafford, Bart, D.L., Rockinghan, Co. Roscommon.

J. Gaiaford St. Lawrence, D.L., Howth Castle, Co. Dublin.

James M. Sweetman, K.C., J.P., Longtown, Sallins, Co. Kildare.

Mary P. Synnott, Innismmore, Glenigeary, Co. Dublin.

Nicholas J. Synnott, J.P., Furness, Naas, Co. Kildare.

Thomas Tyrrell, Castleknock, Co. Dublin.

J. Chester Walsh, R.F.C.

Sir Bertram C. A. Windle, Kt., K.S.G, President, University College, Cork,

Vice-Chancellor, N.U.I.

W. J. Walsh, J.P., Kingswood, Clondalkin, Co. Dublin.

Sir Thomas Talbot Power, Bart., Thornhill, Stillorgan.

Lewis Farrell, 34 Lower Baggot Street, Dublin, Director, John Power & Sons, Ltd.

Martin Fitzgerald, J.P. Ardilree, Dundrum, Co Dublin.

C. Fortrell, 4 Raglan Road, Dublin.

Edward J. Andrews, 18 Belgrave Square, Rathmines.

Bernard Jas. Mcdonnell, Monte Rosa. Dalkey.

George Power Lalor, J.P., Long Orchard, Templemore.

W.G. De La Poer, J.P., Long Orchard, Templemore.

John Delany Cook, J.P., Brownstown, Templemore.

Major J. S. Cape, R.F.A., Ballymanny, Newbridge.

R. J. Kelly, K.C., 45 Wellington Road, Dublin.

Frederica S. Chevers, Killyan, Balinasloe.

John J. Chevers, D.L., Killyan, Balinasloe.

Walter J. O’Kelly, J.P., Knockavannie, Tuam,

(Mrs) L. A. D’arcy, New Forrest, Ballinamore Bridge, Co. Galway.

(Mrs) J. Julia C. A. Daly, Oriel Temple, Co. Louth.

James M. Magee, J.P., Chairman, Bray U.D.C.

D. J. Roantree, M.B. B.Ch., Bray U.D.C.

Hugh Thos. O’Carroll, Bray U.D.C.

Joseph M. Reigh, J.P., M.C.C., P.L.G., Bray U.D.C.

Martin Langton, J.P., M.C.C., P.L.G., Bray U.D.C.

J. G. Marnan, Barrister-at-Law.

John J. L. Murphy, Solicitor.

H. J. Raverty, M.B., D.P.H.

John Bergin, P.L.G., M.D.C.

Denis Mullally, Town Clerk, Bray.

Malachy Mackey, U.D.C.

James Carberry, P.L.G.

Sir James Murphy, Bart., D.L., Yapton, Monkstown, Co. Dublin.

W. Fitzgerald, 13 Raglan Road, Dublin.

J. St. John Coleman, 42 Belgrave Square, Rathmnes.

Jos. X. Murphy, 10 Clyde Road, Dublin.

N. Comyn, J.P., Ballinderry, Co. Galway.

J. M. Comyn, Ballinderry, Co. Galway.

N. O’C. Comyn, J.P., Ballinderry, Co. Galway.

Lt.-Col. L. G. Esmore, Commanding, 11th R. Dublin Fusiliers.

Capt. John I. Esmonde, 10th R. D. Fusiliers, M.P., British Expeditionary Force.

Major P. H. O’Hara, 11th R. Dublin Fusiliers.

Rt. Hon. W. Kenny, Judge of The High Court Of Justice, Marlfield, Cabinteely,

Co. Dublin.

David Sherlock, D.L., J.P. Barrister-at-Law, Rahan, Kings County.

 

Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.

Written on the Georgia Guidestones are these ten desires of the New World Order:

 

THE MESSAGE OF THE GEORGIA GUIDESTONES

 

1. Maintain humanity under 500,000,000 in perpetual balance with nature.

2. Guide reproduction wisely - improving fitness and diversity.

3. Unite humanity with a living new language.

4. Rule passion - faith - tradition - and all things with tempered reason.

5. Protect people and nations with fair laws and just courts.

6. Let all nations rule internally resolving external disputes in a world court.

7. Avoid petty laws and useless officials.

8. Balance personal rights with social duties.

9. Prize truth - beauty - love - seeking harmony with the infinite.

10.Be not a cancer on the earth - Leave room for nature.

 

On one of the highest hilltops in Elbert County, Georgia stands a huge granite monument. Engraved in eight different languages on the four giant stones that support the common capstone are 10 Guides, or commandments. That monument is alternately referred to as The Georgia Guidestones, or the American Stonehenge. Though relatively unknown to most people, it is an important link to the Occult Hierarchy that dominates the world in which we live.

 

The origin of that strange monument is shrouded in mystery because no one knows the true identity of the man, or men, who commissioned its construction. All that is known for certain is that in June 1979, a well-dressed, articulate stranger visited the office of the Elberton Granite Finishing Company and announced that he wanted to build an edifice to transmit a message to mankind. He identified himself as R. C. Christian, but it soon became apparent that was not his real name. He said that he represented a group of men who wanted to offer direction to humanity, but to date, almost two decades later, no one knows who R. C. Christian really was, or the names of those he represented. Several things are apparent. The messages engraved on the Georgia Guidestones deal with four major fields: (1) Governance and the establishment of a world government, (2) Population and reproduction control, (3) The environment and man's relationship to nature, and (4) Spirituality.

 

In the public library in Elberton, I found a book written by the man who called himself R.C. Christian. I discovered that the monument he commissioned had been erected in recognition of Thomas Paine and the occult philosophy he espoused. Indeed, the Georgia Guidestones are used for occult ceremonies and mystic celebrations to this very day. Tragically, only one religious leader in the area had the courage to speak out against the American Stonehenge, and he has recently relocated his ministry.

 

Limiting the population of the earth to 500 million will require the extermination of nine-tenths of the world's people. The American Stonehenge's reference to establishing a world court foreshadows the current move to create an International Criminal Court and a world government. The Guidestones' emphasis on preserving nature anticipates the environmental movement of the 1990s, and the reference to "seeking harmony with the infinite" reflects the current effort to replace Judeo-Christian beliefs with a new spirituality.

 

The message of the American Stonehenge also foreshadowed the current drive for Sustainable Development. Any time you hear the phrase "Sustainable Development" used, you should substitute the term "socialism" to be able to understand what is intended. Later in this syllabus you will read the full text of the Earth Charter which was compiled under the direction of Mikhail Gorbachev and Maurice Strong. In that document you will find an emphasis on the same basic issues: control of reproduction, world governance, the importance of nature and the environment, and a new spirituality. The similarity between the ideas engraved on the Georgia Guidestones and those espoused in the Earth Charter reflect the common origins of both.

 

Yoko Ono, the widow of John Lennon, was recently quoted as referring to the American Stonehenge, saying:

 

"I want people to know about the stones ... We're headed toward a world where we might blow ourselves up and maybe the globe will not exist ... it's a nice time to reaffirm ourselves, knowing all the beautiful things that are in this country and the Georgia Stones symbolize that. " (1)

 

What is the true significance of the American Stonehenge, and why is its covert message important? Because it confirms the fact that there was a covert group intent on

 

(1) Dramatically reducing the population of the world.

(2) Promoting environmentalism.

(3) Establishing a world government.

(4) Promoting a new spirituality.

 

Certainly the group that commissioned the Georgia Guidestones is one of many similar groups working together toward a New World Order, a new world economic system, and a new world spirituality. Behind those groups, however, are dark spiritual forces. Without understanding the nature of those dark forces it is impossible to understand the unfolding of world events.

 

The fact that most Americans have never heard of the Georgia Guidestones or their message to humanity reflects the degree of control that exists today over what the American people think. We ignore that message at our peril.

 

This text courtesy of www.radioliberty.com/stones.htm

To facilitate broad-based innovation in teaching and learning, library & IT organizations must first address a hierarchy of faculty needs.

 

This concept was shared in the February 15, 2012 presentation, "Setting the Stage for Success: A Discussion of Insights from the MISO Survey" at the ELI 2012 Annual Meeting. It has also been presented in an EDU-ISIS seminar session, presented on July 20, 2012.

 

Concept: Kevin J.T. Creamer

Design: Hil Scott

hierarchy

the biggest boys are always at the top.

The Entrepreneur SuperStar Success Hierarcy by Jennie Armato

 

Why-To and How-To Implement Your Own Hierarchy of Entrepreneur Success is the foundation of the teachings at Jen's upcoming Live Event "The Entrepreneur SuperStar Intensive".

 

At this event, you will learn HOW to construct and implement your own Sustainable Income Success Hierarcy, following a Proven Blueprint.

 

25-27 February 2011, Melbourne Australia.

 

Registration opens soon, mark the dates in your diary NOW! Attendees numbers ARE Limited.

 

Bonus Closed-door Mastermind on 28 Feb, only for affiliates (you have to reward loyalty, it's your greatest honor).

 

IF YOU DIG IT, SHARE IT, I'LL LOVE YOU FOR IT!

hierarchy