View allAll Photos Tagged instanced
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Less than a mile away from Sutton valance is Chart Sutton, the sat nav said it would take 90 seconds to get there.
We went up Church Lane, but saw no church nor no sign.
We went old school and looked at the county A-Z.
St Michael lay at the end of a narrow lane, off Church Lane, there were no signs pointing the way, and room enough for one car outside the churchyard.
It was a dull and misty morning, and the church stood stark against the diffused vista.
I tried both the south and west doors; not open, and no keyholder information.
We left after I grabbed some shots.
--------------------------------------------
This is an enigma! The medieval church, of which the tower with its fine 14th century west window, survives, was destroyed by fire in the late 18th century. The story of the fires is recorded in Hasted`s History of Kent. It was rebuilt by Henry Holland as a classical box with gothic detailing – for instance the vestry lancet – but this was mostly undone by two Victorian restorations which combined to turn the church into a more standard building. The interior is barn like but the fine glass by Barraud and Westlake is all of a date around 1900, though some more recent repairs have been really botched with naïve faces much in evidence. The pulpit is fine work of the Victorian restoration with curving staircase and on the whole nothing jars. It is a building of two periods – each recorded by plaques and boards – and the crumbling ragstone exterior with galletted blocks gives the impression that it is waiting for the next period of change.
www.kentchurches.info/church.asp?p=Chart+Sutton
-------------------------------------------
CHART SUTTON.
THE next parish southward from Langley is Chart Sutton, or as it should be more properly called, Chart by Sutton, written in Domesday, Certh.
THIS PARISH is but small, the lower or southern ridge of Quarry-hills divides the upper and lower parts of it, the latter is in the district of the Weald, where the country is low and flat, abounding with broad hedge rows, filled with large and spreading oaks. It is exceeding wet and miry in winter, the soil being a deep stiff elay. At the foot of the hill there rises a stream, which having turned a mill, flows from thence southward across this parish, till it joins the branch of the Medway just above Herefeed-bridge; on and about the hill the soil consists of the quarry-stone, thinly covered with a loam, being exceedingly fertile for corn, fruit, and hops. Just above the summit of the hill is the village and church, with Chart-place adjoining to the church-yard; beyond which northward the soil becomes less fertile, being a hungry red earth mixed with flints, which continues till it joins the parish of Langley.
The mention made in the record of Domesday of the three arpends of vineyard in this parish, ought not to be passed by unnoticed here, this being one of several instances of there having been vineyards in this county in very early times. I mean plantations of the grapevine; for I can by no means acquiese in the conjecture, that Vineæ universally meant plantations of apples and pears, at least so far as relates to this county, where the latter were not introduced at the time, nor for some time after the taking of the survey of Domesday. This opinion is further confirmed by the instance of Hamo, bishop of Rochester, who, when Edward II. in his 19th year, was at Bokinsold, in this county, sent that prince a gift both of wine and grapes, from his vineyard at Halling, near Rochester, the episcopal palace where he then resided. These vineyards being likewise measured by the arpend, the same measure that they usually were in France, shews that when the vine was brought from thence and cultivated here, the same kind of measure was continued to the plantations of them, a measure different from that of any other kind of land. Sir Robert Atkins, in his History of Gloucestershire, has indeed given two instances from records in the reigns of king John and king Edward II. to prove the contrary, which might suit exceeding well with the language of his countrymen, and the bleak county of Gloucester, where the grape-vine had never been seen, and the only beverage was that of the apple and pear, which they had dignisified with the appellation of wine. In my memory there have been two exceeding fine vineyards in this county, one at Tunbridgecastle, and the other at Hall-place, in Barming, near Maidstone, from which quantities of exceeding good and well-flavored wine have been produced. This parish of Chart, among others in the same situation, on the side of the quarry hills, is peculiarly adapted to the planting of vines, as well from the warm and nutritive quality of the soil, as its genial aspect, being entirely sheltered from the north and east, and facing the south on the declivity of the hill.
CHART was part of those possessions given by William the Conqueror to his half-brother Odo, bishop of Baieux, under the general title of whose lands it is thus entered in that record.
The same Adam Fitz Hubert holds of the bishop of Baieux, Certh. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty villeins, with five borderers having six carucates. There is a church and eight servants, and six acres of meadow. Wood for the pannage of fifty hogs. There are three arpends of vineyard, and a park of beasts of the forest. In the time of king Edward the Confessor, and afterwards, and now, it was and is worth twelve pounds. Alnod Cilt held it.
Four years after the taking the above-mentioned survey, the bishop of Baieux was disgraced, and all his estates were confiscated to the crown.
This estate afterwards became the property of Baldwin de Betun, earl of Albermarle, likewise lord of the manor of Sutton Valence, to which this estate seems to have been accounted an appendage, and it afterwards continued with it, in a like succession of ownership, down to Sir Christopher Desbouverie, who soon after his coming into the possession of it in 1708, on a spot which he had purchased of others, on which there was then only a mean cottage, built for himself a mansion near the church here, where he afterwards resided. (fn. 1) He died possessed of it in 1733, leaving two sons, who both died without issue, and also two daughters, who became their brother's heirs, and on the partition of their inheritance in 1752, this manor was, among others in this neighbourhood, allotted to the share of the youngest, Mrs. Elizabeth Bouverie, now of Teston, who continues owner of it.
NORTON-PLACE is an antient manor and mansion in this parish, though now and for many years since made use of only as a farm-house, situated about half a mile northward from Chart-place. It was antiently the property and residence of the family of Norton, to whom it gave name; and in the south windows of this church there were formerly the essigies of Stephen Norton, who lived in king Richard II.'s reign, with his arms, Argent, a chevron between three crescents azure, on his tabard or surcoat, and Philipott says that he had found in a tournament of the Kentish gentlemen one of this name, in a tabard of the arms above-mentioned, encountering one Christmas, of East Sutton, not far distant, who was in like manner habited in a surcoat charged with his arms, expressive of his name, viz. Gules, upon a bend sable, three wassail bowls, or; which coat was likewise depicted in the south windows of Sutton church. But the partitions inherent to gavelkind, so diminished the patrimony of this family, that in the reign of queen Elizabeth, and afterwards, they were obliged to sell off several parts of it at different times, all which came at length into the possession of Sir Ed ward Hales, created a baronet in 1611, whose grandson and heir of the same name in 1660 purchased of the two coheirs of the family of Norton, married to Denne and Underwood, the seat itself, with the remainder of the land belonging to it, by a fine then levied by them and their husbands for that purpose. His trustees about the year 1670, conveyed it, with the manor of Sutton Valence and Chart before-mentioned, and sundry other premises, to Sir William Drake, of Amersham, with which it was in like manner sold, about the year 1708, to Sir Christopher Desbouverie, whose daughter, Mrs. Elizabeth Bouverie, of Teston, after the death of her two brothers, and a partition of her father's estates between herself and her sister, is now entitled to it.
WALTERS-FOLLY, in the den of Ivetigh, now vulgarly called THE FOLLY, is an estate situated in the southern part of this parish, about a mile below the summit of the hill. It was antiently the property of the family of Ivetigh, antiently spelt Evythye, who implanted their name on it, as they did on other lands in this parish, still called by their name; and though the deeds of this estate, which mention them as possessors of it, do not reach higher than the reign of king Henry VI. yet, undoubtedly, they were owners of it long before.
In the above-mentioned reign, however, this estate was alienated by one of that name to Robert Mascall, who died possessed of it in the 4th year of Edward IV. By his will, dated Nov. 25, that year, he willed his body to be buried in the church yard of this parish. He devised 6s. 8d. towards the pavement of the church, and to the leading of it twenty shillings; all his lands and tenements to his wife, for her life, remainder to his son Thomas, his daughter Elizabeth mentioned in it. His son Thomas Mascall resided here, and some years after his father's death sold it to Wm. Lambe, who changed the name of it to Lambden; in his descendants, who bore for their arms, Sable, on a fess or, two mullets of the field, between three cinquefoils ermine, it continued till it was at length sold to Perry, descended from those of Worcestershire, and it remained in that name till the reign of king Charles I. when Mr. James Perry, of Lenham, dying s.p. his three daughters, Elizabeth, married to Mr. Thomas Petley, of Filston; Anne and Mary became his coheirs, and entitled to this estate, which they afterwards joined in the sale of to Walter, who rebuilt the house on it, which afterwards gained the name of Walter's folly; from one of his descendants it was purchased, in the reign of queen Anne, by Sir Samuel Ongley, of London, who gave it, together with an estate called Elderden, lying at a small distance from it, by will to his nephew, Samuel Ongley, esq. of Old Warden, in Bedfordshire, in tail: on whose death s. p. this estate came by the entail abovementioned to his nephew Robert Henley, esq. who took upon him the name of Ongley, and was in 1776 created baron Ongley, of Ireland, he died in 1785, and his son Robert lord Ongley, is the present owner of it.
ALMNERY-GREEN, usually called Almery green, is a place in the western part of this parish, where there is an estate called Haddis tenement, alias Almery, which was for many generations the residence of the family of Hadde, called in antient writings likewise Le Hadde. Robert Hadde lived here in the reign of king Henry III. as did his son William le Hadde in the next reign of Edward I. (fn. 2) At length about the latter end of the reign of king Edward III. this family divided into two branches, of which Robert le Hadde, the eldest son and heir, settled at Frinsted, where his descendants continued for many generations, and the youngest son inherited this family seat at Chart, which remained in the possessions of his descendants, till Thomas Haddys, in the reign of king Henry VII. leaving two daughters his coheirs, Margaret married first Wm. Wright and afterwards Nicholas Harpur; and Catherine, who married Thomas Bidlake, of Devonshire, this house and estate in Chart became the property of his eldest daughter Margaret, who entitled her husband, William Wright, to it; and he, anno 17 Henry VII. conveyed it to Roger Morys, of Ledes, and after some intermediate owners, it came into the possession of Robert Baker, who in 1612 sold it to Sir Edward Hales, bart. The trustees of whose grandson, Sir Edward Hales, bart. sold it with the manor of Sutton Valence, and his other estates in this parish, to Sir William Drake, of Amersham, with which they were in like manner afterwards sold to Sir Christopher Desbouverie; and on the partition between his two daughters and coheirs, these premises were alloted, with other lands in this and the neighbouring parishes, to Anne, the eldest daughter, married to John Hervey, esq. afterwards of Beechworth, who died possessed of them in 1757, and his grandson Christopher Hervey, esq. is now entitled to them.
There is an estate on ALMNERY-GREEN, which was formerly part of the possessions of the priory of Ledes, and most probably belonging to the almnery of that house, gave name to this place. It the remained with it till the reign of Henry VIII. when the priory being dissolved, this estate came, with the rest of the possessions of it, into the king's hands, and was settled by him in the 32d year of his reign, on his new-erected dean and chapter of Rochester, who are now entitled to the inheritance of it.
LESTED is an antient seat, situated on the northern side of the high road leading from Cocks-heath to Langley-heath, near Chart corner.
It was formerly part of the possessions of the family of Potman. who were possessed of other estates in this parish as has been already mentioned and it continued with them till Sir Richard Potman sold it to Simon Smyth, gent. who resided at Buckland, in Maidstone, whose son Simon was of Boughton Monchensie, and had the arms of his family confirmed to him by Camdem, clarencieux, in 1650. (fn. 3). He left a son Simon, of Lested, (fn. 4) whose widow afterwards remarried George Curteis, esq. sheriff of this county in 1651, when he resided here in her right.
In the descendants of Simon Smyth this estate descended down to the Rev. John Smyth, vicar of this parish, and rector of Hastingleigh, who died in 1732, and was succeeded by his son John Smyth, esq. whose widow, Mrs. Elizabeth Smyth survived him, and afterwards resided in it. She was daughter of Ralph Whitfield, esq. major of the Welsh fuzileers, by whom he left four daughters, Felicia, Elizabeth, Anna Maria, and Dorothea, his coheirs, and they or their respective heirs are now entitled to it.
CHENEYS-COURT is a reputed manor here, which appears in very early times to have been called Hadenesham, and to have been in the possession of Sir Robert de Shurland, a man of great eminence in the reign of king Edward I. who leaving an only daughter and heir, she carried this estate, with other large inheritanbe, in marriage to William de Cheney, of Patricksborne, in whose descendants it continued so long, that they implanted their name on it; at length Sir Thomas Cheney passed it away to John Iden, who died possessed of it in the 4th year of Henry VIII. and one of his descendants, leaving two daughters and coheirs, one of whom married Browne, and the other Barton, the latter of them, in right of his wife, possessed this estate, and in that name it continued till it was at length alienated to Heyward, for Rowland Heyward had the queen's licence, anno 16 Elizabeth, to alienate the messuage and manor, called Chenye-court, to John Long, of Tunbridge; after which it passed to Wolett, and thence to Jordan, and afterwards to that branch of the family of Fane, who were earls of Westmoreland, in which it continued till John, earl of Westmoreland, dying in 1762, s. p. this, among his other estates in this county, is at length, by the limitations of his will, come to the right hon. Thomas, lord le Despencer, who continues the present possessor of it.
There is the appearance of an old manor-pound belonging to it; but there has been no court held for this manor in the memory of man.
THE FAMILY OF SPENCER once possessed an estate in this parish, and resided here for some generations; one of whom John Spencer, esq. was of Chart Sutton, and bore for their arms, Argent, a fess engrailed, in chief three lions rampant, gules, at the latter end of the reign of king Henry VIII. as was his son of the same name afterwards. He left two sons, John and Nicholas, and five daughters, who on their elder brother's death s. p. became his coheirs; and in the beginning of the reign of king Charles I. joined with their respective husbands in the sale of their inheritance in this parish, to Sir Edward Hales, bart. it afterwards passed into the possession of Sir William Drake, and then to Sir Christopher Desbouverie, in whose descendants it has continued in like manner as the rest of his estates in this parish to the present time.
Charities.
RICHARD MASCALL gave by will in 1599, for the better support of the poor the yearly sum of 40s. in land in Ashford, vested in Edward Finch Hatton, esq. and now of the annual produce of 1l. 11s.
JOAN MASCALL gave by will in 1598, for the like use, the annual sum of 10s. in land in this parish, vested in Wm. Spong, and of that annual produce.
The poor constantly maintained by this parish are yearly in number about thirty-five, casually about twenty.
CHART SUTTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton,
The church, which stands near the summit of the hill, at a very small distance from Sutton Valence, is dedicated to St. Michael.
This church has been twice set on fire by lightning: the first time, a few years ago, when it was fortunately soon extinguished; the last time was on April 23, 1779, about seven o'clock in the morning, when in a dreadful storm of thunder, the lightning set fire to the beautiful spire steeple of it, and in about three hours time burnt that and the whole building to ashes, excepting the bare walls; since which it has been rebuilt from a plan of Mr. Henry Holland, junior, architect, at the cost of more than 1,300l. collected by a brief throughout the county from house to house, and a liberal contribution made by the neighbouring gentry and clergy.
The church of Chart was given to the priory of Leeds, soon after the foundation of it; the tithes of every kind, arising from the demesnes of the lord of the parish of Chart, and also twenty shillings annual pension from the church, to be paid by the hands of the rector of it, for ever, for the maintenance of the infirmary of the priory, being assigned and granted by archbishop Richard to the canons of the priory. (fn. 5)
In the year 1320, Walter, archbishop of Canterbury, appropriated this church to the priory, and then admitted William de Shoreham to the vicarage of this church; at which time he, by his instrument, endowed the vicarage of it as follows: first, he ordained and decreed, that every vicar, for the time being, should receive all oblations and obits according to the altar of the church, which the rectors of it used of old to receive, together with the tithes of wool, lambs, calves, hogs, hay, flax, hemp, mills, pears, apples, milk, milk-meats, sheep, and of whatever was planted and sowed in gardens; and also, that the prior and convent should bear and exonerate all burthens, ordinary and extraordinary, happening to the church, as well in books, vestments, reparations and rebuildings of it, as often as need should require, the procurations of the archdeacon, and other burthens antiently belonging to it, or which might in future be laid on it. And he further decressed, that the prior and convent should assign of the soil of the church, one acre and an half of land, lying conveniently for a dwelling for the vicar, and should build for him on it a convenient house for him and his successors to dwell in, and that they should pay to him and his successors, as an augmentation of his living, forty shillings sterling yearly.
On the dissolution of the priory of Leeds, in the reign of Henry VIII. this parsonage, with the advowson of the vicarage, came into the hands of the crown, and was by the king settled in his 32d year, on his newerected dean and chapter of Rochester, part of whose inheritance it remains at this time.
¶On the abolition of deans and chapters, this parsonage was surveyed by order of the state in 1649, when it was returned, that the parsonage, or manorhouse of the parsonage, consisted of a hall, a parlour, kitchen, cellar, buttery, five chambers, three garrets, one dairy-house, barn and stable, with all the tithes thereto belonging, and the tithes of as much of Suttonpark as lay within the precincts of Chart parish, with a court and barn-yard; the whole being valued at fifty pounds per annum, and let by the dean and chapter, anno 26 Charles I. by lease to Sir Edward Hales, bart. and Sir John Hales, his son, for twenty-one years, at the yearly rent of 13l 11s. 8d. and one good and seasonable brawn every Christmas, but that the premises were worth over and above, upon improvement, 67l. 3s. 10d. and that the tenant was bound to repair and maintain the chancel of the parish church. At which time the vicarage was valued at thirty-five pounds clear yearly income. (fn. 6)
Among the archives of the dean and chapter of Canterbury is a definitive sentence, made at Cranbrook, anno 1400, concerning the custom and method of taking tithes in this parish, made by Thomas, archbishop of Canterbury, in a cause of tithes, between the prior and convent of Ledes and John Hadde, parishioner of this church.
Mrs. Elizabeth Bouverie, of Teston, is the present lessee of this parsonage. The advowson of the vicarage is reserved by the dean and chapter, in their own hands.
The vicarage is valued in the king's books at 8l. 12s. 8½d. and the yearly tenths at 17s. 3¾d. (fn. 7) It is now of the clear yearly certified value of 47l. 11s. 9¼d.
In 1640 it was valued at thirty pounds per annum, Communicants, 212.
The Rev. John Smyth, vicar gave by will in 1732, two hundred pounds as an augmentation, to enable it to receive the benefit of the like sum from queen Anne's bounty, (fn. 8) with which a small farm of twenty pounds per annum in Ashford parish, has been purchased for the benefit of the vicar and his successors.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The "Entwicklung" tank series (= "development"), more commonly known as the E-Series, was a late-World War II attempt by Germany to produce a standardized series of tank designs. There were to be six standard designs in different weight classes, from which several specialized variants were to be developed. This intended to reverse the trend of extremely complex tank designs that had resulted in poor production rates and mechanical unreliability.
The E-series designs were simpler, cheaper to produce and more efficient than their predecessors; however, their design offered only modest improvements in armor and firepower over the designs they were intended to replace, such as the Jagdpanzer 38(t), Panther Ausf. G or Tiger II. However, the resulting high degree of standardization of German armored vehicles would also have made logistics and maintenance easier. Indeed, nearly all E-series vehicles — up through and including the E-75 — were intended to use what were essentially the Tiger II's 80 cm (31½ in) diameter, steel-rimmed road wheels for their suspension, meant to overlap each other (as on the later production Tiger I-E and Panther designs that also used them), even though in a highly simplified fashion. For instance, while the E-50/75’s running gear resembled outwardly the Tiger II’s, the latter’s torsion bar suspension, which necessitated a complex hull with many openings, was replaced by very compact conical spring coil packages that each held a pair of interleaved road wheels – with the benefit that all suspension elements remained outside of the hull. This considerably simplified production and saved time as well as scarce material.
Focus of initial chassis and combat vehicle development was the E-50/75 Standardpanzer, designed by Adler. These were two mostly identical vehicles and only differed in armor thickness, overall weight and running gear design to cope with the different weights. While the E-50 was the standardized replacement for the medium PzKpfw. V “Panther” and the last operational PzKpfw. VI “Tiger”, with an operational weight of around 50 tons, the E-75 was intended to become the standard heavy tank in the 70 ton class, as a replacement for the Tiger II battle tank and the Jagdtiger SPG. They were to share many components, including the same Maybach HL 234 engine with up to 900 hp output and the drivetrain, as well as running gear elements and almost all peripheral equipment. Both E-50 and E-75 were built on the same production lines for ease of manufacture.
This universal tank chassis would, beyond the primary use for battle tanks, also become the basis for a wide range of specialized support vehicles like self-propelled artillery, assault guns, tank hunters and anti-aircraft weapon carriers, which would gradually replace and standardize the great variety of former support vehicles, dramatically optimizing maintenance and logistics.
The E-50/75 SPAAG sub-family itself was quite diversified and comprised a wide range of vehicles that mainly carried different turrets with the respective weaponry as well as air space surveillance, targeting and command equipment. The range of armament included not only guns of various calibers for short, medium and long range in armored and mostly fully enclosed turrets, there were furthermore armored launch ramps for anti-aircraft missiles, including the guided “Rheintochter”, “Wasserfall” or “Enzian” SAMs as well as batteries with unguided “Taifun” anti-aircraft missiles.
Among this new vehicle family, the heaviest gun that was carried in a fully enclosed turret was the Rheinmetall 8.8 cm Flak 41. This was an improved version of the powerful pre-war 8.8 cm Flak 36/37 that was also developed into an anti-tank gun and became the main armament for Germany’s heavy battle tanks like the Tiger I: the 8.8 cm PaK 43 and KwK 43, respectively.
The 8.8 cm Flak 41 was a mobile field weapon on a new pedestal mounting that lowered its silhouette, and it used a longer barrel and a longer 88 mm cartridge with an increased propellant load. The shells had a weight of 9.4-kilogram (20 lb) and achieved a muzzle velocity of 1,000 m/s (3,280 ft/s), giving the gun an effective ceiling of 11,300 meters (37,100 ft) and a maximum of 14,700 meters (48,200 ft). The barrel initially consisted of three sections and had a length of 74 calibers but was then redesigned to a simpler dual-section barrel with a length of 72 calibers, for easier manufacture. Improvements in reloading raised the manual firing rate, with 20 to 25 rounds a minute being quoted. The Flak 41 could also be used against ground targets and was able to penetrate about 200 mm (7.9 inches) of armor at 1,000 m (3,280 feet), allowing it to defeat the armor of any contemporary tank from a relatively safe distance. Because of the high cost and complexity of this weapon, however, Rheinmetall manufactured relatively few of them, 556 in all. 399 were fielded, the rest went into SPAAG production.
The new pedestal mounting made it easy to adapt the weapon to a vehicle, so that this formidable weapon was immediately earmarked to be combined with a tank chassis to improve its mobility. Since an SPAAG would not need the massive frontal armor of a battle tank, the hull from the lighter E-50 was used (which still had a maximum armor thickness of 60mm at the front at 30°, which was effectively 120 mm vs. the E-75’s 185 mm), but instead of the E-50 MBT’s running gear with six steel wheels per side, the Flak 41 SPAAG used the heavier E-75’s running gear with eight wheels per side and wider tracks, effectively creating a hybrid E-50/75 chassis. This measure was taken to better distribute the vehicle’s overall weight and stabilize the it while moving and firing. In this form the new vehicle received the designation Sd.Kfz. 192/3, also known as “Einheits-Flakpanzer E-50 (88 mm)” or “E-50-41” for short.
The Flak 41 was integrated into Rheinmetall’s standardized SPAAG turret that could carry a wide range of automatic anti-aircraft weapons. It was a spacious, boxy design, optimized for maximum internal space than for effective armor protection, resulting in almost vertical side walls and a high silhouette. However, the level of armor was sufficient to protect the crew and the equipment inside from 20 mm gun shells – the typical armament of Allied fighter bombers of the time like the Hawker Typhoon and Tempest.
A heavy-duty hydraulic gun mount with a reinforced recoil system allowed an elevation of the Flak 41 between +83° and -3°. As a novel feature the weapon received a semi-automatic loading mechanism. This was the attempt to increase the gun’s excellent manual rate of fire even further, and it mimicked the magazine clips of the smaller 37 mm Flak 37 that contained seven rounds for short, continuous bursts of fire. A belt feed for truly continuous fire had been envisioned, but not possible with the long and heavy 88 mm rounds within the turret and chassis limits. A mechanical magazine solution, e. g. a drum with several rounds, was impossible, too. The most practical solution was a spiral-shaped magazine, driven by simple gravitation and directly attached to the Flak 41’s breech. This feeding could – beyond an initial round already in the barrel – hold up to three more rounds, and upon firing and expelling the empty case, a fresh round automatically fell into place. The rounds from the magazine could be fired in a fully automatic mode in a short burst with a rate of 50-55 RPM. The magazine itself had to be filled manually, though, and the gun could alternatively be fed directly, too, so that different types of ammunition could be prepared and the gunner could switch between them on short notice.
To accommodate the weapon’s longer ammunition (the Flak 41’s cartridge was 855 mm long) and a crew of four (commander, gunner and two loaders), the standard Rheinmetall Flak turret had to be extended at the rear. Anti-aircraft aiming was done visually, a stereoscopic rangefinder with a span of 200 cm (78¾ in) was integrated above the gun mount. A secondary ZF.20 scope for ground targets was available, too. Two more crewmen, the driver and a radio operator, sat in the hull in front of the turret, similar to the E-50/75 battle tank’s layout. The radio operator on the right side also acted as a third loader for the ammunition supply stored in the hull’s front.
Initially, no secondary defensive armament was provided since the new SPAAGs were to be operated in specialized anti-aircraft units, the so-called Fla-Züge, in which the SPAAGs’ protection would be taken over by supporting infantry and other dedicated vehicles. However, initial field experience quickly revealed this weak spot in the vehicle’s close-range defense: due to material and personnel shortages the Fla-Züge units could hardly be equipped with everything they needed to operate as planned, so that they were in most cases just an underserved mix of SPAAGs, occasionally augmented by a command vehicle and rarely with the protection these specialized vehicles needed. Most of the time the units’ vehicles had to operate independently and were therefore left to their own devices. As a solution, a commander cupola was soon added to the Sd. Kfz.192/3’s turret that not only improved the field of view around the vehicle to assess the tactical situation and detect approaching infantrymen that tried to attach mines or throw Molotov cocktails, it also featured a remote-controlled MG 42 that could be aimed and fired by the commander from the inside. However, to re-supply the ammunition, the cupola hatch had to be opened and someone had to leave the turret’s cover and manually insert a new box of rounds. Furthermore, a 100 mm grenade launcher, a so-called “Nahverteidigungswaffe”, was mounted into the opposite side of the turret roof, too. It fired SMi 35 leaping mines for close defense against approaching infantry. This made the cramped turret interior even more cluttered, but significantly improved the vehicle’s survivability, especially in a confined, urban combat environment. Updated vehicles reached the frontline units in late 1945 and were immediately thrown into service.
Despite being a powerful weapon, several operational problems with the Sd.Kfz. 192/3 became soon apparent. The complex Flak 41 and its feeding mechanism needed constant proper maintenance and service – otherwise it easily jammed. Spent shell casing also frequently jammed the gun. The high silhouette was an innate tactical problem, but this had already been accepted during the design phase of Rheinmetall’s SPAAG standard turret. However, the tall turret was the source of an additional conceptual weakness of the Sd.Kfz. 192/3: the sheer weight of the large turret with the heavy gun frequently caused imbalances that overstressed the turret bearing and its electric drive (which had been taken over from the E-50/75 battle tanks), resulting in a jammed turret — especially when either fully loaded or when the ammunition supply was depleted. Due to the large and heavy turret, the vehicle’s center of gravity was relatively high, too, so that its off-road handling was limited. Even on paved roads the early Sd.Kfz. 192/3s tended to porpoise in tight corners and upon braking. Stiffer coil springs, introduced during the running production and retrofitted through field kits to existing vehicles, countered this flaw, even though these kits were rare due to material shortages. Sometimes the harder coil springs were distributed between two vehicles, only replacing the suspension on the front and rear pair of wheels.
A different tactical problem was the limited ammunition supply for the Flak 41. While 57 rounds were sufficient for a comparable battle tank, the semi-automatic Flak 41‘s theoretical high rate of fire meant that the Sd.Kfz. 192/3 quickly depleted this supply and could only keep up fire and its position for a very limited period, or it had to save ammunition to a point that its deployment became pointless. After spending its ammunition, the vehicle had to retreat to a safe second line position to re-supply, and this was, due to the vehicle’s limited mobility, size and the heavy and bulky rounds, a risky undertaking and meant tedious manual labor with poor protection for the supply crews. The resulting supply logistics to keep the Sd.Kfz. 192/3 operational and effective were demanding.
Nevertheless, despite these shortcoming, the Sd.Kfz. 192/3 greatly improved the heavy Flak units’ mobility and firepower, and the weapon’s effectiveness was high against both air and ground targets. Until mid-1946, a total of around forty Sd.Kfz. 192/3 were built and put into service, primarily with units that defended vital production sites in Western Germany and Saxonia.
At the time of the Sd.Kfz. 192/3’s introduction, anti-aircraft aiming was already augmented by mobile radar systems like the “Würzburg” device or special command vehicles like the Sd.Kfz. 282 “Basilisk” which combined an autonomous radar system with a powerful visual rangefinder and an integrated analogue range calculator, the Kommandogerät 40. However, fire control development had continued, and at least one Sd.Kfz. 192/3 was used in late 1946 during trials to fully automatize gun aiming and firing remotely through electric drives through “slaving” a turret to an external director. This was a modified Sd.Kfz. 282/1 that successfully controlled the Sd.Kfz. 192/3 via cable from an elevated location 50 m away from the SPAAG’s firing position. The objective of these trials was to connect several anti-aircraft weapons to a single command unit with improved sensors and high accuracy under any weather condition for concentrated and more effective fire and an improved first shot hit probability.
Specifications:
Crew: Sixe (commander, gunner, two loaders, radio operator, driver)
Weight: 64 tonnes (71 short tons)
Length: 7.27 m (23 ft 10 ¾ in) (hull only)
9.57 m (31 ft 4 ½ in) with gun forward
Width: 3.88 m (12 ft 9 in)
Height 3.46 m (11 ft 4 in)
3.81 m (12 ft 6 in) with commander cupola
Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)
Suspension: Conical spring
Fuel capacity: 720 liters (160 imp gal; 190 US gal)
Armor:
30 – 60 mm (1.2 – 2.4 in)
Performance:
Speed
- Maximum, road: 44 km/h (27.3 mph)
- Sustained, road: 38 km/h (24 mph)
- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)
Operational range: 160 km (99 miles)
Power/weight: 14 PS/tonne (12.5 hp/ton)
Engine:
V-12 Maybach HL 234 gasoline engine with 900 PS (885 hp/650 kW)
Transmission:
ZF AK 7-200 with 7 forward 1 reverse gears
Armament:
1× 8,8 cm Flak 41 L/72 anti-aircraft cannon with 57 rounds in turret and hull
1× 7.92 mm Maschinengewehr 42 with 2.400 rounds, remote-controlled on the commander cupola
The kit and its assembly:
This fictional German SPAAG never existed, not even on the drawing boards. But I wondered, after ModelCollect had released an E-100 SPAAG with a twin 88mm gun some years ago, why there was no lighter vehicle with the powerful 88 mm Flak in a closed turret? There were plans to mount this weapon onto a tracked chassis in real life, but it would have been only lightly armored. Then I recently came across a whiffy aftermarket resin turret with a single 88 mm Flak, based on the Tiger II’s Porsche turret, and I liked the idea – even though the rather MBT-esque aftermarket turret looked rather dubious and too small for my taste – esp. the potential angle of the AA weapon appeared insufficient. From this basis the idea was born to create a personal interpretation of a Flak 41 in a fully enclosed turret on a tank chassis.
The basis became the Trumpeter 1:72 E-75 kit of the twin 55 mm Flak with its boxy turret. While I initially considered a totally different turret shape, I eventually settled on a generic design that would have been used for a variety of weapons. This appeared more realistic to me and so I stuck to the Rheinmetall AA turret. However, due to the heavy weapon its certainly massive mount and bulky recoil system as well as the long rounds and a crew of four, I decided to enlarge the Rheinmetall turret. The turret was cut into a front and rear half and an 8 mm wide plug, made from 1.5 mm styrene sheet, was implanted and PSRed. To keep the turret rotatable, the rear extension had to be raised, so that the “oriel” could move over the air intake fairings on the engine cover.
Due to the longer roof, some details were modified there. The most obvious addition is a commander cupola on the left, taken from an early Panzer IV, together with a MG 42 and a small shield on a swing arm, inspired by the remote-controlled installation on some Jagdpanzer 38(t) Hetzer. A stereoscopic rangefinder was added to the turret flanks and a periscope added to one of the loader’s hatches. A cover for a ventilator was added on the right side of the roof, together with a cover for a vertical grenade launcher underneath.
Using the original turret as base, the model’s movable mount for the twin 55 mm guns was retained and the rear extension would also become a good visual balance for the new main weapon. The armor at barrels’ base was cut off and a 1:72 Flak 41, taken from a Zvezda field gun kit, was glued to it, together with parts of the field gun’s recoil system and styrene bits to blend the new gun into the rest of the turret.
The E-75 chassis was taken OOB, since it would be a standardized vehicle basis. Outwardly the hull did not bear recognizable differences to the lighter E-50, which it is supposed to represent, just with more wheels to better cope with the bulky and heavy new turret.
Thankfully, this Trumpeter kit’s vinyl tracks were molded in black – sometimes they come in a sandy beige, and it’s a PITA to paint them! As another bonus, Trumpeter’s running gear on the 1:72 E-50/75 model is of a more sturdy and simpler construction than the one on the alternative ModelCollect kit(s), making the assembly and esp. the mounting of the tracks much easier. The Trumpeter kit is simpler than the comparable ModelCollect models with the E-50/75 basis, but the result is visually quite similar.
Painting and markings:
The paint scheme uses once more typical German late WWII "Hinterhalt" camouflage colors, namely Dark Yellow, Olive Green and Red Brown. This time, however, to adapt the livery to the boxy hull and the huge turret, the pattern ended up as a kind of a splinter scheme – inspired by a real Panzer V Panther from the Eastern Front in 1943.
The basic colors became Humbrol 57 (Buff) for the RAL 7028 Dunkelgelb, in this case as a rather pale (stretched?) shade, plus large areas of brown (RAL 8017, I used this time Humbrol 98 for a darker and less reddish shade) and Humbrol 86 for the green (RAL 6003), which appears quite pale in contrast to the dark brown. The camouflage was applied over an overall coat of sand brown as a primer coat, with the intention of letting this uniform basis shine through here and there. The distribution of the darker colors is quite unique, concentrating the brown on the vehicle’s edges and the green only to the flanks of hull and turret. However, the pattern works well on the huge E-50/75, and I can imagine that it might have worked well in an urban environment, breaking up the tank’s outlines.
As a match for the upper hull the wheels were painted uniformly in the same standard colors –without any pattern, because this would be very eye-catching while on the move. The many delicate tools on the tank’s hull are molded, and instead of trying to paint them I tried something else: I rubbed over them with graphite, and this worked very well, leaving them with a dark metallic shine. Just some wooden handles were then painted with a reddish brown.
Decals/marking came next, everything was procured from the scrap box. The Balkenkreuze came from a Hasegawa Sd.Kfz. 234/2 “Puma”, the tactical code from a TL-Modellbau sheet and the small unit badges on front and back from an UM Models Bergehetzer. A dry brushing treatment with light grey followed, highlighting surface details and edges, and after painting some details and adding some rust marks with watercolors followed a coat of matt varnish.
The tracks were painted with a cloudy mix of dark grey, red brown and iron acrylic paints, and mounted after hull and running gear had been assembled. The antennae, made from heated spure material, were mounted to the turret and, finally, the tank’s lower areas were dusted with a greyish-brown mineral pigment mix, simulating dust and mud residue.
This project was realized in just two days, made easy through the Trumpeter kit’s simple construction. Most work went into the extended turret and the different main weapon, but all parts mostly fell into place – and the result looks IMHO quite believable. In fact, the E-50/75 with a Flak 41 reminds a bit of the Italian Otomatic 76 mm SPAAG from the late Eighties?
Heritage/Ride and Stride weekend was a bit hit and miss, to be expected with COVID, I suppose. But churches next to each other open and closed, or open but with different restrictions or no restrictions.
But a 50% open rate wasn't bad.
I was last here in January, when mist shrouded St Michael and the view. It looked grim.
Fast forward to a sunny September lunchtime, and I arrived with low expectations.
A husband and wife team were clearing the summer growth from the path leading to the porch. I stood still until I was noticed by the wife.
She smiled.
The husband carried on strimming. It was a petrol driven one, and was loud.
He stopped, and I saw he had no ear protection and the motor was beside his left ear. I told him to be careful.
You sound like my wife, he said.
Is the church open, I asked.
It is.
Can I go in?
Of course.
We've had a new carpet paid, nice and red.
Indeed they had.
-------------------------------------------
This is an enigma! The medieval church, of which the tower with its fine 14th century west window, survives, was destroyed by fire in the late 18th century. The story of the fires is recorded in Hasted`s History of Kent. It was rebuilt by Henry Holland as a classical box with gothic detailing – for instance the vestry lancet – but this was mostly undone by two Victorian restorations which combined to turn the church into a more standard building. The interior is barn like but the fine glass by Barraud and Westlake is all of a date around 1900, though some more recent repairs have been really botched with naïve faces much in evidence. The pulpit is fine work of the Victorian restoration with curving staircase and on the whole nothing jars. It is a building of two periods – each recorded by plaques and boards – and the crumbling ragstone exterior with galletted blocks gives the impression that it is waiting for the next period of change.
www.kentchurches.info/church.asp?p=Chart+Sutton
-------------------------------------------
CHART SUTTON.
THE next parish southward from Langley is Chart Sutton, or as it should be more properly called, Chart by Sutton, written in Domesday, Certh.
THIS PARISH is but small, the lower or southern ridge of Quarry-hills divides the upper and lower parts of it, the latter is in the district of the Weald, where the country is low and flat, abounding with broad hedge rows, filled with large and spreading oaks. It is exceeding wet and miry in winter, the soil being a deep stiff elay. At the foot of the hill there rises a stream, which having turned a mill, flows from thence southward across this parish, till it joins the branch of the Medway just above Herefeed-bridge; on and about the hill the soil consists of the quarry-stone, thinly covered with a loam, being exceedingly fertile for corn, fruit, and hops. Just above the summit of the hill is the village and church, with Chart-place adjoining to the church-yard; beyond which northward the soil becomes less fertile, being a hungry red earth mixed with flints, which continues till it joins the parish of Langley.
The mention made in the record of Domesday of the three arpends of vineyard in this parish, ought not to be passed by unnoticed here, this being one of several instances of there having been vineyards in this county in very early times. I mean plantations of the grapevine; for I can by no means acquiese in the conjecture, that Vineæ universally meant plantations of apples and pears, at least so far as relates to this county, where the latter were not introduced at the time, nor for some time after the taking of the survey of Domesday. This opinion is further confirmed by the instance of Hamo, bishop of Rochester, who, when Edward II. in his 19th year, was at Bokinsold, in this county, sent that prince a gift both of wine and grapes, from his vineyard at Halling, near Rochester, the episcopal palace where he then resided. These vineyards being likewise measured by the arpend, the same measure that they usually were in France, shews that when the vine was brought from thence and cultivated here, the same kind of measure was continued to the plantations of them, a measure different from that of any other kind of land. Sir Robert Atkins, in his History of Gloucestershire, has indeed given two instances from records in the reigns of king John and king Edward II. to prove the contrary, which might suit exceeding well with the language of his countrymen, and the bleak county of Gloucester, where the grape-vine had never been seen, and the only beverage was that of the apple and pear, which they had dignisified with the appellation of wine. In my memory there have been two exceeding fine vineyards in this county, one at Tunbridgecastle, and the other at Hall-place, in Barming, near Maidstone, from which quantities of exceeding good and well-flavored wine have been produced. This parish of Chart, among others in the same situation, on the side of the quarry hills, is peculiarly adapted to the planting of vines, as well from the warm and nutritive quality of the soil, as its genial aspect, being entirely sheltered from the north and east, and facing the south on the declivity of the hill.
CHART was part of those possessions given by William the Conqueror to his half-brother Odo, bishop of Baieux, under the general title of whose lands it is thus entered in that record.
The same Adam Fitz Hubert holds of the bishop of Baieux, Certh. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty villeins, with five borderers having six carucates. There is a church and eight servants, and six acres of meadow. Wood for the pannage of fifty hogs. There are three arpends of vineyard, and a park of beasts of the forest. In the time of king Edward the Confessor, and afterwards, and now, it was and is worth twelve pounds. Alnod Cilt held it.
Four years after the taking the above-mentioned survey, the bishop of Baieux was disgraced, and all his estates were confiscated to the crown.
This estate afterwards became the property of Baldwin de Betun, earl of Albermarle, likewise lord of the manor of Sutton Valence, to which this estate seems to have been accounted an appendage, and it afterwards continued with it, in a like succession of ownership, down to Sir Christopher Desbouverie, who soon after his coming into the possession of it in 1708, on a spot which he had purchased of others, on which there was then only a mean cottage, built for himself a mansion near the church here, where he afterwards resided. (fn. 1) He died possessed of it in 1733, leaving two sons, who both died without issue, and also two daughters, who became their brother's heirs, and on the partition of their inheritance in 1752, this manor was, among others in this neighbourhood, allotted to the share of the youngest, Mrs. Elizabeth Bouverie, now of Teston, who continues owner of it.
NORTON-PLACE is an antient manor and mansion in this parish, though now and for many years since made use of only as a farm-house, situated about half a mile northward from Chart-place. It was antiently the property and residence of the family of Norton, to whom it gave name; and in the south windows of this church there were formerly the essigies of Stephen Norton, who lived in king Richard II.'s reign, with his arms, Argent, a chevron between three crescents azure, on his tabard or surcoat, and Philipott says that he had found in a tournament of the Kentish gentlemen one of this name, in a tabard of the arms above-mentioned, encountering one Christmas, of East Sutton, not far distant, who was in like manner habited in a surcoat charged with his arms, expressive of his name, viz. Gules, upon a bend sable, three wassail bowls, or; which coat was likewise depicted in the south windows of Sutton church. But the partitions inherent to gavelkind, so diminished the patrimony of this family, that in the reign of queen Elizabeth, and afterwards, they were obliged to sell off several parts of it at different times, all which came at length into the possession of Sir Ed ward Hales, created a baronet in 1611, whose grandson and heir of the same name in 1660 purchased of the two coheirs of the family of Norton, married to Denne and Underwood, the seat itself, with the remainder of the land belonging to it, by a fine then levied by them and their husbands for that purpose. His trustees about the year 1670, conveyed it, with the manor of Sutton Valence and Chart before-mentioned, and sundry other premises, to Sir William Drake, of Amersham, with which it was in like manner sold, about the year 1708, to Sir Christopher Desbouverie, whose daughter, Mrs. Elizabeth Bouverie, of Teston, after the death of her two brothers, and a partition of her father's estates between herself and her sister, is now entitled to it.
WALTERS-FOLLY, in the den of Ivetigh, now vulgarly called THE FOLLY, is an estate situated in the southern part of this parish, about a mile below the summit of the hill. It was antiently the property of the family of Ivetigh, antiently spelt Evythye, who implanted their name on it, as they did on other lands in this parish, still called by their name; and though the deeds of this estate, which mention them as possessors of it, do not reach higher than the reign of king Henry VI. yet, undoubtedly, they were owners of it long before.
In the above-mentioned reign, however, this estate was alienated by one of that name to Robert Mascall, who died possessed of it in the 4th year of Edward IV. By his will, dated Nov. 25, that year, he willed his body to be buried in the church yard of this parish. He devised 6s. 8d. towards the pavement of the church, and to the leading of it twenty shillings; all his lands and tenements to his wife, for her life, remainder to his son Thomas, his daughter Elizabeth mentioned in it. His son Thomas Mascall resided here, and some years after his father's death sold it to Wm. Lambe, who changed the name of it to Lambden; in his descendants, who bore for their arms, Sable, on a fess or, two mullets of the field, between three cinquefoils ermine, it continued till it was at length sold to Perry, descended from those of Worcestershire, and it remained in that name till the reign of king Charles I. when Mr. James Perry, of Lenham, dying s.p. his three daughters, Elizabeth, married to Mr. Thomas Petley, of Filston; Anne and Mary became his coheirs, and entitled to this estate, which they afterwards joined in the sale of to Walter, who rebuilt the house on it, which afterwards gained the name of Walter's folly; from one of his descendants it was purchased, in the reign of queen Anne, by Sir Samuel Ongley, of London, who gave it, together with an estate called Elderden, lying at a small distance from it, by will to his nephew, Samuel Ongley, esq. of Old Warden, in Bedfordshire, in tail: on whose death s. p. this estate came by the entail abovementioned to his nephew Robert Henley, esq. who took upon him the name of Ongley, and was in 1776 created baron Ongley, of Ireland, he died in 1785, and his son Robert lord Ongley, is the present owner of it.
ALMNERY-GREEN, usually called Almery green, is a place in the western part of this parish, where there is an estate called Haddis tenement, alias Almery, which was for many generations the residence of the family of Hadde, called in antient writings likewise Le Hadde. Robert Hadde lived here in the reign of king Henry III. as did his son William le Hadde in the next reign of Edward I. (fn. 2) At length about the latter end of the reign of king Edward III. this family divided into two branches, of which Robert le Hadde, the eldest son and heir, settled at Frinsted, where his descendants continued for many generations, and the youngest son inherited this family seat at Chart, which remained in the possessions of his descendants, till Thomas Haddys, in the reign of king Henry VII. leaving two daughters his coheirs, Margaret married first Wm. Wright and afterwards Nicholas Harpur; and Catherine, who married Thomas Bidlake, of Devonshire, this house and estate in Chart became the property of his eldest daughter Margaret, who entitled her husband, William Wright, to it; and he, anno 17 Henry VII. conveyed it to Roger Morys, of Ledes, and after some intermediate owners, it came into the possession of Robert Baker, who in 1612 sold it to Sir Edward Hales, bart. The trustees of whose grandson, Sir Edward Hales, bart. sold it with the manor of Sutton Valence, and his other estates in this parish, to Sir William Drake, of Amersham, with which they were in like manner afterwards sold to Sir Christopher Desbouverie; and on the partition between his two daughters and coheirs, these premises were alloted, with other lands in this and the neighbouring parishes, to Anne, the eldest daughter, married to John Hervey, esq. afterwards of Beechworth, who died possessed of them in 1757, and his grandson Christopher Hervey, esq. is now entitled to them.
There is an estate on ALMNERY-GREEN, which was formerly part of the possessions of the priory of Ledes, and most probably belonging to the almnery of that house, gave name to this place. It the remained with it till the reign of Henry VIII. when the priory being dissolved, this estate came, with the rest of the possessions of it, into the king's hands, and was settled by him in the 32d year of his reign, on his new-erected dean and chapter of Rochester, who are now entitled to the inheritance of it.
LESTED is an antient seat, situated on the northern side of the high road leading from Cocks-heath to Langley-heath, near Chart corner.
It was formerly part of the possessions of the family of Potman. who were possessed of other estates in this parish as has been already mentioned and it continued with them till Sir Richard Potman sold it to Simon Smyth, gent. who resided at Buckland, in Maidstone, whose son Simon was of Boughton Monchensie, and had the arms of his family confirmed to him by Camdem, clarencieux, in 1650. (fn. 3). He left a son Simon, of Lested, (fn. 4) whose widow afterwards remarried George Curteis, esq. sheriff of this county in 1651, when he resided here in her right.
In the descendants of Simon Smyth this estate descended down to the Rev. John Smyth, vicar of this parish, and rector of Hastingleigh, who died in 1732, and was succeeded by his son John Smyth, esq. whose widow, Mrs. Elizabeth Smyth survived him, and afterwards resided in it. She was daughter of Ralph Whitfield, esq. major of the Welsh fuzileers, by whom he left four daughters, Felicia, Elizabeth, Anna Maria, and Dorothea, his coheirs, and they or their respective heirs are now entitled to it.
CHENEYS-COURT is a reputed manor here, which appears in very early times to have been called Hadenesham, and to have been in the possession of Sir Robert de Shurland, a man of great eminence in the reign of king Edward I. who leaving an only daughter and heir, she carried this estate, with other large inheritanbe, in marriage to William de Cheney, of Patricksborne, in whose descendants it continued so long, that they implanted their name on it; at length Sir Thomas Cheney passed it away to John Iden, who died possessed of it in the 4th year of Henry VIII. and one of his descendants, leaving two daughters and coheirs, one of whom married Browne, and the other Barton, the latter of them, in right of his wife, possessed this estate, and in that name it continued till it was at length alienated to Heyward, for Rowland Heyward had the queen's licence, anno 16 Elizabeth, to alienate the messuage and manor, called Chenye-court, to John Long, of Tunbridge; after which it passed to Wolett, and thence to Jordan, and afterwards to that branch of the family of Fane, who were earls of Westmoreland, in which it continued till John, earl of Westmoreland, dying in 1762, s. p. this, among his other estates in this county, is at length, by the limitations of his will, come to the right hon. Thomas, lord le Despencer, who continues the present possessor of it.
There is the appearance of an old manor-pound belonging to it; but there has been no court held for this manor in the memory of man.
THE FAMILY OF SPENCER once possessed an estate in this parish, and resided here for some generations; one of whom John Spencer, esq. was of Chart Sutton, and bore for their arms, Argent, a fess engrailed, in chief three lions rampant, gules, at the latter end of the reign of king Henry VIII. as was his son of the same name afterwards. He left two sons, John and Nicholas, and five daughters, who on their elder brother's death s. p. became his coheirs; and in the beginning of the reign of king Charles I. joined with their respective husbands in the sale of their inheritance in this parish, to Sir Edward Hales, bart. it afterwards passed into the possession of Sir William Drake, and then to Sir Christopher Desbouverie, in whose descendants it has continued in like manner as the rest of his estates in this parish to the present time.
Charities.
RICHARD MASCALL gave by will in 1599, for the better support of the poor the yearly sum of 40s. in land in Ashford, vested in Edward Finch Hatton, esq. and now of the annual produce of 1l. 11s.
JOAN MASCALL gave by will in 1598, for the like use, the annual sum of 10s. in land in this parish, vested in Wm. Spong, and of that annual produce.
The poor constantly maintained by this parish are yearly in number about thirty-five, casually about twenty.
CHART SUTTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton,
The church, which stands near the summit of the hill, at a very small distance from Sutton Valence, is dedicated to St. Michael.
This church has been twice set on fire by lightning: the first time, a few years ago, when it was fortunately soon extinguished; the last time was on April 23, 1779, about seven o'clock in the morning, when in a dreadful storm of thunder, the lightning set fire to the beautiful spire steeple of it, and in about three hours time burnt that and the whole building to ashes, excepting the bare walls; since which it has been rebuilt from a plan of Mr. Henry Holland, junior, architect, at the cost of more than 1,300l. collected by a brief throughout the county from house to house, and a liberal contribution made by the neighbouring gentry and clergy.
The church of Chart was given to the priory of Leeds, soon after the foundation of it; the tithes of every kind, arising from the demesnes of the lord of the parish of Chart, and also twenty shillings annual pension from the church, to be paid by the hands of the rector of it, for ever, for the maintenance of the infirmary of the priory, being assigned and granted by archbishop Richard to the canons of the priory. (fn. 5)
In the year 1320, Walter, archbishop of Canterbury, appropriated this church to the priory, and then admitted William de Shoreham to the vicarage of this church; at which time he, by his instrument, endowed the vicarage of it as follows: first, he ordained and decreed, that every vicar, for the time being, should receive all oblations and obits according to the altar of the church, which the rectors of it used of old to receive, together with the tithes of wool, lambs, calves, hogs, hay, flax, hemp, mills, pears, apples, milk, milk-meats, sheep, and of whatever was planted and sowed in gardens; and also, that the prior and convent should bear and exonerate all burthens, ordinary and extraordinary, happening to the church, as well in books, vestments, reparations and rebuildings of it, as often as need should require, the procurations of the archdeacon, and other burthens antiently belonging to it, or which might in future be laid on it. And he further decressed, that the prior and convent should assign of the soil of the church, one acre and an half of land, lying conveniently for a dwelling for the vicar, and should build for him on it a convenient house for him and his successors to dwell in, and that they should pay to him and his successors, as an augmentation of his living, forty shillings sterling yearly.
On the dissolution of the priory of Leeds, in the reign of Henry VIII. this parsonage, with the advowson of the vicarage, came into the hands of the crown, and was by the king settled in his 32d year, on his newerected dean and chapter of Rochester, part of whose inheritance it remains at this time.
¶On the abolition of deans and chapters, this parsonage was surveyed by order of the state in 1649, when it was returned, that the parsonage, or manorhouse of the parsonage, consisted of a hall, a parlour, kitchen, cellar, buttery, five chambers, three garrets, one dairy-house, barn and stable, with all the tithes thereto belonging, and the tithes of as much of Suttonpark as lay within the precincts of Chart parish, with a court and barn-yard; the whole being valued at fifty pounds per annum, and let by the dean and chapter, anno 26 Charles I. by lease to Sir Edward Hales, bart. and Sir John Hales, his son, for twenty-one years, at the yearly rent of 13l 11s. 8d. and one good and seasonable brawn every Christmas, but that the premises were worth over and above, upon improvement, 67l. 3s. 10d. and that the tenant was bound to repair and maintain the chancel of the parish church. At which time the vicarage was valued at thirty-five pounds clear yearly income. (fn. 6)
Among the archives of the dean and chapter of Canterbury is a definitive sentence, made at Cranbrook, anno 1400, concerning the custom and method of taking tithes in this parish, made by Thomas, archbishop of Canterbury, in a cause of tithes, between the prior and convent of Ledes and John Hadde, parishioner of this church.
Mrs. Elizabeth Bouverie, of Teston, is the present lessee of this parsonage. The advowson of the vicarage is reserved by the dean and chapter, in their own hands.
The vicarage is valued in the king's books at 8l. 12s. 8½d. and the yearly tenths at 17s. 3¾d. (fn. 7) It is now of the clear yearly certified value of 47l. 11s. 9¼d.
In 1640 it was valued at thirty pounds per annum, Communicants, 212.
The Rev. John Smyth, vicar gave by will in 1732, two hundred pounds as an augmentation, to enable it to receive the benefit of the like sum from queen Anne's bounty, (fn. 8) with which a small farm of twenty pounds per annum in Ashford parish, has been purchased for the benefit of the vicar and his successors.
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
From Lock Baker Builder of Icarus...The inspiration for Icarus was primarily to push my limits as an engine builder. You see, for years I only did the metal fabrication on my motorcycles, leaving the motor rebuilds to professionals.The problem was that the local professionals, in many instances, turned out to be unreliable, costly, and difficult to work with. I knew that in order to become a true bikebuilder I needed to master every aspect of bike construction. I had assembled a few engines in a conventional manner but nothing that proved I knew the true dynamics and intricacies of internal combustion. When you simply assemble a motor from a parts catalog you do not need to know much, other than how it all fits together. Look at a shop manual for the given engine type, follow the instructions, and presto—you have a running engine. This engine may not be a competitive race winner, but it will go down the road. I wanted to prove to myself, and mypeers, that I truly understood the mechanics and theories of internal combustion. The only way to do this was to design and build— not simply assemble—a custom engine.
I remember several years ago watching a TV program with Indian Larry. He was explaining one of his engines, one with two different Harley heads on a common crankcase. He said that he liked engines to be as bizarre and mechanical looking as possible, hence the two different heads. I couldn’t agree more! I thought that I could push that concept further still—by not usingHarley parts at all. This engine is a hybrid of different designs. The crankcase is Harley style. In other words it is a V-twin, single cam, 45-degree cylinder angle, with a gear driven breather system. The cylinders, pistons, and heads started life as Continental 0 200 parts. Continental is an aircraft engine company that primarily builds boxer style prop plane piston engines. The work involved in making this whole thing come together is too long a story to tell here, but I will cover some of the major challenges. The task of mating the cylinders to the case was a big one. Continental cylinders are “oversquare,” meaning that they have a larger bore than stroke. In this case, the bore is 41⁄8” while the stroke is only 31⁄2”. In order to make this fit the case, I needed a much larger “deck” area than a typical Harley. The cases I used were manufactured by Delkron, who were kind enough to sell them to me with a blank deck, meaning there were no stud holes. I also specified a case set up for a 1⁄4” extended pinion shaft, essentially moving the entire cam compartment over in order to make room for the increased cylinder base area. There are more differences between typical Harley cylinders and Continental cylinders. Continental cylinders have six base studs instead of the usual four, as well as an O-ring base gasket instead of a flat paper one. The base studs were a problem because two of the six studs per cylinder were located exactly where my tappet blocks were! To fix this I built up weld material outward from the deck area towards the tappet blocks then shaped them by hand, blending them into the case. This provided the extra meat I needed to accommodate these new base studs. The tappet blocks themselves then needed to be machined in order to have them fit this new deck modification. They barely fit!The connecting rods had to be custom made for a few reasons. The wrist pin was Continental and the crank pin was Harley style. Also, the distance between the two pins was much longer than a Harley. Carrillo was chosen to manufacture these custom rods, and after four months of waiting they showed up. They are the most beautiful rods I have ever seen: H-beam, shot-peened, perfect. The crank assembly was another challenge. Because of the short stroke the Continental cylinders called for, I needed to have custom flywheels made. You see, the only Harley flywheels to have a 31⁄2”stroke were 61” Knuckleheads. My crankcase calls for Evolution style pinion and sprocket shafts, meaning a corresponding set of flywheels. I called Truett & Osborn, a trusted flywheel manufacturer, and asked them if they could build these custom wheels around my custom connecting rods. Once they started, I received a phone call saying that because the stroke is so short, the nuts that hold the crank pin in place are too close to the sprocket and pinion shaft bases. Makes sense when you think about it. Luckily for me, they are cool people over there at T&O, and they came up with a neat solution: make a custom crank pin with smaller threaded ends, meaning they could use smaller nuts. Problem solved. Here’s another: Harleys have two different cylinder heads, a front and a rear. They are almost mirror images, allowing for both intake ports to be located across the street from one another. This allows them to use a common intake manifold and a single carb to feed both cylinders. Continental engines are boxer style, so every head and cylinder is exactly the same. When you take two of them and put them upright in a 45-degree configuration, they look like two rear Harley heads. This means a few things. I needed two custom-made intake manifolds and two carbs. I also needed a custom camshaft with the front two lobes reversed. In addition, the rocker arm ratio of the Continental is 1.2/1 while modern Harleys are 1.6/1. This would mean that in order for the valves to lift as much as Harley valves do, I would need a much higher lift cam. The cam design and construction was given to Redline Racing Cams out of California. It took over six months but they eventually nailed it. Thank you Redline! I could go on forever, but here is a basic synopsis of the other challenges: custom collapsible pushrods, custom intake manifolds, custom Lectron carbs, custom load bearing rocker boxes, cus-tom pushrod boots, custom top end oil drains, magneto re-degreed, custom exhaust, cylinder fins extensively clearanced, custom base studs and nuts, and I even had to make a custom valve spring compressor due to the fact that the cylinders and heads are permanently attached to each other! (No head gaskets.) The rest of the bike is every bit as wild as the engine. With the help of Acme Choppers, we made an entirely stainless steel frame in order to fit the taller engine. I made the hubs from scratch and had them laced to imported Morad rims from Spain. Bandit Machine Works provided the primary drive, which I modified to accommodate a 10-degree transmission plate tilt. This allowed me to get a fair lead on the final belt drive (an old Indian Larry trick). I also made the fuel tank from scratch out of aluminum (see past Iron- Works article for that one!). The fork is a shaved 35mm narrow glide. Everything else, including the bars, foot controls, fender struts, taillight, plumbing, seat, oil tank, and 4-bar pneumatic seat suspension were all made by me at Eastern Fabrications.I feel very satisfied with the final result. The engine runs like a top and the bike rides exactly the way I wanted it to —light, quick, agile and fun. It goes without saying that I had the help of a lot of talented and generous people. Mark Simiola, from Sterling Performance was instrumental in helping me calculate the length of the rods to get my desired compression ratio. He also
answered countless questions and helped me time the engine. Acme Choppers came through as usual with the bottom half of the frame. Clifford Frizzel from Esquire Machinehelped make the beautiful rocker boxes and decked the cases. Cooney Engraving did the custom badges that adorn the bike. Truett & Osborn, Carrillo, Delkron, and Redline all treated me with professionalism and kindness. I would like to thank all of you for your willingness to think outside the box with me. Oh yeah, the name. The story of Icarus comes from Greek myth. Icarus was the son of Daedalus, a craftsman who built a set of wings that allowed man to fly. Icarus was allowed to use the wings on one condition; that he not fly too close to the hot sun, as the wings were held together with wax. As Icarus flew he did not heed his father’s warning; the wax melted and he fell to his death. I chose the name because, by using aircraft parts, I was taking a risk. I knew that if I was not careful and diligent it would not work. Luckily, patience pays off and so, this Icarus Flies.
So, it appears that today (October 4, 2019) is something called Force Friday, which is making all the Star Wars collectors want to kill each other to catch all the releases out today. Hopefully those of you who partook were successful in your hunts, and that there aren't too many with hurt feelings or broken bones.
Me? Well, I spent the day doing some work and generally just relaxing... with a looming Educational strike looming, who knows if and when I'll get quiet time in the next little while. Of course, this meant chugging along with my backlog, polishing off some photos, and writing down some of my thoughts. For this entry, I present to you, the reader, DC Icons 19: Wonder Woman - The Amazo Virus.
As you may have noticed, I don't actually buy many domestic figures, but there are instances where the design, sculpt, or something else catches my eye, and I keep my eye out for a good deal. I don't know anything about the DC Icons line, though based on the retail locations I'm guessing it's probably closer to Marvel Selects than Marvel Legends. I know who Wonder Woman is, but I haven't a clue what The Amazo Virus is, though I'm guessing it's a comic series of some sort. All I know is that in general, the Wonder Women from this Icons line all looked good, and I ended up buying the cheapest one I could find which came with the most accessories, because I was curious how this line of figures compares to the Legends stuff. Based on how action figures work, I'm taking a guess here that aesthetics may change, but the body style across the line is probably going to be consistent, and as such, would be an appropriate point of comparison.
I guess before I dive in, a bit of backstory on this particular figure. As mentioned, I don't know much about the line, but I do know that in general, the Wonder Women figures aren't exactly things you'd normally find MISB for $10 CAD from a dude in Orangeville, ON. The sculpts are overall, from what the pictures have shown, to be fairly decent and showcase the character quite well, no matter which DC figure subline she's in (comic/animated). This particular figure, however, is still readily available on Amazon, and it's most likely from the bad word of mouth received due to the change in head sculpt. In probably the biggest "final product may vary" change ever, the face on the box and the preview pictures you see online show a completely different sculpt than what was received. That was the biggest complaint from the Amazon reviews, which generally aren't that great if you want to actually learn about the product you want to buy, but are very good if you want one of those "only one chance to make an impression" types of comments.
So now that we have set the mood, on with the show.
The figure comes with a decent number of accessories, namely two open fists for gripping, her shield, her sword, and her trademark Lasso of Truth in both coiled and uncoiled forms. The figure is also adorned with three soft rubber parts, two of which are used for mounting the shield, with the belt on her waist having a small loop that you can insert the sword into. The hair has a slot built in to accommodate the mounting of the shield on her back. The set also includes an instruction sheet that not only doesn't explain everything about Wonder Woman, but probably applies the same level of half-assed ness to the other characters from the wave. I feel almost like Batfleck, going through the emails of Lexcorp and discovering the files on all the other Metas in the world.
The figure itself is about the same size as my Legends representative, Captain Marvel, so around the 6 inch mark. We can't really compare and contrast aesthetics, both being vastly different - Marvel looks positively frumpy next to Wonder Woman, but I know Legends can do sultry like what the White Queen EB Games exclusive that,if it wasn't for the $35 CAD price tag, I'd probably have purchased. So lets talk about the only thing that makes sense - articulation. Wonder Woman features the following points of articulation: rotating and pivoting ankles, double jointed knees, ball jointed hips that can be pulled down for some additional clearance/range of motion, waist pivot, mid torso ball joint, rotating and pivoting shoulders, bicep swivel, double jointed elbows, rotating wrists, and head at the top of the neck. The big hair gets in the way of rotation, unfortunately, so your actual head movement is rather limited. The only things that Captain Marvel has on Wonder Woman is that the Legends figure has swivel joint mid thigh does help with articulation, as well as the ability to pivot the hands at the wrist. Given the overall look of the Wonder Woman figure though, I think I can live without the ability to twist her leg so her toes point backwards or do a limp wrist
Next up, lets talk paint apps and other spit polish type things. I'll be honest - I'm actually quite impressed with the paint apps. From observation, the figure is predominately painted, with the exception of the soft rubber parts (hair, blue skirt, and brow rubber straps) and I think the navey blue parts of her gauntlets and boots. Colour matching, where applicable, is quite well done as there doesn't seem to be two tones of the same colour, though the abdomen doesn't quite seem as glossy as the chest portion of the armour. There are generally no areas of lumpy paint to mention, though it does get a bit rough around where the joints are, I imagine due to improper drying, and the use of a different type of plastic for its durability in these areas. Silver areas could have used an extra coat of paint or two, as you can see through them to the blue pastic below. Masking is.. hit and miss. Some isn't terrible, though some, like the stuff on her hands, are scary looking. But.. but.. she does have painted nails, which without sarcasm, isn't a bad touch at all. Surprsingly, the paint on her face is very good - it's crisp and not oversprayed. Decals for her eyes are not misaligned. It might actually be one of the cleaned Domestic figure faces I've seen, rivaling the grudgingly admitted good work from Mezco. The overall build itself is quite solid, not feeling flimsy at all in my hands, and the overall finish of the parts is quite acceptable. There aren't any misaligned limbs or wonky joints to mention. Solid, solid work all around.
Sculpting is our last stop on the discussion voyage, and I saved it for last because it's probably the most interesting.. at least for me. The overall sculpt is very feminine without looking like an Anime high school girl, providing her with ample curves along with a muscular and athletic build. There is good muscle definition on her body, though I feel her thighs ought to be bulkier.. which, lets face it, was never going to happen given the fact there was bound to be reuse of body parts across the board where possible. Just look at the other three figures in this wave, and tell me you can't see that the have the nutritionist. Speaking of reuse of parts, Wonder Woman's open grip hands are probably fine for most weapons, but they're way too big to actually hold her weapons without some fancy maneuvering. Finally, we come to the controversial head. We've already established that this isn't what was advertised. My guess is that there was some sort of fallout between the original artist and DC Collectibles, which resulted in the last minute reuse of a Wonder Woman head from another figure. The head itself is fine, as in it's A version of Wonder Woman, but there's not real mistaking who it's supposed to be.
But.. but.. the problems go beyond this. There are several reasons why I say this is a last minute switch. First off, as good as the head looks, it seems a bit undersized for the body. Not terribly undersized, mind you, but enough that I picked up on it. The bigger issue is the alignment of the of the head. If you notice in the boxed figure pic (or the figure in the tray.. either or) you'll notice that her face is pointed down at the ground. Well.. this is because the original body was only sculpted to accommodate the prototype head. You see, her neck, which is fixed, is sculpted with a slight forward lean, which is, well, normal. The issue is that because this new head has puffy hair, it prevents the head from being properly upright, and is always at a forward tilt. This problem is only further multiplied when the head sits on a neck that is itself forward tilting. So, long story short, the only way to get Wonder Woman to face forward is to arch her back like she's about to do a chest bump, which looks really, really strange from the side, to say the least. I'm guessing the original head had either shorter or hair that wasn't as bulky. Thank goodness that the figure has the necessary torso joints to make this work, as well as the stability to actually hold poses.
So, in the end, the Amazon reviews were right - the head really does change the entire game, but while most people were focused on the face, it's really the articulation restrictions of this head that hurts the figure the most. But I truly do feel that the pros outweigh the cons on this particular figure because the overall product is not bad at all. There are many other things to like about the figure, so in my mind if you're one with the flaws and imperfections of Domestic figures on the whole, there's no reason why there should be extra hate on for this particular figure. Not bad addition to your hoard, so long as you know the short comings.. stupid small sword hilt.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Dubai Marina, also known as Marsa Dubai is a district in Dubai, United Arab Emirates. It is built around an artificially constructed canal along a 3km stretch of the Persian Gulf shoreline. The marina is entirely human-made and has been developed by the real estate development firm Emaar Properties of the United Arab Emirates and designed by HOK Canada, and was inspired by the Concord Pacific Place development along False Creek in Vancouver, Canada.
There have been many instances of marine wildlife, especially whales and sharks, entering the marina because of its proximity to the open sea.
Info sourced from Wikipedia.
In my particular instance, I was getting tired of the flashing 60, 125 that keep you from taking an exposure until the frame count window shows at least 1. That, and my frame counter stopped working. My solution was to solder together those two copper terminals you see to the right of the counter wheel. It's working so far. I'm happy.
We were on the way to The Camargue, when we stopped off in this small town near a Lagoon, not too far away from Marseille.
The Etang de Berre, situated between Marseille and the Camargue, has the largest petroleum refinery industry in France, which dominates the landscape. However, on the inland side of the Canal de Caronte is the former fishing port and artists' colony of Martigues, which still attracts a holiday crowd.
Martigues lies on both banks of the canal and on the island of Brescon, where the Pont San Sebastien is a popular place for artists to set up their easels.
Felix Ziem (1821-1911) was the most ardent admirer of this "little Venice"; his paintings and works by contemporary artists can be viewed in the Musee Ziem.
From DK Eyewitness Travel: Provence & The Cote D'Azur
Martigues on Wikipedia
Martigues (Occitan: Lo Martegue in classical norm, Lou Martegue in Mistralian norm) is a commune northwest of Marseille. It is part of the Bouches-du-Rhône department in the Provence-Alpes-Côte d'Azur region on the eastern end of the Canal de Caronte.
A direct translation from the Martigues Tourisme Website reveals the following about Martigues:
Nicknamed the "Provençale Venice", Martigues is a point of passage between the Mediterranean Sea and the Sea of Martigues (now Etang de Berre), close to the Côte d'Azur. The charm of its canals, its docks and bridges made it "The Venice of Provence". Martigues possesses also its cooperative winery "La Venise provençale": Coteaux d'Aix en Provence, rosé, red and white wines, fruit juices and natural oils in the region. Main varietals: Grenache, Syrah, Cinsault, Carignan, Clairette.
This is the Tribunal d'Instance in Martigues.
It is the district court.
The kit and its assembly:
This build is my submission the 2020 "One week” group build at whatifmodellers.com. I had originally earmarked my Thai Navy A-4 for this event, but already built it for the “In the navy” GB that ran a couple of weeks earlier, since it was a perfect thematic match.
While searching for an alternative I found a Matchbox G.91Y in the stash and wondered about a single engine alternative, a simpler aircraft in the spirit of the original G.91R variants. Since I had some surplus fuselages from G.91R Revell kits in the donor bank, the G.91X was born.
The basis is the Matchbox G.91Y kit, a basic affair with mediocre fit and only few details. It was mostly built OOB, except for lowered flaps (easy to realize on this kit) and a completely new lower rear fuselage from a smaller G.91R section with only a single exhaust. This feat was a little more challenging than it seems, since the G.91R is considerably smaller and shorter than the G.91Y – a lot of improvisation and PSR went into this cosmetic stunt. For instance, the seams between the parts had to be reinforced from the inside, bridging the different fuselage shapes, and a 2-3mm gap between the fuselage halves had to be filled. In order to emphasize the new engine arrangement, the G.91Y’s dorsal air scoops were sanded away and a new jet exhaust had to be found for the new, rather oval tail orifice. I eventually settled upon a protective cap from y syringe needle.
Furthermore, the cast-on guns were replaced with hollow steel needles, and some blade antennae (styrene sheet) as well as gun nozzle protectors (thin wire) were added. The cockpit was also slightly pimped with styrene profiles and some wire (on the ejection seat and for some side consoles), the pilot figure – even though the Matchbox figures are among the best I know – was replaced by a pilot from an Airfix A-4 Skyhawk (left over from the recent Thai Navy A-4LT build). However, the canopy remained closed, since opening it would require more fuselage cutting.
The ordnance was kept simple, reflecting the attack/COIN role of this aircraft: a pair of LAU-19 unguided missile pods and two Mk. 82 bombs; these came from an Italeri NATO weapon set and an Airfix A-4 kit, respectively.
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
WOW - WHAT A LOCATION
________________________
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
From Lock Baker Builder of Icarus...The inspiration for Icarus was primarily to push my limits as an engine builder. You see, for years I only did the metal fabrication on my motorcycles, leaving the motor rebuilds to professionals.The problem was that the local professionals, in many instances, turned out to be unreliable, costly, and difficult to work with. I knew that in order to become a true bikebuilder I needed to master every aspect of bike construction. I had assembled a few engines in a conventional manner but nothing that proved I knew the true dynamics and intricacies of internal combustion. When you simply assemble a motor from a parts catalog you do not need to know much, other than how it all fits together. Look at a shop manual for the given engine type, follow the instructions, and presto—you have a running engine. This engine may not be a competitive race winner, but it will go down the road. I wanted to prove to myself, and mypeers, that I truly understood the mechanics and theories of internal combustion. The only way to do this was to design and build— not simply assemble—a custom engine.
I remember several years ago watching a TV program with Indian Larry. He was explaining one of his engines, one with two different Harley heads on a common crankcase. He said that he liked engines to be as bizarre and mechanical looking as possible, hence the two different heads. I couldn’t agree more! I thought that I could push that concept further still—by not usingHarley parts at all. This engine is a hybrid of different designs. The crankcase is Harley style. In other words it is a V-twin, single cam, 45-degree cylinder angle, with a gear driven breather system. The cylinders, pistons, and heads started life as Continental 0 200 parts. Continental is an aircraft engine company that primarily builds boxer style prop plane piston engines. The work involved in making this whole thing come together is too long a story to tell here, but I will cover some of the major challenges. The task of mating the cylinders to the case was a big one. Continental cylinders are “oversquare,” meaning that they have a larger bore than stroke. In this case, the bore is 41⁄8” while the stroke is only 31⁄2”. In order to make this fit the case, I needed a much larger “deck” area than a typical Harley. The cases I used were manufactured by Delkron, who were kind enough to sell them to me with a blank deck, meaning there were no stud holes. I also specified a case set up for a 1⁄4” extended pinion shaft, essentially moving the entire cam compartment over in order to make room for the increased cylinder base area. There are more differences between typical Harley cylinders and Continental cylinders. Continental cylinders have six base studs instead of the usual four, as well as an O-ring base gasket instead of a flat paper one. The base studs were a problem because two of the six studs per cylinder were located exactly where my tappet blocks were! To fix this I built up weld material outward from the deck area towards the tappet blocks then shaped them by hand, blending them into the case. This provided the extra meat I needed to accommodate these new base studs. The tappet blocks themselves then needed to be machined in order to have them fit this new deck modification. They barely fit!The connecting rods had to be custom made for a few reasons. The wrist pin was Continental and the crank pin was Harley style. Also, the distance between the two pins was much longer than a Harley. Carrillo was chosen to manufacture these custom rods, and after four months of waiting they showed up. They are the most beautiful rods I have ever seen: H-beam, shot-peened, perfect. The crank assembly was another challenge. Because of the short stroke the Continental cylinders called for, I needed to have custom flywheels made. You see, the only Harley flywheels to have a 31⁄2”stroke were 61” Knuckleheads. My crankcase calls for Evolution style pinion and sprocket shafts, meaning a corresponding set of flywheels. I called Truett & Osborn, a trusted flywheel manufacturer, and asked them if they could build these custom wheels around my custom connecting rods. Once they started, I received a phone call saying that because the stroke is so short, the nuts that hold the crank pin in place are too close to the sprocket and pinion shaft bases. Makes sense when you think about it. Luckily for me, they are cool people over there at T&O, and they came up with a neat solution: make a custom crank pin with smaller threaded ends, meaning they could use smaller nuts. Problem solved. Here’s another: Harleys have two different cylinder heads, a front and a rear. They are almost mirror images, allowing for both intake ports to be located across the street from one another. This allows them to use a common intake manifold and a single carb to feed both cylinders. Continental engines are boxer style, so every head and cylinder is exactly the same. When you take two of them and put them upright in a 45-degree configuration, they look like two rear Harley heads. This means a few things. I needed two custom-made intake manifolds and two carbs. I also needed a custom camshaft with the front two lobes reversed. In addition, the rocker arm ratio of the Continental is 1.2/1 while modern Harleys are 1.6/1. This would mean that in order for the valves to lift as much as Harley valves do, I would need a much higher lift cam. The cam design and construction was given to Redline Racing Cams out of California. It took over six months but they eventually nailed it. Thank you Redline! I could go on forever, but here is a basic synopsis of the other challenges: custom collapsible pushrods, custom intake manifolds, custom Lectron carbs, custom load bearing rocker boxes, cus-tom pushrod boots, custom top end oil drains, magneto re-degreed, custom exhaust, cylinder fins extensively clearanced, custom base studs and nuts, and I even had to make a custom valve spring compressor due to the fact that the cylinders and heads are permanently attached to each other! (No head gaskets.) The rest of the bike is every bit as wild as the engine. With the help of Acme Choppers, we made an entirely stainless steel frame in order to fit the taller engine. I made the hubs from scratch and had them laced to imported Morad rims from Spain. Bandit Machine Works provided the primary drive, which I modified to accommodate a 10-degree transmission plate tilt. This allowed me to get a fair lead on the final belt drive (an old Indian Larry trick). I also made the fuel tank from scratch out of aluminum (see past Iron- Works article for that one!). The fork is a shaved 35mm narrow glide. Everything else, including the bars, foot controls, fender struts, taillight, plumbing, seat, oil tank, and 4-bar pneumatic seat suspension were all made by me at Eastern Fabrications.I feel very satisfied with the final result. The engine runs like a top and the bike rides exactly the way I wanted it to —light, quick, agile and fun. It goes without saying that I had the help of a lot of talented and generous people. Mark Simiola, from Sterling Performance was instrumental in helping me calculate the length of the rods to get my desired compression ratio. He also
answered countless questions and helped me time the engine. Acme Choppers came through as usual with the bottom half of the frame. Clifford Frizzel from Esquire Machinehelped make the beautiful rocker boxes and decked the cases. Cooney Engraving did the custom badges that adorn the bike. Truett & Osborn, Carrillo, Delkron, and Redline all treated me with professionalism and kindness. I would like to thank all of you for your willingness to think outside the box with me. Oh yeah, the name. The story of Icarus comes from Greek myth. Icarus was the son of Daedalus, a craftsman who built a set of wings that allowed man to fly. Icarus was allowed to use the wings on one condition; that he not fly too close to the hot sun, as the wings were held together with wax. As Icarus flew he did not heed his father’s warning; the wax melted and he fell to his death. I chose the name because, by using aircraft parts, I was taking a risk. I knew that if I was not careful and diligent it would not work. Luckily, patience pays off and so, this Icarus Flies.
All Saints, Kirtling, Cambridgeshire
Although Edward North's father Roger, a younger son, was settled in London at the time of his death, he had been born in Nottinghamshire where the less enterprising members of his family remained. Roger North made no mention of his three young children in the will which he made on 19 Nov 1509 and which was proved 11 days later. Apart from two small bequests to the church of St. Michael in Quern, he left all his possessions to his wife Christian whom he appointed executrix. His only son Edward was sent to the newly-founded St. Paul's school under William Lily, where his contemporaries and friends included Anthony Denny, William Paget, Thomas Wriothesley and John Leland, who later addressed to North a 38-line Latin poem recalling their school-days together.
Edward North may have continued his studies for a short time at Cambridge before being admitted to Lincoln's Inn in 1522; the suggestion that he attended Peterhouse lacks confirmation despite his later benefactions to that college. Until 1530 his name appears regularly in the records of his inn. It was probably at the instance of his brother-in-law, Alderman William Wilkinson, that he obtained employment in a legal capacity with the corporation of London. He may have been the Edward North described as of London, who in 1525 received a pardon from the King for some unknown offenses, and was certainly the gentleman of that name who two years later was admitted to the Mercers' Company by redemption.
While still at Lincoln's Inn North appears to have caught the attention of Sir Brian Tuke, treasurer of the chamber, a man of considerable learning and ability, who was the patron of many promising young men. It may have been such works as a poem he wrote about 1525 on the decay of the realm that first brought him to Tuke's notice. The poem, composed of stanzas of seven and written in English in the manner of Lydgate, condemned both the nobility and the clergy for a moral decline which only the grace of God and the nobility of the King and his Queen could arrest. North's appointment to the clerkship of the Parliaments was in survivorship with Tuke who had previously held the office undivided from 17 Apr 1523. North was the junior partner on whom there should have fallen the work involved while Tuke busied himself with other duties. In a letter of 1 Jun 1539 to Cromwell, Tuke reported an outbreak of measles where he was staying and so excused himself from attendance at Parliament as he had 'no business but what Mr. North can do'.
The career of Edward North closely parallels that of Sir Richard Rich, although without the unsavoury self-serving and willing betrayal of friends and patrons. In 1531 he was appointed clerk of the Parliament and was raised to the rank of serjeant-at-law. By 1536 he was named one of the king's serjeants. In 1541 he resigned as clerk of the Parliament on his appointment of treasurer of the Court of Augmentations, created to handle the dissolution of the monasteries, a court on which Rich also served. In 1541 he was knighted and elected as a knight of the shire of Cambridge to Parliament. In 1545 he was made co-chancellor, with Rich, of the Court of Augmentations and became sole chancellor on Rich's resignation. The following year he became a member of the Privy Council and received large grants of estates from the crown.
The 9th Lord la Warr asked Cromwell on 11 Jan 1532 to send his leave of absence from Parliament straight to North; in the following year Sir Thomas Audley sent to North to obtain the Act of Annates so that he could make the ratification desired by the King; in 1534 copies of the protest against the bill of farms were supplied by him on demand and in 1536 Cromwell obtained from him copies of the Acts concerning Wimbledon, Carnaby's lands and uses. Such recurrent applications to North, far from demonstrating his mastery of the business, may well point in a different direction. It appears that during North's clerkship (and beyond) no Acts of Parliament were enrolled in Chancery, a circumstance which, while it may be linked with changes in procedure, is also suggestive of neglect of duty.
North's marriage to the widow of two merchants not only gave him financial security but permitted him the opportunity to speculate in the land market. On 1 Jan 1533 he bought the manor of Kirtling, Cambridgeshire, which was to become his principal seat and the nucleus of his estates in East Anglia and the Fenlands. The title to Kirtling proved doubtful and North temporarily lost possession as the result of a lawsuit in 1534. Receiving the manor back from the King, North made certain of his ownership by an Act (28 Hen. VIII, c.40) passed during the Parliament of 1536 and shortly afterwards he began a splendid reconstruction of the house. About the same time the King acquired the manor of Edmonton, Middlesex, from North and William Browne, and it was probably in connexion with this sale that North agreed to forbear payment by the King till later. Grants in recognition of his services helped to consolidate North's gradually increasing properties.
His work as clerk of the Parliaments brought North into close contact with Cromwell, for whom he was making confidential reports by 1535. This relationship was probably decisive in North's appointment to the court of augmentations in 1540. It was to be over three years before North was required to render an account as treasurer of that department: although this showed a balance due from him of almost £25,000, after his elevation to the joint chancellorship he paid over little more than £22,000 to his successor. When the King was informed of this discrepancy, he summoned North from his bed in the Charterhouse early one morning to defend his conduct, this North was able to do although at the price of an arrangement settling the matter by an exchange of lands favourable to the King. Although North had used his position to line his pocket and continued to do so throughout his connexion with the court, his financial reputation was unimpaired and he was frequently commissioned to audit accounts under Henry VIII, Edward VI and Mary. Secure in Henry VIII's esteem, North was confirmed in his office as chancellor on the eve of the King's death, was appointed an executor of his will (as was Rich) and was bequeathed £300.
In 1547 Henry VIII forced the Archbishop of Canterbury, Thomas Cranmer, to exchange a group of Manors including Headstone for other land. Legally the King was now Lord of Headstone Manor but within days the whole group of Manors were sold to Edward North for £7,337.6s.8d.
The beginning of the new reign saw North made a Privy Councillor and reappointed to the chancellorship but he was soon to be antagonized by the Protector Somerset who in Aug 1548 connived at his being eased out of his office in favour of Richard Sackville. This act was to cost the Protector dear, for in the coup d'état against him a year later North was one of the first to join the dissident Councillors in London and to sign the letter listing the Protector's offences.
North had been returned as one of the knights of the shire for Cambridgeshire to the Parliament of 1542, at the opening of which he was probably knighted along with a number of other royal officials, he may have sat in the Parliament of 1545 for which the return does not survive and he did so in that of 1547. His name appears in the Act of 1543 (34 and 35 Hen. VIII, 24) settling the payment of Cambridgeshire knights of the shire. Nothing further is known of his activities in the House until the second session of the Parliament of 1547, when on 12 Feb 1549 he was one of those appointed to hear and determine, if they could, the bill against Nicholas Hare. During the third session, the Acts for a general pardon, for a churchyard in West Drayton, for the restitution of William Hussey and for the fine and ransom of the Duke of Somerset, were signed by North, among others, and in the fourth, the original bill fixing the time for the sale of wool was committed to him and Sir Martin Bowes after its third reading on 18 Mar 1552.
As a partisan of the Duke of Northumberland, North was recommended by the Privy Council to the sheriff and freeholders of Cambridgeshire for election to the Parliament of Mar 1553 and he was duly returned with the Council's other nominee, James Dyer. North witnessed the device to alter the succession, Edward VI's will and the letter of 9 Jul 1553 in support of Lady Jane. There may, however, have been a measure of disagreement between North and Northumberland as the Charterhouse, which North had held since 1545 and which was apparently still his at the beginning of 1553, escheated to the crown on the duke's attainder later that year.
As soon as it became clear that there was no support for Lady Jane, North joined the exodus from London of Privy Councillors to submit to Mary, who was a little distrustful of a man who had been so sympathetic towards Northumberland. His appointment as a Privy Councillor was not renewed although he was raised to the baronage as Lord North of Kirtling, the Charterhouse was restored to him and he continued to serve on important commissions, including the one for heresy in 1557 and those connected with monetary reform. In 1554 he was one of the escort for Felipe of Spain from Southampton to Winchester for his marriage in July and he bore the sword before Felipe at the reception of Cardinal Pole at Westminster in Nov. Foxe records the story, without giving it credence, of a woman living near Aldersgate in 1555 who claimed to have been approached by North to surrender her recently delivered baby to him at the time when the termination of the Queen's (false) pregnancy was expected.
Immediately after Elizabeth's accession, she visited North at the Charterhouse between 23 and 29 Nov 1558. This stay did not betoken the new Queen's confidence in him nor did it lead to North's taking a more important role in the country's affairs. Pardoned for general offences, he was employed to hear claims to do service at the coronation and to discover the extent of alienation of crown lands during the previous reigns. His opposition to several government-backed measures, including the Act of Uniformity, in the Parliament of 1559 must have destroyed any chance that he had of appointment. Elizabeth paid a second visit to the Charterhouse between 10 and 13 Jul 1561. Later in 1564 the Bishop of Ely reported that in religion North was 'quite comformable'. S hortly afterwards North retired from public affairs.
North made his will on 20 Mar 1563 asking to be buried at Kirtling beside the body of his first wife. He left his second wife Margaret jewels, £500 and leases in Chertsey, London and Southwark, and provided for his children and grandchildren. His executors were to be Sir William Cordell and Sir James Dyer and his supervisors Thomas Howard, 4th Duke of Norfolk, Sir Robert Dudley, Earl of Leicester, and Sir William Petre. A third of his property in Cambridge and Huntingdonshire, Middlesex and Suffolk he bequeathed to the Queen; of the remainder nearly all was left to his son Sir Roger. By a codicil of 30 Dec 1564 he ordered the Charterhouse to be sold to pay for his funeral expenses and Roger's debts. He died the following day at the Charterhouse and was buried at Kirtling early in the New Year.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
via WordPress ift.tt/22foZhN
Points to consider when purchasing immediate annuities can be a daunting task, and usually you cannot change your mind once you have made the purchase. That is why it is very important to do your homework first. Here are a few factors that you have to put into consideration when purchasing these products.
Shop Around
There are a lot of highly-rated insurance providers today that offer immediate annuities, and at any point in time, one or two companies might be offering more monthly income for your investment than the rest, due to their own financial capacity and marketing techniques. Insurance experts suggest getting quotes from at least three insurance companies in your state, and ensuring it is on an apples-to-apples comparison for the same kind of annuity.
Safety First
Keep in mind that this is the safe part of your retirement income. Thus, you have to check the background of the insurance companies on your list. A reputable insurance company should be highly rated by renowned rating agencies such the Better Business Bureau (BBB), Standard & Poor’s or A.M. Best. If you think you will be rewarded by taking an investment risk, do that with the fraction of your retirement savings that you do not invest in an immediate annuity and put it in the stock market where there is more potential reward for taking investment risk.
Consider Inflation Protection
Inflation protection starts the payment at a lower level, but increases it once a year, usually by the inflation rate calculated by the government. Inflation protection reduces your “money’s worth ratio” by about five cents on the dollar. Considering the current economic status of the U.S., inflation protection makes sense.
Keep It Simple
Don’t accept costly add-ons, such as coupling the annuity with long-term care insurance or life insurance. These add-ons will only increase the cost of the annuity and make it difficult for you to compare insurance companies.
Consider Diversification
Don’t put all your eggs in one basket. You may want to consider spreading your annuity purchase among three or more insurance companies to lessen your exposure to insurance company bankruptcy. For instance, assuming that you have about $300,000 to invest in an annuity; for every insurance company, you should get quotes on investing $100 grand, $200 grand, and $300 grand. If you invest your money in two or more companies, your total revenue might not be much less than investing all your money in one company, and you will have more peace of mind. Check to see if your state has a guarantee association that can add up to $250,000 of protection per account to protect you against insurance company bankruptcy. Most states have their own website, just Google your state name and the words guarantee association for state specific information and coverage.
Ask How Long the Annuity Quotes Are Valid
Annuity rate quotes usually have an expiration date (i.e. seven days, 14 days, etc.). A lot of insurance companies today will accept your application without funding and locking in the quote. But, you will be given up to 60 days to fund the contract.
Ask if Your Health Status will Affect Your Annuity Application
If you have a serious health condition, be sure to mention that in your application form. You may be qualified for a medically underwritten immediate annuity which will pay you a greater amount per month.
Ask What Will Happen to Your Premium Payment or Income Stream If You Die Too Early
When it comes to life only immediate annuities, the amount you paid for your immediate annuity is forfeited upon your death. But, most annuity companies nowadays offer optional riders that return the remaining unused premium dollars when you die prematurely. Thus, don’t forget to ask the refund options when you gather quotes.
Read the Fine Print
As with any crucial financial decision, it’s advisable to carefully read the fine print before you sign the dotted line. Carefully review the annuity quote or illustration. If you have any questions or concerns, be sure to address them with your agent before you purchase the immediate annuities. Keep in mind that you can’t change your mind once you’ve made the purchase.
Satisfaction Guaranteed
Know that whatever your decision is, your satisfaction is always guaranteed! You have ten days (or one month, in some states) from the day your contract is sent to you to request that the insurance company refunds your full premium to you. No questions will be asked. This is known as the “free look” period, during which you can have a lawyer or a family member review the immediate annuities contract to make sure it gives you the coverage you need. For more info click here
All insects are an integral part of our ecosystems. As part of food chains, insects provide sustenance (dinner) for countless other animals. For instance, just one crow can eat as many as 16 bushels of insects in one year. So--all insects are beneficial and necessary. It's just that with some insects--like flies--it's harder to remember that they are a necessary part of the world around us.
There are more than 100,000 different species of flies. They are found everywhere in the world--even in Antarctica. They belong to the order of insects called Diptera which means "two wings". Most insects have 4 wings. On the bodies of flies, however, over time, this second set of wings developed into small knobs called halteres that are located behind their main wings. These knobs help keep flies steady and balanced when they fly and make them very agile. They can maneuver themselves into intricate flight patterns, they can hover and spin, and they can even fly backwards.
Like all insects, flies have 6 legs and segmented bodies consisting of a head, a thorax and an abdomen.
Flies have hairy, sticky feet and are able to walk upside down. Their special feet enable them to land on smooth surfaces (like your wall) and not slide off.
Flies lay their eggs in soil, on plants, on the bodies of other animals, and frequently on dead or rotting flesh. Fly larvae are usually called maggots.
Different flies dine on different foods. Flies around the world eat nectar, plant sap, blood, other insects, and decaying matter. Did you know that a mosquito is actually a type of fly? Of the species of flies that eat blood, only the females are the blood eaters. They need the nutrients in blood to be able to lay eggs. The males of these species usually dine on nectar from plants and flowers. The species of flies that we call houseflies like to eat OUR food!
Flies cannot chew. They have to suck up their food. Flies have mouth parts that absorb food like a sponge. Their food has to be in a liquid form in order for them to eat it. They have a tongue shaped like a drinking straw to slurp up their meals. Flies that eat nectar or blood do so by using their tongue which is called a proboscis. Even flies that eat other insects do so by sucking out the insides of their victims. When a housefly lands on our food, it vomits on the food. The digestive juices, enzymes, and saliva in the vomit begin to break down and dissolve the food. The fly can then suck up the liquid food with its sponge-like mouth parts and its proboscis. If flies eat food from garbage cans or any other source of germy food, some of those germs stick to the fly's mouthparts and when the fly vomits on its next snack (your sandwich?), it transfers some of those germs.
Houseflies spread germs in other ways, too. The trouble is-- houseflies breed in and around manure piles (manure is the big, wet, warm droppings of cows, sheep, horses, and other large mammals), garbage, and rotting flesh. All of these places provide a good source of food for the maggots when they hatch. Flies have sticky pads on their feet, and every time a fly lands on something in our home and walks around on it, it leaves behind little bits of manure, garbage, or rotting flesh. When they walk on our food or our countertops, they leave behind germs from the last place they visited.
Housefly maggots can hatch within 24 hours if the place where the eggs were laid is warm and moist.
A fly has taste receptors on its feet so it can tell if something is good to eat as soon as it lands on it.
Flies can spread typhoid fever. During the Spanish-American War in 1898, typhoid was spread by flies and killed over 5,000 soldiers. The battles themselves in this war only killed 4,000 soldiers! Flies also spread malaria, yellow fever, sleeping sickness, and dysentery.
They do have their beneficial side. They help control other insect pests. They act as scavengers and recylers when they feed on decaying waste such as dung and dead animals. Of course, they serve as food themselves for other insects and many birds. Flies are also great pollinators. Only bees and some wasps pollinate more plants and flowers than flies.
Flies are a favorite snack for many spiders. So if you don't like flies in your house, encourage spiders to move in.
"It is time to extend planning to a wider field, in this instance comprehending in one great project many states directly concerned with the basin of one of our greatest rivers."
Looking north at an inscription in the second "room" of the Franklin D. Roosevelt Memorial in Washington, D.C., on March 15, 2012. This quotation is from a message Roosevelt sent to Congress on April 10, 1933 (during "The Hundred Days") in which Roosevelt proposed the creation of the Tennessee Valley Authority.
The memorial was designed landscape architect Lawrence Halprin and dedicated on on May 2, 1997, by President Bill Clinton. It's spread over 7.5 acres (3.0 hectares) of West Potomac Park. (Roosevelt was an avid conservationist. Fittingly, West Potomac Park is made up of silt dredged from the bottom of the Potomac River from 1880 to 1911.) The main entrance is at the north end, although just as many people enter from the south end (walking along the Tidal Basin from the Jefferson Memorial).
The memorial consists of four roofless, outdoor "rooms" created by gigantic blocks of rough red South Dakota granite. Each "room" represents one of Roosevelt's terms in office, and each room has a waterfall, inscriptions, and sculpture. The first room's walls are more smoothed and the blocks of stone aligned, and the waterfall is small, smooth, and quiet. The subsequent rooms express the increasing complexity of Roosevelt's presidency as depression and war intruded. The stone becomes less smooth, some blocks of stone are misaligned or jut from the walls; in the third room, massive stones actually lie in the center of the space, tumbled on top of one another. The waterfalls become larger, more complex, more chaotic.
Interestingly, the waterfalls were designed to be played in. But the National Park Service, deeply worried that someone would slip and fall on the algae-covered rocks, quickly banned people from doing so.
Out of respect for Roosevelt's own disability, the entire memorial is wheelchair accessible. All the sculptures are meant to be touched, and the second "room" contains a huge wall "quilt" of images -- an artwork known as "Social Programs" -- that depicts the people Roosevelt helped (with Braille inscriptions describing each one next to the panels).
Stonecarver John Benson did the granite inscriptions seen throughout the memorial. Here's a list of the sculptures in the memorial, along with their creators:
* "Prologue" - By Robert Graham, this is the life-size sculpture of Roosevelt in his wheelchair which stands in front of the main entrance to the memorial.
* "Presidential Seal, 1932" - By Tom Hardy, this is in the "first room" and depicts the Great Seal of the President of the United States as it existed in 1932 at the time of Roosevelt's first inauguration.
* "First Inaugural" - By Robert Graham, this bas-relief panel in the "first room" depicts an image inspired by film footage taken during the first inaugural parade.
* "The Fireside Chat" - By George C. Segal, this sculpture in the "first room" depicts a man seated in a chair, listening to one of Roosevelt's radio addresses (the "fireside chats").
* "Farm Couple" - By George C. Segal, this life-size sculpture in the "second room" depicts a farmer standing next to his wife (seated in a chair) in front of a barn door (with the upper half of the door open). It symbolizes Roosevelt's commitment to saving American agriculture.
* "Depression Bread Line" - By George C. Segal, this sculpture in the "second room" depicts six life-size male figures stand in a line to get free bread. The men face west, and it is just a few feet west of "Farm Couple."
* "Social Programs" - By Robert Graham, these 54 bronze panels on a wall and four pillars in the "second room" depict the social programs Roosevelt enacted.
* "Funeral Cortege" - By Leonard Baskin, this bas-relief bronze panel in the "fourth room" depicts the funeral of Roosevelt in 1945.
* "Eleanor Roosevelt" - By Neil Estern, this life-size statue of the First Lady stands between the "third" and "fourth" rooms. Placed in a niche, it depicts her later in life in a cloth coat, the Seal of the United Nations behind her and to her left. It is the only depiction of a First Lady at a national memorial.
* "Fala and Franklin D. Roosevelt" - By Neil Estern, this slightly larger-than-life statue in the "fourth room" is based on depictions of an aging, sick Roosevelt at the Yalta Conference. His cloak masks the chair in which he sits. (If you look closely at the back of the statue, you can see that the chair has wheels, although it is not a wheelchair.) Roosevelt's faithful Scottish Terrier dog, Fala, stands beside him.
In the "third room" -- the room dedicated to the war years -- is a massive tumble of granite blocks. Inscribed on a block tilted against another are the words "I Hate"; the block on which this is tilted contains the word "War." This sculpture (for that is what it is) is the "I Hate War" piece. Its placement and design was by Halprin, and Benson carved the words. It was inspired by Roosevelt's 1936 "I Hate War" speech, given in Chautauqua, New York. A longer inscription from the speech is on the stone wall next to the waterfall.
It should be noted that the Estern sculpture, as originally planned, more prominently featured Roosevelt in a wheelchair. But this was changed because various project overseers said Roosevelt had not been depicted in a wheelchair in public.
Disability advocates strongly criticized this decision when the memorial opened and there was no image of Roosevelt in a wheelchair. The National Park Service permitted disability advocates to add a sculpture near the memorial's entrance, which is the "Prologue" statue by Robert Graham.
Memorial designer Lawrence Halprin applauded the move. He said that Roosevelt loved debate and discussion, and rarely made decisions himself but rather ordered his subordinates to "hash it out" and come to a decision. Halprin said adding the sculpture is a true memorial to Roosevelt, for it exemplified people of good will coming together in disagreement but forging a compromise that will allow everyone to move ahead.
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
Spailboat hull with buoyant wheels. This hull is sailing port, to be seen by the positions of the smaller wheels. The beams to the smaller beams are telescopic.
Each era has, by means of areas, continents, countries and/or societies, with the highest degree of civilization, some important influences on the level of technique, science, policy, economy, environment and health care. The well developed countries are nowadays important pawns in the world. These countries are in many perspectives shining examples for the world. Already for centuries these countries use(d) tax money for the construction of for instance sewerage for the poor population, in order to prevent contagious sicknesses and plagues.
The bridge: The world is sick.
The question: What can we do?
First of all, it is - according to me, a Delfts civil engineer- best put the degrees of the problems on a file and to solve the problems by means of mutual links. Or, in scientific terms, to incorporate the problems firstly, in order to solve the formed equations by means of differentiation. The most important problems are, in arbitrary orders: 1: global warming 2: hunger 3: war, weapon race 4: extinction of flora and fauna 5: overfishing 5: pollution, by for instance the steel industry, coal and gas driven powerplants, transportation et cetera 6: cap of the rain forests 7: sicknesses 8: economic crises 9: inflation 10: social uncertainties 11: energy demand 12: dishonest income partitioning 13: exhaustion of natural recourses, fossil fuels et cetera.
Let us now presume that all nations want a future. A war can, considered technically, be overcome if we look strictly at alignments, instead of differences. Such an alignment is the future for our descendants. For a future is a clean world necessary with enough purified water and food. This is approximately such as making sewerage systems by the wealthy, for the poor. What the richer countries need to do, is providing an alternative for nuclear power, coal -, and gas burning power plants, fossil fuels, motors running on fossil fuels et cetera. -It is no news that nuclear power is closely related to nuclear bombs-. We must, even for that reason alone, therefore concentrate ourselves on creating alternative energy sources. Next to blocking the nuclear threat, pollution can pinch down if there is an alternative available for fossil fuels. If we have accomplished that, the global warming will be lesser. If there is an inexhaustible clean energy source, then we can purify water and with that we can solve a great deal of the food problem: by means of irrigation.
With endless quantities of clean energy we can actually purify endless quantities of water, and this water can be pumped to every where we want in the world. With endless clean energy, we can use all the oil as / for construction material. We can make cars et cetera from oil. By making former steel products out of oil products, the steel industries can pinch off their affairs. We can choose now: or we use that steel, or we pinch off the steel production, to push back the pollution this way. It is, considered economically, not likely to pinch off the steel production in the coming years, so that we can use the over production of steel for water-pipelines- in order to distribute the water over the planet-, bridges, fly-overs -in order to coop with the future traffic-, buildings et cetera. With clean water and pipelines we can clean / rinse rivers, lakes and even seas and irrigate outlying spots -for instance deserts-. We can even make oases in the Middle-East and in the Sahara. We can therefore transform the deserts into bunches / forest / agriculture grounds. If there are abundant / plenty quantities of food, the compulsion has decreased to make war. The rain forests need no longer to be cut down, because cows can graze somewhere else, soya beans can grow somewhere else and because we can apply oil products, there where we used to use tropical wood.
The very foundations of -human- living are water, food and protection against the elements. Money becomes more and more unimportant as / when / if everyone has a certain degree of wealth. Let us say, everyone in the world a from plastic made car, which runs on pressed air, hydrogen or nitrogen, to move their selves to where they want / need to be -to get for instance water and food-.And everyone sufficient food and water. This will immediately lead to relaxation in the fishery and illegal hunting.
The key is, energy.
James Watt changed the world because he could make useful / easy to handle energy at each moment / on demand. What followed was the industrial revolution. This led to global warming, which led to more wind. So, in the last two hundred years we created more energy -wind-! Now we look from space to our planet earth and we examine / locate together objectively the present energy – wind- . We then see that wind occurs mainly close to the arctics. I have made a calculation: per week is enough wind, even with transportation -, and conversion losses of 99%, to provide the whole world for a year with energy. We go now to the beach on a very windy day. The wind mills do not turn, because it blows too hard, and on sea there are no more sailing boats. However, we see sails. Windsurfers and kite surfers. Seemingly without any effort they use the high winds. Do we now move Mozes to the mountain, or the mountain to Mozes? Anyway, we now hypothetically assume that there a five thousand billion (5.000.000.000.0000) windsurfers and kite surfers sailing close the arctics, whereas every windsurfer drags a little turbine -which produces electricity- through water. At every surf board are also small hydrogen reactors installed. While this very large fleet of windsurfers goes along, it produces huge quantities of hydrogen, and pumps -also installed at / in the board- press it into the boards -in fact: small hydrogen containers-. When the boards / tanks are filled, the windsurfer stops windsurfing and goes to a big carrier, or tanker. The hydrogen is then pumped over into a big carrier / tanker and once the tanker is filled, it goes home. Off course, these tankers use hydrogen motors. In reality it is the formula which is important, and not the windsurfers themselves. If there are small windsurfers, then there also larger brothers. I mean, when the Wrights proved that they could fly with a small low-powered aircraft, they in facto proved that mankind could fly. Windsurfers only / just show(ed) that high winds can be used. It is now of importance to make bigger windsurfing compositions, in order to harvest the well / source near the arctics. So, it is now best that the political decision is made to develop mechanized windsurfers.
If we say that flying is a formula, proven by the Wrights, then we can say that windsurfing is a formula, proven by the windsurfers. The formula of windsurfing and kite surfing implies: the sailing compositions are stable, so that the former capsizing momentum is no longer flipping the sailing boats over. Windsurfing is a product of evolution, just like the wheel was. Ever since the wheel was introduced / known, we used it. Hello, now we know how to handle high winds, but I wonder why we are still building conventional wind turbines and conventional capsizing sailing boats. Windsurfing is the next phase in wind usage. And we can harvest the high winds near the arctics and at oceans by using the windsurf formula. For this reason I ask you, take notice of the windsurfing formula to be able exploit the high winds near the arctics. To do so, peace is necessary. I mean, when we have peace, and one goal, we can use the arctics without countries falling over each other. Let us now presume that we can harvest the wind near the arctics, then we have our inexhaustible energy source. Just like we installed the sewer systems for the poor and for the public interest, now we make and install the spailcrafts and the turbo wind mills. This way, global warming, sicknesses, hunger, pollution, economic crises, war, overfishing, cap of tropical forests, extinction of animals and plants can stop.
1: We have an endless and clean energy source -high winds near the arctics-. 2: We also have the formula for harvesting. 3: On top, we know how to convert electricity into hydrogen, nitrogen and pressed air. 1 and 3 mean endless amounts of clean fuels. Conclusion: start making carriers for the transportation of hydrogen, nitrogen and pressed air and start making -big- motors running on these gasses. Even when we loose 99.9% during conversion and transportation, we still have endlessly amounts hydrogen, nitrogen and pressed air at home to use.
Elk tijdperk heeft bij monde van gebieden, continenten, landen en / of samenlevingen, met de hoogste graad van beschaving, zo zijn belangrijkste invloeden uitgeoefend op de stand van de techniek, wetenschap, politiek, economie, milieu en de algehele gezondheid.
Nederland is heden geen onbelangrijke pion in de wereld. Wij zijn tolerant, inventief, ijverig, moraliserend, democratisch en in veel opzichten een lichtend voorbeeld voor de wereld. Al heel vroeg werd belasting geld gebruikt voor de aanleg van riolering voor de arme bevolking. We zagen in dat we zo besmettelijke ziekten konden voorkomen -mn de pest-.
De brug: De wereld is ziek.
De vraag: Wat kan Nederland daar aan doen?
Allereerst is het -volgens mij, een Delfts civiel ingenieur- zaak om de graden van de problemen op een rij te zetten en om vervolgens de problemen via onderlinge koppelingen op te lossen. Of, in wetenschappelijke termen, om eerst de problemen te integreren, om daarna de opgestelde vergelijkingen via differentiëren op te lossen.
Wat mij betreft zijn de belangrijkste problemen -in arbitraire volgorde-:
1: global warming, zeespiegelrijzing
2: honger
3: oorlog, wapenwedloop
4: uitsterving van flora -, en fauna, soorten
5: overbevissing
5: vervuiling, uitstoot van bv de staalindustrie, elektriciteitcentrales, verkeer, vliegtuigen et cetera
6: kap van de regenwouden
7: ziekten
8: economische crises
9: inflatie
10: sociale onzekerheden
11: energie vraagstuk
12: oneerlijke inkomsten verdeling, ofwel verschil tussen arm rijk.
13: uitputting grondstoffen en fossiele brandstoffen.
Ik ga nu natuurlijk vals spelen, omdat ik naar het antwoord toe werk.
Technisch bezien kan een oorlog worden voorkomen als we ipv van verschillen, naar overeenkomsten zoeken. Die overeenkomst is de toekomst voor onze nakomelingen. Voor een toekomst is een schone wereld nodig. Dit is ongeveer zoals het aanleggen van riolering door de rijken voor de armen. Nederland kan dus met een alternatief komen voor kernenergie, kolen -, en gas gestookte, elektriciteitcentrales. -Het is bekend dat via kernenergie het maar een heel kleine stap is naar een kernbom.-
Ook vervuiling kan worden tegen gegaan als er een alternatief voorhanden is voor fossiele brandstoffen. Daarmee wordt gelijk global warming tegen gegaan. Als er een onuitputtelijke schone energiebron is, dan kan er schoon water worden gemaakt en daarmee kan het voedsel probleem worden opgelost: via irrigatie. Tevens kan er met eindeloze hoeveelheden schone energie feitelijk eindeloze hoeveelheden water worden gezuiverd, en dit water kan worden verpompt naar waar ook ter wereld. Met eindeloze schone energie komt de olie vrij als bouwmateriaal. We kunnen bv auto's maken uit olie, en als we dat doen komt er op zijn beurt weer staal vrij. We kunnen nu kiezen: of we gebruiken dat staal, of we knijpen de staalproductie af, om zo de vervuiling terug te dringen. Economisch bezien is afknijpen van de staalindustrie niet mogelijk binnen afzienbare tijd, zodat we het vrij gekomen staal kunnen gebruiken voor pijpleidingen om water naar afgelegen plekken te verpompen. Met schoon water en pijpleidingen kunnen we rivieren, meren en zelfs zeeën schoon spoelen en afgelegen plekken irrigeren. We kunnen zelfs oases maken in het Midden Oosten en in de Sahara. We kunnen dus de woestijnen omtoveren tot bossen. Als er overvloedige hoeveelheden voedsel zijn, is de drang naar oorlog afgenomen. De regenwouden kunnen blijven staan, omdat koeien ergens anders kunnen grazen, soja bonen ergens anders kunnen groeien en omdat we, daar waar vroeger hardhout werd gebruikt, nu olie producten kunnen toepassen.
De basis behoeften zijn water, voedsel en bescherming tegen de elementen. Geld wordt steeds onbelangrijker, als iedereen een mate van welstand kan veroorloven. Iedereen ter wereld een uit plastic gemaakte auto, die rijden op geperste lucht, waterstof of stikstof en iedereen een voldoende voedsel leidt tot ontspanning in de visserij en de illegale jacht.
De sleutel is, energie.
James Watt veranderde de wereld omdat hij op elk moment bruikbare / hanteerbare energie kon maken. Wat volgde was industriële revolutie. Dit leidde tot global warming, hetgeen op zijn beurt leidde tot meer wind, en meer zon. Er is dus in de afgelopen twee honderd jaar energie bijgemaakt! Zowel aan de basis, als aan het voorlopige einde van de industriële wereld, en dusaan de wereld economie -welke draait om "on demand"- staat dus afroepbare energie.
Nu neem ik U denkbeeldig mee in een space shuttle, en we bekijken samen objectief naar de aanwezige energie -wind en zon- op aarde. We zien dan dat de wind zich voornamelijk voordoet nabij de arctische polen en de zon nabij de evenaar. Ik heb een sommetje uitgewerkt: per week is er is genoeg wind, zelfs met transport -, en conversie verliezen, van te samen 99%, op aarde om de wereld te voorzien van energie.
We gaan nu naar het strand op een stormachtige dag. De windmolens staan stil, want het waait te hard, en op zee is er geen zeilboot meer te zien. Toch zien we zeiltjes. Windsurfers en kitesurfers. Schijnbaar zonder enige moeite hanteren zij de stormachtige wind.
Laten we eens hypothetisch voorstellen dat er een paar honderd miljard windsurfers nabij de arctische polen windsurfen, waarbij iedere windsurfer een schoefje / propellertje door het water sleept. Dit schroefje / propellertje drijft vervolgens een as aan. Deze as drijft een turbine aan en de turbine maakt elektriciteit. Aan boord is een klein waterstof reactortje, en die zet zeewater om in waterstof. De waterstof wordt in de plank gepompt. Aan de kant wordt de waterstof overgepomt naar een tanker en die brengt de waterstof naar huis.
In werkelijkheid is het de formule die belangrijk is, en niet de windsurfers zelf. Als er kleine windsurfers bestaan, dan bestaan er ook grotere broers. Toen de gebroeders Wright bewezen dat ze konden vliegen met een klein vliegtuigje, hield dat in dat er gevlogen kon worden. Windsurfers laten zien dat er van harde, tot stormachtige, wind gebruik kan worden gemaakt. Het is voor ons zaak dat de politiek besluit om de technische universtieten opdracht te geven om gemechaniseerde windsurfers, ofwel windsurfrobots, te maken / ontwikkelen.
De formule van windsurfen en kitesurfen; de composities zijn stabiel, zodat het kapseizende moment weg is.
Technisch: eerst moet er stabiliteit komen. Als voorbeeld volgt eerste klas-werk voor alle bouwkundigen: piramides zijn stabiel, ze konden zo groot worden omdat de centrale toren omringd werd door de rest van de piramide. Later volgden rankere composities. De gotische kerken werden niet voor niets luchtkastelen genoemd.
Windmolens en zeilboten zoals we die al eeuwen kennen zijn niet stabiel.
De windsurf formule is de volgende stap in het windgebruik, omdat nu ook stormachtige wind kan worden gebruikt.
Daarom vraag ik u, neem notitie van de windsurf formule om zo de harde wind nabij de polen te kunnen benutten.
Om dat te doen is er vrede nodig. De arctisch zones zijn van iedereen en van niemand.
Laten we eens zeggen dat ze van ons allemaal zijn en dat het plaatsen van speciale nieuwe turbo windmolens en het laten varen van spailboaten mag.
Dan hebben we onze onuitputtelijke energie bron.
En dan, welk ander land, dan Nederland, is nu het kennisland en kan nu het beste met de wind omgaan?
Laten we dus, net zoals we vroeger het riool aanlegden, nu de windsurfboten en de turbo windmolens ontwikkelen en bouwen, om zo de global warming, ziekten, honger, vervuiling, economische crises, oorlogsdreiging, overbevissing, houtkap, uitputting van de grondstoffen, uitsterving van dier -, en planten, soorten te stoppen.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
There have been several instances of pairs of AL6s on daytime GEML Freightliner services in the past couple of weeks as a result of traumas to the class 90 fleet. The weather has been consistently rubbish though, so some unexpected sunshine saw me head towards Ipswich this morning. Although if I am honest this was actually for the pair of GB sheds on 4L02, which was a rather higher priority. The 86s did make for an excellent Brucie bonus though.
An even bigger bonus was my location. It was clouding up from the north and west when I left Colchester and the cloud duly reached Belstead around 45 minutes later, blown in by a stiff wind. The edge of the cloud however ran just below the sun so I only lost the sun once on a GA 90. It would have been a completely different story at Bentley though!
Prison Graz Jakomini
The prison Graz-Jakomini is organized as a management authority of first instance and satisfies the second largest court prison in Austria tasks as detention and correctional institution with jurisdiction over the district of the Provincial Criminal Court of Graz, that is the area of Greater Graz and the political districts of Graz-Umgebung, Weiz, Hartberg, Fürstenfeld , Feldbach, Radkersburg, Leibnitz, Deutschlandsberg, Voitsberg (Eastern, Southern and Western Styria).
Even at the time of the establishment of the Provincial Criminal Court of Graz with its to Conrad of Hötzendorfstraße directed late historical-old German front in the years 1890 to 1895 was grown in a prison structural organization of the headquarters building at the south and east.
The main institution of the prison is located in the Conrad Hötzendorfstraße number 43 in a residential area of the VI. Graz Municipality within the streets Steyrergasse, Klosterwiesgasse, Jakominigürtel and Conrad von Hötzendorfstraße and is accessible via the exit Graz East to the A2-Motorway. The Institute site is bounded by a total of approximately 450 m long enclosure and has approximately 10,500 m² with a total built-up area of approximately 26,000 m². The main institution appropriate field office Paulustorgasse is located in the office building of the District Court for criminal cases in the first district 15 Paulustorgasse of Graz.
Essential components of the prison are especially prison cell tracts and branches but also administrative and support facilities such as a particular infirmary, a school, a hospital church, a gym, a library , etc.
Accommodations for passengers are in their own departments for male adults, young adults, in a youth department, a women's section, a parent-child department and the infirmary is available, where the legal punishment in the normal execution, Erstvollzug (first punishment), loosened enforcement, enforcement of negligence offenders dismissal law enforcement, custody, detention enforcement, extradition law enforcement, where appropriate, also apply to enforcement of administrative penalties and administrative penalties extra special financial arrangements regarding accommodation and treatment.
At the prison, including the branch Paulustorgasse a large number of jobs and business enterprises is established (locksmith, electrician, car workshop, painting, paint shop, carpentry, glazing, art industry, shoemaking, tailoring, bookbinding, concrete products/concrete materials, laundry, hospital kitchen, nursery, social room, building maintenance/disposal, operating outside work place), in which about one-third of all inmates (for remand prisoners, in contrast to the regime for prisoners no obligation to work) can be employed.
The farms are after new construction of an operating tract and numerous adaptations functional and contemporary in design and equipped and provide next to valuable employment and vocational training opportunities for inmates in the interests of their reintegration into society after release from prison through their productivity a significant added value for the benefit of the covenant.
Work and education
Interested and suitable inmates at the prison is allowed to fall into one of 12 professions that can be learned in the in-house operations and get educated. Moreover, there is also the possibility for appropriate inmates vocational training outside the hospital or attending training courses or distance learning courses. The necessary vocational school visits are organized internally or externally.
As a special feature in training the prison Graz Jakomini has its own, guided by the center for special education Ellen Key Graz school within the youth department. The aim of this school care on one hand is the reduction of training deficits in compulsory education, on the other hand, promote the general education of young people. In most cases, the affected juvenile inmates actually reach a formal confirmation of school with school success during the period of their detention.
- Forklift license training
- First Aid Courses
Vehicle preparation - especially in the spring and summer - with trained inmates.
Gentle handling of the vehicle, paint and exterior parts by hand wash or manuel polishing. Processing means may also be provided itself .
Be carried out :
- Vehicle outside cleaning, hand wash
- Car Interior Cleaning
- Car handpolish
- Complete Car Cleaning (Exterior & Interior cleaning including polishing)
For more info, prices or appointments on request!
Service telephone: 0316/832 832 ext 25500 , or the Mr. Ms. Gutjahr. Ing Fussi
Services and leisure
Services :
Professional psychologists of the Institute are available to care, treatment and counseling of inmates, with with external care facilities (eg club Green Circle, Association for Probation and social work, psychological centers, drug counseling in Styria, Aids ) technical cooperation is plowed. As specific treatment for inmates of juvenile department has also the supervising employment with animals been very successful.
The advice from inmates in social, family and personal matters will be perceived by four social workers at the prison. To fulfill these tasks are also contacts with external social institutions, especially in the areas of employment and housing, held .
The medical care service of all the inmates of the prison is made by the institution in cooperation with Konsiliarärzten (consultant doctors) of all disciplines and public hospitals. In addition, important information events (eg lectures on AIDS, first aid courses, etc.) will be held in the medical field at regular intervals for the occupants.
Leisure :
- Library with about 7000 Media
- Sports (weight training, volleyball, basketball, gymnastics, etc.)
- Free periods (table tennis, table soccer , etc.)
- Oriental dance and Tiffany work for women
- Ceramic work for the youth
In the non-working time (for prisoners is usually a normal eight-hour working day) are available to inmates recreational rooms, a library, a gym, sports equipment and the like for education, entertainment, sports, games, as well as discussion groups are available, and the common activities designed to promote social behavior through mutual tolerance and acceptance.
Often by inmates in their spare time or in creative workshops for members, for primary schools, kindergartens, etc. or for free sale at Christmas bazaars or other events outside the prison self-made objects cause a significant contribution to mutual understanding between offenders and their families or society.
strafvollzug.justiz.gv.at/einrichtungen/justizanstalten/j...
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
The Nestorian Church is a church in the old town of Famagusta, Cyprus. Originally built as a church belonging to the Church of the East, an ancient Nestorian branch of Eastern Christianity, it was converted to a Greek Orthodox Church in the British era after centuries of use as a stable for camels in the Ottoman era. It is one of the legendary "365 churches of Famagusta".
The church lies in the western areas of the old city of Famagusta within the walls. It lies to the southeast of St. Anne's Church, in the area that was inhabited by Syriacs in the Lusignan era. Opposite the church stands the house built for the priest in the British period.
Chroniclers Leontios Machairas and Diomede Strambaldi wrote that the church had been built by the Lakhas brothers (also known as Lakhanopoulos) in around 1360. These brothers were recorded as two "East Syrian", aka Nestorian merchants, who were known for their immense wealth. The chroniclers pointed out to the architecture and decorations of the building, reminiscent of the Southern French and Italian Gothic churches of the time, hypothesizing that it may have been influenced by King Peter I's visit to Avignon in 1363. This version of the church's history represents the virtual consensus of scholars of medieval Famagusta, though scholar Michele Bacci has postulated a need to revise "name-identification and date of this church" as its architecture is reminiscent of the 12th–13th century Crusader architecture in Palestine and Syria. A historian of medieval Famagusta, Joseph Yacoub, has written that this must be the church mentioned as "Mart Maryam" in a 1581 letter written by the Nestorian Metropolite of Amid.
After the Ottoman capture of the city in the Siege of Famagusta in 1571, the church was converted into a stable for camels, with worship being allowed on only one day of the year, the Feast of "St. George the Exiler", according to the records. In 1905, the British administration handed the church to the Greek Cypriots, who used it as their parish church. This was organized by a man called Michalakis Loizides, who persuaded the British administrators to give permission with the help of some Turkish Cypriot friends and got free wood for doors and windows from contractors in the port of Famagusta. He then got the priest of the nearby village of Kontea to serve at the church. By the 1930s, many frescoes that were observed in 1899 had disappeared, according to Rupert Gunnis. Upon the takeover by the Greek Cypriots, the southern part of the church was repaired. Between 1937 and 1939, the rubble in the northern part was removed and an excavation was carried out; the road to the west was also lowered to its level when the church was built. In 1947, further repairs were carried out. During the intercommunal violence of 1963–64, Greek Cypriots left the fortified old town of Famagusta and the church was used to house Turkish Cypriot refugees until 1974. This may have inflicted further damage upon the frescoes. Since 1989, it has been used by the Eastern Mediterranean University as a cultural centre.
On 19 April 2014, a Great Friday liturgy, the first service in the church since 1956, was carried out by Greek Cypriots. The mass was attended by around 3000 people, including the former President of the Republic of Cyprus, George Vasiliou. As of January 2015, the church was reportedly in disrepair.
The church walls are made of ashlar and the church has three naves and three apses. All three naves have entrances to their west. Originally, the church was built with a single nave and a protruding apse; the other two naves and two minor apses were added at a later date. During this transformation, the eastern and central bays were demolished to be replaced by arcades supported by square pillars. The western bay, according to Bacci, was turned into "a kind of narthex or vestibule". The older façade of the building is plainer, with a round window and a plain portal, while the portal of the southern nave, added later, is adorned with an oeil-de-boeuf and marble mouldings.
The church is home to numerous frescoes dated to the 14th and 15th centuries. Unlike Byzantine Orthodox churches, the frescoes in the Nestorian Church are not part of a unified design, which is characteristic of Nestorian Churches. Many of the frescoes were actually painted in different periods by different artists. The apse may have had a unified design, but this is impossible to uncertain given the level of damage to the frescoes.
The church was, as of June 2013, the only one in Famagusta to have a bell, and one of the best preserved ones in its state from the medieval times due to the lack of use over the centuries
Famagusta is a city on the east coast of the de facto state Northern Cyprus. It is located east of Nicosia and possesses the deepest harbour of the island. During the Middle Ages (especially under the maritime republics of Genoa and Venice), Famagusta was the island's most important port city and a gateway to trade with the ports of the Levant, from where the Silk Road merchants carried their goods to Western Europe. The old walled city and parts of the modern city are de facto part of Northern Cyprus as the capital of the Gazimağusa District.
The city was known as Arsinoe or Arsinoë (Greek: Ἀρσινόη, Arsinóē) in antiquity, after Ptolemy II of Egypt's sister and wife Arsinoe II.
By the 3rd century, the city appears as Ammochostos (Greek: Ἀμμόχωστος or Αμμόχωστος, Ammókhōstos, "Hidden in Sand") in the Stadiasmus Maris Magni.[5] This name is still used in modern Greek with the pronunciation [aˈmːoxostos], while it developed into Latin Fama Augusta, French Famagouste, Italian Famagosta, and English Famagusta during the medieval period. Its informal modern Turkish name Mağusa (Turkish pronunciation: [maˈusa]) came from the same source. Since 1974, it has formally been known to Turkey and Northern Cyprus as Gazimağusa ([ɡaːzimaˈusa]), from the addition of the title gazi, meaning "veteran" or "one who has faught in a holy war".
In the early medieval period, the city was also known as New Justiniana (Greek: Νέα Ἰουστινιανία, Néa Ioustinianía) in appreciation for the patronage of the Byzantine emperor Justinian, whose wife Theodora was born there.
The old town of Famagusta has also been nicknamed "the City of 365 Churches" from the legend that, at its peak, it boasted a church for every day of the year.
The city was founded around 274 BC, after the serious damage to Salamis by an earthquake, by Ptolemy II Philadelphus and named "Arsinoe" after his sister.[6] Arsinoe was described as a "fishing town" by Strabo in his Geographica in the first century BC. In essence, Famagusta was the successor of the most famous and most important ancient city of Cyprus, Salamis. According to Greek mythology, Salamis was founded after the end of the Trojan War by Teucros, the son of Telamon and brother of Aedes, from the Greek island of Salamis.
The city experienced great prosperity much later, during the time of the Byzantine emperor Justinian. To honor the city, from which his wife Theodora came, Justinian enriched it with many buildings, while the inhabitants named it New Justiniania to express their gratitude. In AD 647, when the neighboring cities were destroyed by Arab raiding, the inhabitants of these cities moved to Famagusta, as a result of which the city's population increased significantly and the city experienced another boom.
Later, when Jerusalem was occupied by the Arabs, the Christian population fled to Famagusta, as a result of which the city became an important Christian center, but also one of the most important commercial centers in the eastern Mediterranean.
The turning point for Famagusta was 1192 with the onset of Lusignan rule. It was during this period that Famagusta developed as a fully-fledged town. It increased in importance to the Eastern Mediterranean due to its natural harbour and the walls that protected its inner town. Its population began to increase. This development accelerated in the 13th century as the town became a centre of commerce for both the East and West. An influx of Christian refugees fleeing the downfall of Acre (1291) in Palestine transformed it from a tiny village into one of the richest cities in Christendom.
In 1372 the port was seized by Genoa and in 1489 by Venice. This commercial activity turned Famagusta into a place where merchants and ship owners led lives of luxury. By the mid-14th century, Famagusta was said to have the richest citizens in the world. The belief that people's wealth could be measured by the churches they built inspired these merchants to have churches built in varying styles. These churches, which still exist, were the reason Famagusta came to be known as "the district of churches". The development of the town focused on the social lives of the wealthy people and was centred upon the Lusignan palace, the cathedral, the Square and the harbour.
In 1570–1571, Famagusta was the last stronghold in Venetian Cyprus to hold out against the Turks under Mustafa Pasha. It resisted a siege of thirteen months and a terrible bombardment, until at last the garrison surrendered. The Ottoman forces had lost 50,000 men, including Mustafa Pasha's son. Although the surrender terms had stipulated that the Venetian forces be allowed to return home, the Venetian commander, Marco Antonio Bragadin, was flayed alive, his lieutenant Tiepolo was hanged, and many other Christians were killed.
With the advent of the Ottoman rule, Latins lost their privileged status in Famagusta and were expelled from the city. Greek Cypriots natives were at first allowed to own and buy property in the city, but were banished from the walled city in 1573–74 and had to settle outside in the area that later developed into Varosha. Turkish families from Anatolia were resettled in the walled city but could not fill the buildings that previously hosted a population of 10,000. This caused a drastic decrease in the population of Famagusta. Merchants from Famagusta, who mostly consisted of Latins that had been expelled, resettled in Larnaca and as Larnaca flourished, Famagusta lost its importance as a trade centre. Over time, Varosha developed into a prosperous agricultural town thanks to its location away from the marshes, whilst the walled city remained dilapidated.
In the walled city, some buildings were repurposed to serve the interests of the Muslim population: the Cathedral of St. Nicholas was converted to a mosque (now known as Lala Mustafa Pasha Mosque), a bazaar was developed, public baths, fountains and a theological school were built to accommodate the inhabitants' needs. Dead end streets, an Ottoman urban characteristic, was imported to the city and a communal spirit developed in which a small number of two-storey houses inhabited by the small upper class co-existed with the widespread one-storey houses.
With the British takeover, Famagusta regained its significance as a port and an economic centre and its development was specifically targeted in British plans. As soon as the British took over the island, a Famagusta Development Act was passed that aimed at the reconstruction and redevelopment of the city's streets and dilapidated buildings as well as better hygiene. The port was developed and expanded between 1903 and 1906 and Cyprus Government Railway, with its terminus in Famagusta, started construction in 1904. Whilst Larnaca continued to be used as the main port of the island for some time, after Famagusta's use as a military base in World War I trade significantly shifted to Famagusta. The city outside the walls grew at an accelerated rate, with development being centred around Varosha. Varosha became the administrative centre as the British moved their headquarters and residences there and tourism grew significantly in the last years of the British rule. Pottery and production of citrus and potatoes also significantly grew in the city outside the walls, whilst agriculture within the walled city declined to non-existence.
New residential areas were built to accommodate the increasing population towards the end of the British rule,[11] and by 1960, Famagusta was a modern port city extending far beyond Varosha and the walled city.
The British period saw a significant demographic shift in the city. In 1881, Christians constituted 60% of the city's population while Muslims were at 40%. By 1960, the Turkish Cypriot population had dropped to 17.5% of the overall population, while the Greek Cypriot population had risen to 70%. The city was also the site for one of the British internment camps for nearly 50,000 Jewish survivors of the Holocaust trying to emigrate to Palestine.
From independence in 1960 to the Turkish invasion of Cyprus of 1974, Famagusta developed toward the south west of Varosha as a well-known entertainment and tourist centre. The contribution of Famagusta to the country's economic activity by 1974 far exceeded its proportional dimensions within the country. Whilst its population was only about 7% of the total of the country, Famagusta by 1974 accounted for over 10% of the total industrial employment and production of Cyprus, concentrating mainly on light industry compatible with its activity as a tourist resort and turning out high-quality products ranging from food, beverages and tobacco to clothing, footwear, plastics, light machinery and transport equipment. It contributed 19.3% of the business units and employed 21.3% of the total number of persons engaged in commerce on the island. It acted as the main tourist destination of Cyprus, hosting 31.5% of the hotels and 45% of Cyprus' total bed capacity. Varosha acted as the main touristic and business quarters.
In this period, the urbanisation of Famagusta slowed down and the development of the rural areas accelerated. Therefore, economic growth was shared between the city of Famagusta and the district, which had a balanced agricultural economy, with citrus, potatoes, tobacco and wheat as main products. Famagusta maintained good communications with this hinterland. The city's port remained the island's main seaport and in 1961, it was expanded to double its capacity in order to accommodate the growing volume of exports and imports. The port handled 42.7% of Cypriot exports, 48.6% of imports and 49% of passenger traffic.
There has not been an official census since 1960 but the population of the town in 1974 was estimated to be around 39,000 not counting about 12,000–15,000 persons commuting daily from the surrounding villages and suburbs to work in Famagusta. The number of people staying in the city would swell to about 90,000–100,000 during the peak summer tourist period, with the influx of tourists from numerous European countries, mainly Britain, France, Germany and the Scandinavian countries. The majority of the city population were Greek Cypriots (26,500), with 8,500 Turkish Cypriots and 4,000 people from other ethnic groups.
During the second phase of the Turkish invasion of Cyprus on 14 August 1974 the Mesaoria plain was overrun by Turkish tanks and Famagusta was bombed by Turkish aircraft. It took two days for the Turkish Army to occupy the city, prior to which Famagusta's entire Greek Cypriot population had fled into surrounding fields. As a result of Turkish airstrikes dozens of civilians died, including tourists.
Unlike other parts of the Turkish-controlled areas of Cyprus, the Varosha suburb of Famagusta was fenced off by the Turkish army immediately after being captured and remained fenced off until October 2020, when the TRNC reopened some streets to visitors. Some Greek Cypriots who had fled Varosha have been allowed to view the town and journalists have been allowed in.
UN Security Council resolution 550 (1984) considers any attempts to settle any part of Famagusta by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the UN. The UN's Security Council resolution 789 (1992) also urges that with a view to the implementation of resolution 550 (1984), the area at present under the control of the United Nations Peace-keeping Force in Cyprus be extended to include Varosha.
Famagusta's historic city centre is surrounded by the fortifications of Famagusta, which have a roughly rectangular shape, built mainly by the Venetians in the 15th and 16th centuries, though some sections of the walls have been dated earlier times, as far as 1211.
Some important landmarks and visitor attractions in the old city are:
The Lala Mustafa Pasha Mosque
The Othello Castle
Palazzo del Provveditore - the Venetian palace of the governor, built on the site of the former Lusignan royal palace
St. Francis' Church
Sinan Pasha Mosque
Church of St. George of the Greeks
Church of St. George of the Latins
Twin Churches
Nestorian Church (of St George the Exiler)
Namık Kemal Dungeon
Agios Ioannis Church
Venetian House
Akkule Masjid
Mustafa Pasha Mosque
Ganchvor monastery
In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund listed Famagusta, a "maritime ancient city of crusader kings", among the 12 sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and development pressures.
Famagusta is an important commercial hub of Northern Cyprus. The main economic activities in the city are tourism, education, construction and industrial production. It has a 115-acre free port, which is the most important seaport of Northern Cyprus for travel and commerce. The port is an important source of income and employment for the city, though its volume of trade is restricted by the embargo against Northern Cyprus. Its historical sites, including the walled city, Salamis, the Othello Castle and the St Barnabas Church, as well as the sandy beaches surrounding it make it a tourist attraction; efforts are also underway to make the city more attractive for international congresses. The Eastern Mediterranean University is also an important employer and supplies significant income and activity, as well as opportunities for the construction sector. The university also raises a qualified workforce that stimulates the city's industry and makes communications industry viable. The city has two industrial zones: the Large Industrial Zone and the Little Industrial Zone. The city is also home to a fishing port, but inadequate infrastructure of the port restricts the growth of this sector. The industry in the city has traditionally been concentrated on processing agricultural products.
Historically, the port was the primary source of income and employment for the city, especially right after 1974. However, it gradually lost some of its importance to the economy as the share of its employees in the population of Famagusta diminished due to various reasons. However, it still is the primary port for commerce in Northern Cyprus, with more than half of ships that came to Northern Cyprus in 2013 coming to Famagusta. It is the second most popular seaport for passengers, after Kyrenia, with around 20,000 passengers using the port in 2013.
The mayor-in-exile of Famagusta is Simos Ioannou. Süleyman Uluçay heads the Turkish Cypriot municipal administration of Famagusta, which remains legal as a communal-based body under the constitutional system of the Republic of Cyprus.
Since 1974, Greek Cypriots submitted a number of proposals within the context of bicommunal discussions for the return of Varosha to UN administration, allowing the return of its previous inhabitants, requesting also the opening of Famagusta harbour for use by both communities. Varosha would have been returned to Greek Cypriot control as part of the 2004 Annan Plan but the plan had been rejected by a majority(3/4) of Greek Cypriot voters.
The walled city of Famagusta contains many unique buildings. Famagusta has a walled city popular with tourists.
Every year, the International Famagusta Art and Culture Festival is organized in Famagusta. Concerts, dance shows and theater plays take place during the festival.
A growth in tourism and the city's university have fueled the development of Famagusta's vibrant nightlife. Nightlife in the city is especially active on Wednesday, Friday and Saturday nights and in the hotter months of the year, starting from April. Larger hotels in the city have casinos that cater to their customers. Salamis Road is an area of Famagusta with a heavy concentration of bars frequented by students and locals.
Famagusta's Othello Castle is the setting for Shakespeare's play Othello. The city was also the setting for Victoria Hislop's 2015 novel The Sunrise, and Michael Paraskos's 2016 novel In Search of Sixpence. The city is the birthplace of the eponymous hero of the Renaissance proto-novel Fortunatus.
Famagusta was home to many Greek Cypriot sport teams that left the city because of the Turkish invasion and still bear their original names. Most notable football clubs originally from the city are Anorthosis Famagusta FC and Nea Salamis Famagusta FC, both of the Cypriot First Division, which are now based in Larnaca. Usually Anorthosis Famagusta fans are politically right wing where Nea Salamis fans are left wing.
Famagusta is represented by Mağusa Türk Gücü in the Turkish Cypriot First Division. Dr. Fazıl Küçük Stadium is the largest football stadium in Famagusta. Many Turkish Cypriot sport teams that left Southern Cyprus because of the Cypriot intercommunal violence are based in Famagusta.
Famagusta is represented by DAÜ Sports Club and Magem Sports Club in North Cyprus First Volleyball Division. Gazimağusa Türk Maarif Koleji represents Famagusta in the North Cyprus High School Volleyball League.
Famagusta has a modern volleyball stadium called the Mağusa Arena.
The Eastern Mediterranean University was founded in the city in 1979. The Istanbul Technical University founded a campus in the city in 2010.
The Cyprus College of Art was founded in Famagusta by the Cypriot artist Stass Paraskos in 1969, before moving to Paphos in 1972 after protests from local hoteliers that the presence of art students in the city was putting off holidaymakers.
Famagusta has three general hospitals. Gazimağusa Devlet Hastahanesi, a state hospital, is the biggest hospital in city. Gazimağusa Tıp Merkezi and Gazimağusa Yaşam Hastahanesi are private hospitals.
Personalities
Saint Barnabas, born and died in Salamis, Famagusta
Chris Achilleos, illustrator of the book versions on the BBC children's series Doctor Who
Beran Bertuğ, former Governor of Famagusta, first Cypriot woman to hold this position
Marios Constantinou, former international Cypriot football midfielder and current manager.
Eleftheria Eleftheriou, Cypriot singer.
Derviş Eroğlu, former President of Northern Cyprus
Alexis Galanos, 7th President of the House of Representatives and Famagusta mayor-in-exile (2006-2019) (Republic of Cyprus)
Xanthos Hadjisoteriou, Cypriot painter
Oz Karahan, political activist, President of the Union of Cypriots
Oktay Kayalp, former Turkish Cypriot Famagusta mayor (Northern Cyprus)
Harry Luke British diplomat
Angelos Misos, former international footballer
Costas Montis was an influential and prolific Greek Cypriot poet, novelist, and playwright born in Famagusta.
Hal Ozsan, actor (Dawson's Creek, Kyle XY)
Dimitris Papadakis, a Greek Cypriot politician, who served as a Member of the European Parliament.
Ṣubḥ-i-Azal, Persian religious leader, lived and died in exile in Famagusta
Touker Suleyman (born Türker Süleyman), British Turkish Cypriot fashion retail entrepreneur, investor and reality television personality.
Alexia Vassiliou, singer, left here as a refugee when the town was invaded.
George Vasiliou, former President of Cyprus
Vamik Volkan, Emeritus Professor of Psychiatry
Derviş Zaim, film director
Famagusta is twinned with:
İzmir, Turkey (since 1974)
Corfu, Greece (since 1994)
Patras, Greece (since 1994)
Antalya, Turkey (since 1997)
Salamina (city), Greece (since 1998)
Struga, North Macedonia
Athens, Greece (since 2005)
Mersin, Turkey
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
Some Background:
The Space Defense Robot-04-Mk. XIV Destroid Nimrod was an anti-air/heavy artillery mecha, and intended as a replacement for the SDR-04-Mk. XII Phalanx, a Destroid specifically designed for space operations to defend the SDF-1 Macross, along with its sister unit, the cannon-armed ADR-04-Mk. X Destroid Defender.
The Phalanx had been developed in a hurry under the pressure of the raging war against the Zentraedi and suffered, as a consequence, from several disadvantages. For instance, its combat operation capability decreased substantially once the missile ordnance (a total of forty-four 430mm caliber missiles, half of them ready to fire and the rest held in reserve in internal magazines) had been exhausted. To counter this, a few models were modified in the field, e.g. with additional light Gatling guns mounted within the head unit, as well as other variations, but most Phalanx’ remained basically bipedal heavy missile launchers. A sub-variant with improved sensors and missile guidance systems, as well as the ability to deploy the new reflex missiles, the Phalanx Mk. XIII, was also built, but only in small numbers, and it could not overcome the flaws of the original design.
The Nimrod was the attempt to mend these shortcomings after initial combat experience with the type. The so-called SDR-04-Mk. XIV utilized the proven MBR-04 ambulatory system and shared a common hip and leg structure with a wide range of other Destroids. Like the Phalanx, the Nimrod’s newly designed upper body was a simple core structure that neglected any silliness for a weapon composition consisting of missiles, radar, and propulsion system, all mounted on the main rotating body which could be detached from the lower torso for maintenance of in case of emergency.
The Nimrod filled the same tactical niche as the Phalanx but was a more sophisticated design with improved capabilities and a – though limited – secondary close-range combat capability. The radar and sensor suites for target acquisition as well as missile guidance were improved, so that the Nimrod became even suited for air space surveillance and as a guidance/coordination unit for other Destroids. Due to this additional workload, the Nimrod’s crew was expanded by a WSO to two in a tandem cockpit.
The armament remained tailored to medium and long range, but there were some improvements. On the Nimrod, the Phalanx’ bulbous drum-shaped missile magazines gave way to more streamlined 540 mm caliber reflex missile containers, which were carried in staggered clusters of four twin-pods on each shoulder, holding a total of 48 missiles with sixteen of them ready to fire and the rest in reserve. This modification reduced weight and frontal area, and in a case of emergency the missile containers could be jettisoned.
In order to improve the Nimrod’s tactical value after its missiles had been deployed, it was furthermore provided with a secondary close-range combat capability in the form of a pair of particle beam guns. These were integrated into the arms, protected by the missile containers, and these reliable weapons could be effectively used against both air as well as ground targets. Thermal smoke dischargers completed the Nimrod’s defensive measures.
Like the Phalanx and other Destroids, the Nimrod was capable of limited space operations due to its vernier thrusters all over the hull. This allowed for units that were stationed on the deck of the SDF-1 to propel themselves back to the battle fortress if they were knocked off.
The Nimrod was, like the Phalanx, first deployed on the SDF-1 and was used to augment the ship's own weapon system to protect the vessel from Zentraedi attacks, even though the type came relatively late and was only used in the final phase of the war and only in limited numbers. After the conflict, production was throttled down (only a total of fifty SDR-04-Mk. XIVs were eventually built), and the surviving Nimrods from the SDF-1 were stationed at airbases in New Macross City and in nearby cities, such as Monument City.
Specifications:
Designation: SDR-04-Mk XIV
Mecha Class: Destroid
Crew: 2 (Pilot, WSO)
Weight: 21.8 tons (dry)
45.5 tons (loaded)
Height: 12.36 m (hull only, incl. radome)
13,50 m (with raised arms)
Breadth: 9,32 m
Depth: 5.0m
Max. walking speed: 72 kph loaded
Armament:
2x weapon clusters in shoulder locations, each with:
- Eight launch tubes for 540mm caliber mid-/long-range missiles (typically with anti-air capacity, artillery
rockets as alternative), with eight missiles ready and another sixteen as reserve (for a total of 48)
- One Mauler PBG-06 liquid-cooled electrically-charged twin particle beam gun
- Three thermal smoke dischargers
The kit and its assembly:
This is a fictional Macross Destroid, with a highly modified Imai Phalanx kit at its core. It depicts a potential successor for the missile-only-armed Phalanx, but it has been totally made up. Inspiration came when I recently procured a bunch of Kotobukiya’s MSG sets for mecha conversions – one of these sets included the quadruple missile launchers that now make up the Nimrod’s new “arms”. I was torn between using a Defender or a Phalanx as conversion basis, but due to the weapon pods’ bulkiness I went for the more massive Phalanx.
Beyond the MSG parts and the replacement of the Phalanx “missile drums”, there was initially no real plan for the conversion – things evolved gradually, depending on the donor parts at hand. However, several fundamental changes were made. The most important improvement measure that works for all Destroid kits with the “04” chassis is the integration of a completely now hip joint arrangement. OOB, the model's posture is pretty stiff, with the legs and feet facing straight forward. The model is just supposed to stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Imai kit is from the 1st generation of mecha kits, without vinyl caps and just relying on a very tight joint fit for hold.
My proven solution: the implantation of a new hip “bone” made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. Inside of the pelvis, the W-shaped wire was attached with the help of sprue material and styrene profiles, a thorough fixation is necessary because a lot of load has to be held in place in a very small space.
In order to attach the legs to the wire, there’s a convenient trick: the receptor holes in the thighs were simply filled with small vinyl rings, standard material from other mecha kits (e.g. from Arii’s 1:100 VF-1 Battroids or the Gunze Sangyo/Aoshima Dorvack PAs), the rings’ outer AND inner diameter fit perfectly into the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the large feet and their joints of the “04” Destroid chassis. This tuning measure improves the model considerably. The legs were otherwise taken OOB, just some small styrene bits were added to the lower legs’ front sides (improving another small detail flaw of the model), and some openings on the lower legs’ rear side were filled with putty and styrene sheet. Furthermore, the open insides of the “heels” were filled with putty, too.
In order to integrate the new missile bins, suitable adapters for the shoulder had to be found. Being somewhat lazy and trying to use as many parts from the Phalanx kit as possible, I decided to integrate a styrene tube all through the upper body, so that I got better attachment points. This tube was extended so far that I could re-use the Phalanx’ blast exhausts from the original missile bins as shoulder joint covers. This looks very natural and these re-dedicated parts fit well over the implanted central styrene tube channel as well as into the channel that runs along the MSG missile containers’ inner side. In order to attach the new arms/containers, a smaller diameter styrene tube was glued into these channels, so that the new pods could be moved vertically.
As a weapon improvement over the Phalanx, a pair of particle beam guns was added to the new missile containers – they come originally from a Dorvack PA-36K “Berlon” kit, but they were tailored considerably in order to fit into their new position. They also help to hide the new shoulder joint, which was covered from above with parts from the Phalanx kit (the boxed that are normally attached to the upper legs) and the space between them with paper tissue, drenched with white glue. The result is a good visual transition.
The central hull was changed in order to move the look away from the Phalanx base. The rear side uses OOB parts, but these were modified and attached to the hull in a different way, so that the back is not as deep as on the Phalanx. The front received a vertical pair of searchlights (formerly return rollers from a 1:35 tank…), set into the breast plate. The cockpit bulge between the shoulders as well as the head unit are completely new. The cockpit cover is a leftover hull piece from a Kotobukiya helicopter drone, and it was moved forward, so that a crew of two is more plausible. The head unit on the elongated spine behind and above it consists primarily of a donor from a wrecked VT-61 “Tulcas” mecha (Dorvack), plus a small dish antenna for a tracking radar on the right (left over from a Dorvack PA-36K “Berlon” kit) and a round radome for target acquisition – scratched from main wheels of a Matchbox PB2Y and set upon a mount made from styrene profiles. Looks strange, esp. with that flat, square head unit underneath, but I wanted a unique and different look that sets the Nimrod apart from other canonical Destroid designs. And this certainly worked.
A final word concerning the Phalanx kit itself: like all other Destroids models, this is basically a simple affair and the model goes together well – but expect some PSR on every seam, and there are some improvements possible that IMHO raise the model’s quality. The lack of vinyl caps makes later movement a tricky affair, though, and it is interesting to see that while the “04” chassis Destroids (Phalanx, Tomahawk and Defender) share the same lower body, all three kits are different! As a positive trait concerning the finish, the Phalanx is also the only kit of this trio that comes with decals for the typical white trim on the lower legs of these Destroids.
Painting and markings:
Once more I wanted to stay true to the original look of a typical Macross Destroid from the “04” series. These tend to carry a uniform livery in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else is rare (I am aware of dark blue Phalanx’ on board of the SDF-1), and complex camouflage patterns are AFAIK not seen (probably a tribute to the TV series’ cel production). In consequence, I gave the Nimrod an overall livery in a rather unidentifiable brownish tone, namely RAL 7008 (Khakigrau), a tone that was carried by German WWII Afrikakorps tanks and very similar to the tone IDF vehicles like the Merkava typically carry nowadays. Since I only had this tone in a rattle can available, the model and its components were painted accordingly, with an additional hushed spray over the upper surfaces with a slightly lighter tone as a shading measure. After this basic painting, the parts received a washing with thinned black ink.
Decals mostly come from the OOB sheet, plus some extra stencils, including the "nose art" painted on the left leg (from a P-38); many Destroids and also Armored Valkyries seem to bear such markings. Gives the mecha a personal touch, though.
Finally, before everything was assembled, the kit received a dry-brushing treatment with light grey and an overall coat with matt acrylic varnish. As a final step, mineral pigments were dusted over the model, esp. around the feet and the lower areas of the mecha.
A rather straightforward conversion project that gradually evolved – but with a postive outcome, after some twists and turns. The fictional Destroid Nimrod turned out more believable than expected, thanks to the good donor parts that went into it, and the simple livery also adds to the design’s “realism” within the Macross universe. Even though the thing still looks odd – but not worse than the other canonical Destroids from the original TV series!
Kamera: Nikon FM
Film: Fuji S 200
Kjemi: C41 photo store developed
Very often you will find that alot of documentaries on Israel and Palestine have been suppressed in some way or another. For instance, when Al Jazeera produced their undercover investigative documentary ‘The Lobby’ (2017) about the Israeli lobby in the UK and in the USA - this series was prevented from being aired at all in the USA. But if there is someone who really should see this series, it is the Americans. And of course anyone living in the UK, France, Germany and the rest of Europe.
But the reason why particularly Americans should see this series is because of the way American society seems to be an eternal election campaign driven by and dependent on money. Money that Israeli lobbyists provide. Money that makes USA support Israel no matter what. US money provided to Israel which they in turn use to buy even more US politicians and people in power. A huge corruption and money-laundering scheme, perpetuating the existence of an apartheid state and enabling their horrific genocide and ethnic cleansing of millions of Palestinians. "We the People". Right.
So just ask yourself - how is it even possible and allowed that a foreign state can be exercising so much influence over and inside your own country? If Russia or China was doing something similar - would there not be any counter-measures? Here is ´The Lobby’:
The Lobby - USA: Episode 1 - The Covert War (2017)
The Lobby - USA: Episode 2 - Managing Elites (2017)
The Lobby - USA: Episode 3 - The Witch Hunt (2017)
The Lobby - USA: Episode 4 - Marketing Occupation (2017)
The next two documentaries I would like to direct your attention towards are both very damning documentaries on the fanatical illegal settlers that operate within the occupied territories.
As a background you should know that the occupation started in 1967, and immediately extreme religious zionists started driving away arabs from within their own land. The settlers were 10,000 in numbers by 1972, by 1993 they numbered 270,000, by 2005 they numbered 425,000; in 2018 they were 645,000 and today (2023) they are more than 750,000!
The most influential of these fanatical settlers was, and still is, the american-born extremist militant ‘rabbi’ Meir Kahane (1932-1990); the founder of the terrorist Kach party who set up shop in Israel in the 1970´s and whose racist ideology, kahanism, is rampant in Israeli society today.
As the settlements have grown, so have their influence on Israeli society. Today, these people are even in government - and two of the many, many settler ministers in Israel´s government are settlers themselves from Hebron - the center of kahanism. Both the Minister of Security (!) Itamar Ben-Gvir (b. 1976) and the Minister of Settlements (!) Orit Strook (b. 1960) are from this extremist hub in Hebron, where Meir Kahane used to live.
The two documentaries in question are PBS Frontline´s ‘Israel´s Next War?’ (2005) and Micha Peled´s ‘Inside God´s Bunker’ from 1994. The PBS Frontline documentary is available on YouTube, but you will have to log in to see it. A transcript of the program is available over at pbs.org.
PBS Frontline: Israel´s Next War? (2005) [YouTube]
PBS Frontline: Israel´s Next War? (2005) [Transcript]
The other documentary - which is a must watch - is called ‘Inside God´s Bunker’. Here, Micha Peled documented the extremist settler society of Hebron at a crucial point in time - right before and right after the Cave of the Patriarchs massacre in 1994, perpetrated by the american-born extremist and mass-murderer Baruch Goldstein (1956-1994). Baruch Goldstein is highly venerated by the religious zionist settler fanatics even today; the Hero of influential kahanist politicians like Baruch Marzel (b. 1959) and former Knesset member Michael Ben-Ari (b. 1963). The current Minister of Security Itamar Ben-Gvir, himself an extremist settler from Hebron, for a long time displayed Goldstein´s portrait in his living room. I have not been able to find a full version of Peled´s documentary anywhere online, but there are some excerpts available on YouTube:
Micha Peled: Inside God´s Bunker (1994) [extracts]
At the end of this excerpt you will hear the hateful jewish extremist settler children, who must now be married adult men in their 40s with up to 10-12 children each; brought up just like themselves, cheerfully singing:
All the World hates the Arabs
And the main thing is to kill them one by one
With these feet I stepped on my enemy
With these teeth I bit his skin
With these lips I sucked his blood
And I still haven´t had enough revenge
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
n the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
Some Background:
The Space Defense Robot-04-Mk. XIV Destroid Nimrod was an anti-air/heavy artillery mecha, and intended as a replacement for the SDR-04-Mk. XII Phalanx, a Destroid specifically designed for space operations to defend the SDF-1 Macross, along with its sister unit, the cannon-armed ADR-04-Mk. X Destroid Defender.
The Phalanx had been developed in a hurry under the pressure of the raging war against the Zentraedi and suffered, as a consequence, from several disadvantages. For instance, its combat operation capability decreased substantially once the missile ordnance (a total of forty-four 430mm caliber missiles, half of them ready to fire and the rest held in reserve in internal magazines) had been exhausted. To counter this, a few models were modified in the field, e.g. with additional light Gatling guns mounted within the head unit, as well as other variations, but most Phalanx’ remained basically bipedal heavy missile launchers. A sub-variant with improved sensors and missile guidance systems, as well as the ability to deploy the new reflex missiles, the Phalanx Mk. XIII, was also built, but only in small numbers, and it could not overcome the flaws of the original design.
The Nimrod was the attempt to mend these shortcomings after initial combat experience with the type. The so-called SDR-04-Mk. XIV utilized the proven MBR-04 ambulatory system and shared a common hip and leg structure with a wide range of other Destroids. Like the Phalanx, the Nimrod’s newly designed upper body was a simple core structure that neglected any silliness for a weapon composition consisting of missiles, radar, and propulsion system, all mounted on the main rotating body which could be detached from the lower torso for maintenance of in case of emergency.
The Nimrod filled the same tactical niche as the Phalanx but was a more sophisticated design with improved capabilities and a – though limited – secondary close-range combat capability. The radar and sensor suites for target acquisition as well as missile guidance were improved, so that the Nimrod became even suited for air space surveillance and as a guidance/coordination unit for other Destroids. Due to this additional workload, the Nimrod’s crew was expanded by a WSO to two in a tandem cockpit.
The armament remained tailored to medium and long range, but there were some improvements. On the Nimrod, the Phalanx’ bulbous drum-shaped missile magazines gave way to more streamlined 540 mm caliber reflex missile containers, which were carried in staggered clusters of four twin-pods on each shoulder, holding a total of 48 missiles with sixteen of them ready to fire and the rest in reserve. This modification reduced weight and frontal area, and in a case of emergency the missile containers could be jettisoned.
In order to improve the Nimrod’s tactical value after its missiles had been deployed, it was furthermore provided with a secondary close-range combat capability in the form of a pair of particle beam guns. These were integrated into the arms, protected by the missile containers, and these reliable weapons could be effectively used against both air as well as ground targets. Thermal smoke dischargers completed the Nimrod’s defensive measures.
Like the Phalanx and other Destroids, the Nimrod was capable of limited space operations due to its vernier thrusters all over the hull. This allowed for units that were stationed on the deck of the SDF-1 to propel themselves back to the battle fortress if they were knocked off.
The Nimrod was, like the Phalanx, first deployed on the SDF-1 and was used to augment the ship's own weapon system to protect the vessel from Zentraedi attacks, even though the type came relatively late and was only used in the final phase of the war and only in limited numbers. After the conflict, production was throttled down (only a total of fifty SDR-04-Mk. XIVs were eventually built), and the surviving Nimrods from the SDF-1 were stationed at airbases in New Macross City and in nearby cities, such as Monument City.
Specifications:
Designation: SDR-04-Mk XIV
Mecha Class: Destroid
Crew: 2 (Pilot, WSO)
Weight: 21.8 tons (dry)
45.5 tons (loaded)
Height: 12.36 m (hull only, incl. radome)
13,50 m (with raised arms)
Breadth: 9,32 m
Depth: 5.0m
Max. walking speed: 72 kph loaded
Armament:
2x weapon clusters in shoulder locations, each with:
- Eight launch tubes for 540mm caliber mid-/long-range missiles (typically with anti-air capacity, artillery
rockets as alternative), with eight missiles ready and another sixteen as reserve (for a total of 48)
- One Mauler PBG-06 liquid-cooled electrically-charged twin particle beam gun
- Three thermal smoke dischargers
The kit and its assembly:
This is a fictional Macross Destroid, with a highly modified Imai Phalanx kit at its core. It depicts a potential successor for the missile-only-armed Phalanx, but it has been totally made up. Inspiration came when I recently procured a bunch of Kotobukiya’s MSG sets for mecha conversions – one of these sets included the quadruple missile launchers that now make up the Nimrod’s new “arms”. I was torn between using a Defender or a Phalanx as conversion basis, but due to the weapon pods’ bulkiness I went for the more massive Phalanx.
Beyond the MSG parts and the replacement of the Phalanx “missile drums”, there was initially no real plan for the conversion – things evolved gradually, depending on the donor parts at hand. However, several fundamental changes were made. The most important improvement measure that works for all Destroid kits with the “04” chassis is the integration of a completely now hip joint arrangement. OOB, the model's posture is pretty stiff, with the legs and feet facing straight forward. The model is just supposed to stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Imai kit is from the 1st generation of mecha kits, without vinyl caps and just relying on a very tight joint fit for hold.
My proven solution: the implantation of a new hip “bone” made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. Inside of the pelvis, the W-shaped wire was attached with the help of sprue material and styrene profiles, a thorough fixation is necessary because a lot of load has to be held in place in a very small space.
In order to attach the legs to the wire, there’s a convenient trick: the receptor holes in the thighs were simply filled with small vinyl rings, standard material from other mecha kits (e.g. from Arii’s 1:100 VF-1 Battroids or the Gunze Sangyo/Aoshima Dorvack PAs), the rings’ outer AND inner diameter fit perfectly into the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the large feet and their joints of the “04” Destroid chassis. This tuning measure improves the model considerably. The legs were otherwise taken OOB, just some small styrene bits were added to the lower legs’ front sides (improving another small detail flaw of the model), and some openings on the lower legs’ rear side were filled with putty and styrene sheet. Furthermore, the open insides of the “heels” were filled with putty, too.
In order to integrate the new missile bins, suitable adapters for the shoulder had to be found. Being somewhat lazy and trying to use as many parts from the Phalanx kit as possible, I decided to integrate a styrene tube all through the upper body, so that I got better attachment points. This tube was extended so far that I could re-use the Phalanx’ blast exhausts from the original missile bins as shoulder joint covers. This looks very natural and these re-dedicated parts fit well over the implanted central styrene tube channel as well as into the channel that runs along the MSG missile containers’ inner side. In order to attach the new arms/containers, a smaller diameter styrene tube was glued into these channels, so that the new pods could be moved vertically.
As a weapon improvement over the Phalanx, a pair of particle beam guns was added to the new missile containers – they come originally from a Dorvack PA-36K “Berlon” kit, but they were tailored considerably in order to fit into their new position. They also help to hide the new shoulder joint, which was covered from above with parts from the Phalanx kit (the boxed that are normally attached to the upper legs) and the space between them with paper tissue, drenched with white glue. The result is a good visual transition.
The central hull was changed in order to move the look away from the Phalanx base. The rear side uses OOB parts, but these were modified and attached to the hull in a different way, so that the back is not as deep as on the Phalanx. The front received a vertical pair of searchlights (formerly return rollers from a 1:35 tank…), set into the breast plate. The cockpit bulge between the shoulders as well as the head unit are completely new. The cockpit cover is a leftover hull piece from a Kotobukiya helicopter drone, and it was moved forward, so that a crew of two is more plausible. The head unit on the elongated spine behind and above it consists primarily of a donor from a wrecked VT-61 “Tulcas” mecha (Dorvack), plus a small dish antenna for a tracking radar on the right (left over from a Dorvack PA-36K “Berlon” kit) and a round radome for target acquisition – scratched from main wheels of a Matchbox PB2Y and set upon a mount made from styrene profiles. Looks strange, esp. with that flat, square head unit underneath, but I wanted a unique and different look that sets the Nimrod apart from other canonical Destroid designs. And this certainly worked.
A final word concerning the Phalanx kit itself: like all other Destroids models, this is basically a simple affair and the model goes together well – but expect some PSR on every seam, and there are some improvements possible that IMHO raise the model’s quality. The lack of vinyl caps makes later movement a tricky affair, though, and it is interesting to see that while the “04” chassis Destroids (Phalanx, Tomahawk and Defender) share the same lower body, all three kits are different! As a positive trait concerning the finish, the Phalanx is also the only kit of this trio that comes with decals for the typical white trim on the lower legs of these Destroids.
Painting and markings:
Once more I wanted to stay true to the original look of a typical Macross Destroid from the “04” series. These tend to carry a uniform livery in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else is rare (I am aware of dark blue Phalanx’ on board of the SDF-1), and complex camouflage patterns are AFAIK not seen (probably a tribute to the TV series’ cel production). In consequence, I gave the Nimrod an overall livery in a rather unidentifiable brownish tone, namely RAL 7008 (Khakigrau), a tone that was carried by German WWII Afrikakorps tanks and very similar to the tone IDF vehicles like the Merkava typically carry nowadays. Since I only had this tone in a rattle can available, the model and its components were painted accordingly, with an additional hushed spray over the upper surfaces with a slightly lighter tone as a shading measure. After this basic painting, the parts received a washing with thinned black ink.
Decals mostly come from the OOB sheet, plus some extra stencils, including the "nose art" painted on the left leg (from a P-38); many Destroids and also Armored Valkyries seem to bear such markings. Gives the mecha a personal touch, though.
Finally, before everything was assembled, the kit received a dry-brushing treatment with light grey and an overall coat with matt acrylic varnish. As a final step, mineral pigments were dusted over the model, esp. around the feet and the lower areas of the mecha.
A rather straightforward conversion project that gradually evolved – but with a postive outcome, after some twists and turns. The fictional Destroid Nimrod turned out more believable than expected, thanks to the good donor parts that went into it, and the simple livery also adds to the design’s “realism” within the Macross universe. Even though the thing still looks odd – but not worse than the other canonical Destroids from the original TV series!
I crossed Blackburn Fork Creek carefully, in boots, so as to not get them wet. From close to the rim of the waterfall, I looked into the canyon and was shocked by how different it was.
What was once a valley covered in vegetation, was now stripped bare; bedrock exposed on all sides, huge boulders displaced, slabs of concrete from a destroyed bridge (about a quarter-mile upstream) now well below the falls, trees far up the sides of the valley were stripped of bark on their upstream side, NO HUMAN TRASH.
Standing in the valley it was obvious how violent the event was that had just created this scar across the land. But it's a natural event, having occurred millions, perhaps billions of times throughout Earth's history. We just don't live long enough to appreciate geologic time scales.
I seek these moments in which time or events reduce me to something small. It is, I feel, our proper place in the universe. Not that we're unimportant, but we're certainly small, physically and temporally. To catch just a glimpse of the large picture is a truly inspiring place to be.
Maybe that's why I like to put together huge pictures. There's so much to see, and I want to catch all of it. I encourage you to view this photo large and explore. Currently you're zoomed out of the photo by about 15 times. That means there's 15 times the detail if you were so inclined to look.
This is a matrix consisting of eleven HDRs which each consist of 5 exposures (+4/-4). The top panorama was 6 HDRs bracketed from a base exposure of 1/20s and the bottom 5 HDRs form another panorama whose base exposure is 0.5s. All were shot at f-22. Uncompressed this photo is over 200megs and is the largest image I've put together at 105 megapixels. Enjoy!
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
Some Background:
The Space Defense Robot-04-Mk. XIV Destroid Nimrod was an anti-air/heavy artillery mecha, and intended as a replacement for the SDR-04-Mk. XII Phalanx, a Destroid specifically designed for space operations to defend the SDF-1 Macross, along with its sister unit, the cannon-armed ADR-04-Mk. X Destroid Defender.
The Phalanx had been developed in a hurry under the pressure of the raging war against the Zentraedi and suffered, as a consequence, from several disadvantages. For instance, its combat operation capability decreased substantially once the missile ordnance (a total of forty-four 430mm caliber missiles, half of them ready to fire and the rest held in reserve in internal magazines) had been exhausted. To counter this, a few models were modified in the field, e.g. with additional light Gatling guns mounted within the head unit, as well as other variations, but most Phalanx’ remained basically bipedal heavy missile launchers. A sub-variant with improved sensors and missile guidance systems, as well as the ability to deploy the new reflex missiles, the Phalanx Mk. XIII, was also built, but only in small numbers, and it could not overcome the flaws of the original design.
The Nimrod was the attempt to mend these shortcomings after initial combat experience with the type. The so-called SDR-04-Mk. XIV utilized the proven MBR-04 ambulatory system and shared a common hip and leg structure with a wide range of other Destroids. Like the Phalanx, the Nimrod’s newly designed upper body was a simple core structure that neglected any silliness for a weapon composition consisting of missiles, radar, and propulsion system, all mounted on the main rotating body which could be detached from the lower torso for maintenance of in case of emergency.
The Nimrod filled the same tactical niche as the Phalanx but was a more sophisticated design with improved capabilities and a – though limited – secondary close-range combat capability. The radar and sensor suites for target acquisition as well as missile guidance were improved, so that the Nimrod became even suited for air space surveillance and as a guidance/coordination unit for other Destroids. Due to this additional workload, the Nimrod’s crew was expanded by a WSO to two in a tandem cockpit.
The armament remained tailored to medium and long range, but there were some improvements. On the Nimrod, the Phalanx’ bulbous drum-shaped missile magazines gave way to more streamlined 540 mm caliber reflex missile containers, which were carried in staggered clusters of four twin-pods on each shoulder, holding a total of 48 missiles with sixteen of them ready to fire and the rest in reserve. This modification reduced weight and frontal area, and in a case of emergency the missile containers could be jettisoned.
In order to improve the Nimrod’s tactical value after its missiles had been deployed, it was furthermore provided with a secondary close-range combat capability in the form of a pair of particle beam guns. These were integrated into the arms, protected by the missile containers, and these reliable weapons could be effectively used against both air as well as ground targets. Thermal smoke dischargers completed the Nimrod’s defensive measures.
Like the Phalanx and other Destroids, the Nimrod was capable of limited space operations due to its vernier thrusters all over the hull. This allowed for units that were stationed on the deck of the SDF-1 to propel themselves back to the battle fortress if they were knocked off.
The Nimrod was, like the Phalanx, first deployed on the SDF-1 and was used to augment the ship's own weapon system to protect the vessel from Zentraedi attacks, even though the type came relatively late and was only used in the final phase of the war and only in limited numbers. After the conflict, production was throttled down (only a total of fifty SDR-04-Mk. XIVs were eventually built), and the surviving Nimrods from the SDF-1 were stationed at airbases in New Macross City and in nearby cities, such as Monument City.
Specifications:
Designation: SDR-04-Mk XIV
Mecha Class: Destroid
Crew: 2 (Pilot, WSO)
Weight: 21.8 tons (dry)
45.5 tons (loaded)
Height: 12.36 m (hull only, incl. radome)
13,50 m (with raised arms)
Breadth: 9,32 m
Depth: 5.0m
Max. walking speed: 72 kph loaded
Armament:
2x weapon clusters in shoulder locations, each with:
- Eight launch tubes for 540mm caliber mid-/long-range missiles (typically with anti-air capacity, artillery
rockets as alternative), with eight missiles ready and another sixteen as reserve (for a total of 48)
- One Mauler PBG-06 liquid-cooled electrically-charged twin particle beam gun
- Three thermal smoke dischargers
The kit and its assembly:
This is a fictional Macross Destroid, with a highly modified Imai Phalanx kit at its core. It depicts a potential successor for the missile-only-armed Phalanx, but it has been totally made up. Inspiration came when I recently procured a bunch of Kotobukiya’s MSG sets for mecha conversions – one of these sets included the quadruple missile launchers that now make up the Nimrod’s new “arms”. I was torn between using a Defender or a Phalanx as conversion basis, but due to the weapon pods’ bulkiness I went for the more massive Phalanx.
Beyond the MSG parts and the replacement of the Phalanx “missile drums”, there was initially no real plan for the conversion – things evolved gradually, depending on the donor parts at hand. However, several fundamental changes were made. The most important improvement measure that works for all Destroid kits with the “04” chassis is the integration of a completely now hip joint arrangement. OOB, the model's posture is pretty stiff, with the legs and feet facing straight forward. The model is just supposed to stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Imai kit is from the 1st generation of mecha kits, without vinyl caps and just relying on a very tight joint fit for hold.
My proven solution: the implantation of a new hip “bone” made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. Inside of the pelvis, the W-shaped wire was attached with the help of sprue material and styrene profiles, a thorough fixation is necessary because a lot of load has to be held in place in a very small space.
In order to attach the legs to the wire, there’s a convenient trick: the receptor holes in the thighs were simply filled with small vinyl rings, standard material from other mecha kits (e.g. from Arii’s 1:100 VF-1 Battroids or the Gunze Sangyo/Aoshima Dorvack PAs), the rings’ outer AND inner diameter fit perfectly into the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the large feet and their joints of the “04” Destroid chassis. This tuning measure improves the model considerably. The legs were otherwise taken OOB, just some small styrene bits were added to the lower legs’ front sides (improving another small detail flaw of the model), and some openings on the lower legs’ rear side were filled with putty and styrene sheet. Furthermore, the open insides of the “heels” were filled with putty, too.
In order to integrate the new missile bins, suitable adapters for the shoulder had to be found. Being somewhat lazy and trying to use as many parts from the Phalanx kit as possible, I decided to integrate a styrene tube all through the upper body, so that I got better attachment points. This tube was extended so far that I could re-use the Phalanx’ blast exhausts from the original missile bins as shoulder joint covers. This looks very natural and these re-dedicated parts fit well over the implanted central styrene tube channel as well as into the channel that runs along the MSG missile containers’ inner side. In order to attach the new arms/containers, a smaller diameter styrene tube was glued into these channels, so that the new pods could be moved vertically.
As a weapon improvement over the Phalanx, a pair of particle beam guns was added to the new missile containers – they come originally from a Dorvack PA-36K “Berlon” kit, but they were tailored considerably in order to fit into their new position. They also help to hide the new shoulder joint, which was covered from above with parts from the Phalanx kit (the boxed that are normally attached to the upper legs) and the space between them with paper tissue, drenched with white glue. The result is a good visual transition.
The central hull was changed in order to move the look away from the Phalanx base. The rear side uses OOB parts, but these were modified and attached to the hull in a different way, so that the back is not as deep as on the Phalanx. The front received a vertical pair of searchlights (formerly return rollers from a 1:35 tank…), set into the breast plate. The cockpit bulge between the shoulders as well as the head unit are completely new. The cockpit cover is a leftover hull piece from a Kotobukiya helicopter drone, and it was moved forward, so that a crew of two is more plausible. The head unit on the elongated spine behind and above it consists primarily of a donor from a wrecked VT-61 “Tulcas” mecha (Dorvack), plus a small dish antenna for a tracking radar on the right (left over from a Dorvack PA-36K “Berlon” kit) and a round radome for target acquisition – scratched from main wheels of a Matchbox PB2Y and set upon a mount made from styrene profiles. Looks strange, esp. with that flat, square head unit underneath, but I wanted a unique and different look that sets the Nimrod apart from other canonical Destroid designs. And this certainly worked.
A final word concerning the Phalanx kit itself: like all other Destroids models, this is basically a simple affair and the model goes together well – but expect some PSR on every seam, and there are some improvements possible that IMHO raise the model’s quality. The lack of vinyl caps makes later movement a tricky affair, though, and it is interesting to see that while the “04” chassis Destroids (Phalanx, Tomahawk and Defender) share the same lower body, all three kits are different! As a positive trait concerning the finish, the Phalanx is also the only kit of this trio that comes with decals for the typical white trim on the lower legs of these Destroids.
Painting and markings:
Once more I wanted to stay true to the original look of a typical Macross Destroid from the “04” series. These tend to carry a uniform livery in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else is rare (I am aware of dark blue Phalanx’ on board of the SDF-1), and complex camouflage patterns are AFAIK not seen (probably a tribute to the TV series’ cel production). In consequence, I gave the Nimrod an overall livery in a rather unidentifiable brownish tone, namely RAL 7008 (Khakigrau), a tone that was carried by German WWII Afrikakorps tanks and very similar to the tone IDF vehicles like the Merkava typically carry nowadays. Since I only had this tone in a rattle can available, the model and its components were painted accordingly, with an additional hushed spray over the upper surfaces with a slightly lighter tone as a shading measure. After this basic painting, the parts received a washing with thinned black ink.
Decals mostly come from the OOB sheet, plus some extra stencils, including the "nose art" painted on the left leg (from a P-38); many Destroids and also Armored Valkyries seem to bear such markings. Gives the mecha a personal touch, though.
Finally, before everything was assembled, the kit received a dry-brushing treatment with light grey and an overall coat with matt acrylic varnish. As a final step, mineral pigments were dusted over the model, esp. around the feet and the lower areas of the mecha.
A rather straightforward conversion project that gradually evolved – but with a postive outcome, after some twists and turns. The fictional Destroid Nimrod turned out more believable than expected, thanks to the good donor parts that went into it, and the simple livery also adds to the design’s “realism” within the Macross universe. Even though the thing still looks odd – but not worse than the other canonical Destroids from the original TV series!
Corner Park is an instance of of "micro urban planning." City residents fins vacant lots and transforms them into parks for the people. Corner Park is a vacant lot owned by a law firm that no longer operates in Sacramento. Two neighbors installed a park and a few rocks. When we visited the park in March 2007, these hipsters were enjoying the bench, and asked us if we knew anything about whether it was public or not. We then entered a lively conversation about public art and mural-painting.
Trees-on-a-lawn-pictures are common but most of them haven't got the Mississippi River.
-----------------------
In Port Allen, Louisiana, on July 10th, 2014, the Mississippi River as viewed from a levee in River Front Park. There's downtown Baton Rouge.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Baton Rouge (7017543)
• East Baton Rouge (parish (political)) (2000870)
• Mississippi River (7022231)
• Port Allen (2043781)
• West Baton Rouge (parish (political)) (2000914)
Art & Architecture Thesaurus terms:
• barges (flat-bottomed watercraft) (300232674)
• lawns (landscaped grass) (300008889)
• riverfronts (300008343)
• rivers (300008707)
• trees (300132410)
• vines (300132406)
Wikidata items:
• Baton Rouge Metropolitan Statistical Area (Q4869488)
• July 10 (Q2689)
• July 2014 (Q12580527)
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.