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by Remigius Hogenbergh,print,published 1572
Matthew Parker (6 August 1504 – 17 May 1575) was Archbishop of Canterbury from 1559 until his death in 1575. He was also an influential theologian and arguably the co-founder (with Thomas Cranmer and Richard Hooker) of Anglican theological thought.
Parker was one of the primary architects of the Thirty-Nine Articles, the defining statements of Anglican doctrine. The Parker collection of early English manuscripts, including the book of St. Augustine Gospels and Version A of the Anglo-Saxon Chronicle, was created as part of his efforts to demonstrate that the English Church was historically independent from Rome, creating one of the world's most important collections of ancient manuscripts.
The eldest son of William Parker, he was born in Norwich, in St. Saviour's parish. His mother's maiden name was Alice Monins, and she may have been related by marriage to Thomas Cranmer. When William Parker died, in about 1516, his widow married John Baker. Matthew was sent in 1522 to Corpus Christi College, Cambridge,[1] where he is said to have been contemporary with William Cecil, but Cecil was only two years old at the time. Parker graduated BA in 1525, was ordained deacon in April and priest in June 1527, and was elected fellow of Corpus in the following September. He commenced MA in 1528, and was one of the Cambridge scholars whom Thomas Wolsey wished to transplant to his newly founded "Cardinal College" at Oxford.
Parker, like Cranmer, declined the invitation. He had come under the influence of the Cambridge reformers, and after Anne Boleyn's recognition as queen he was made her chaplain. Through her, he was appointed dean of the college of secular canons at Stoke-by-Clare in 1535. Hugh Latimer wrote to him in that year urging him not to fall short of the expectations which had been formed of his ability. In 1537 he was appointed chaplain to King Henry VIII. In 1538 he was threatened with prosecution, but the Bishop of Dover, however, reported to Thomas Cromwell that Parker "hath ever been of a good judgment and set forth the Word of God after a good manner. For this he suffers some grudge." He graduated DD in that year, and in 1541 was appointed to the second prebend in the reconstituted cathedral church of Ely. In 1544, on Henry VIII's recommendation, he was elected master of Corpus Christi College, and in 1545 vice-chancellor of the university. He got into some trouble with the chancellor, Stephen Gardiner, over a ribald play, Pammachius, performed by the students, which derided the old ecclesiastical system.
On the passing of the act of parliament in 1545 enabling the king to dissolve chantries and colleges, Parker was appointed one of the commissioners for Cambridge, and their report may have saved its colleges from destruction. Stoke, however, was dissolved in the following reign, and Parker received a generous pension. He took advantage of the new reign to marry in June, 1547, before clerical marriages had been legalized by parliament and convocation, Margaret, daughter of Robert Harlestone, a Norfolk squire. During Kett's Rebellion, he preached in the rebels' camp on Mousehold Hill, without much effect, and later encouraged his secretary, Alexander Neville, to write his history of the rising.
Parker's association with Protestantism advanced with the times, and he received higher promotion under John Dudley, 1st Duke of Northumberland than under the moderate Edward Seymour, 1st Duke of Somerset. At Cambridge, he was a friend of Martin Bucer and preached Bucer's funeral sermon in 1551. In 1552 he was promoted to the rich deanery of Lincoln, and in July 1553 he supped with Northumberland at Cambridge, when the duke marched north on his hopeless campaign against the accession of Mary Tudor. As a supporter of Northumberland and a married man, under the new regime Parker was deprived of his deanery, his mastership of Corpus Christi, and his other preferments. However, he survived Mary's reign without leaving the country – a fact that probably aggravated more ardent Protestants who went into exile and idealized their fellows who were martyred by Queen Mary. Parker respected authority, and when his time came he could consistently impose authority on others. He was not eager to assume this task, and made great efforts to avoid promotion to the archbishopric of Canterbury, which Elizabeth designed for him as soon as she had succeeded to the throne.
He was elected on 1 August 1559 but, given the turbulence and executions that had preceded Elizabeth's accession, it was difficult to find the requisite four bishops willing and qualified to consecrate Parker, and not until December 19 was that ceremony performed at Lambeth by William Barlow, formerly Bishop of Bath and Wells, John Scory, formerly Bishop of Chichester, Miles Coverdale, formerly Bishop of Exeter, and John Hodgkins, Bishop of Bedford. The allegation of an indecent consecration in the Nag's Head Fable seems first to have been made by the Jesuit, Christopher Holywood, in 1604, and has since been discredited. Parker's consecration was, however, legally valid only by the plentitude of the royal supremacy; the Edwardine Ordinal, which was used, had been repealed by Mary Tudor and not re-enacted by the parliament of 1559. The Roman Catholic Church asserted that the form of consecration used was insufficient to make a bishop, and therefore represented a break in the Apostolic Succession, but the Church of England has rejected this, arguing that the form of words used made no difference to the substance or validity of the act.
Elizabeth wanted a moderate man, so she chose Parker. There was also an emotional attachment. Parker had been the favourite chaplain of Elizabeth's mother, Anne Boleyn. Before Anne was arrested in 1536, she had entrusted Elizabeth's spiritual well-being to Parker. A few days after this, Anne had been executed following charges of adultery, incest and treason. Parker also possessed all the qualifications Elizabeth expected from an archbishop except celibacy. He mistrusted popular enthusiasm, and he wrote in horror of the idea that "the people" should be the reformers of the Church. He was not an inspiring leader, and no dogma, no prayer-book, not even a tract or a hymn is associated with his name. The 56 volumes published by the Parker Society include only one by its eponymous hero, and that is a volume of correspondence. He was a disciplinarian, a scholar, a modest and moderate man of genuine piety and irreproachable morals. His historical research was exemplified in his De antiquitate ecclesiae, and his editions of Asser, Matthew Paris, Thomas Walsingham, and the compiler known as Matthew of Westminster; his liturgical skill was shown in his version of the psalter and in the occasional prayers and thanksgivings which he was called upon to compose. He left a priceless collection of manuscripts, largely collected from former monastic libraries, to his college at Cambridge. The Parker Library at Corpus Christi bears his name and houses his collection.
Parker avoided involvement in secular politics and was never admitted to Elizabeth's privy council. Ecclesiastical politics gave him considerable trouble. Some of the evangelical reformers wanted liturgical changes and at least the option not to wear certain clerical vestments, if not their complete prohibition. Early presbyterians wanted no bishops, and the conservatives opposed all these changes, often preferring to move in the opposite direction toward the practices of the Henrician church. The queen herself begrudged episcopal privilege until she eventually recognised it as one of the chief bulwarks of the royal supremacy. To Parker's consternation, the queen refused to add her imprimatur to his attempts to secure conformity, though she insisted that he achieve this goal. Thus Parker was left to stem the rising tide of Puritan feeling with little support from parliament, convocation or the Crown. The bishops' Interpretations and Further Considerations, issued in 1560, tolerated a lower vestiarian standard than was prescribed by the rubric of 1559, but it fell short of the desires of the anti-vestiarian clergy like Coverdale (one of the bishops who had consecrated Parker) who made a public display of their nonconformity in London.
The Book of Advertisements, which Parker published in 1566, to check the anti-vestiarian faction, had to appear without specific royal sanction; and the Reformatio legum ecclesiasticarum, which John Foxe published with Parker's approval, received neither royal, parliamentary nor synodical authorization. Parliament even contested the claim of the bishops to determine matters of faith. "Surely," said Parker to Peter Wentworth, "you will refer yourselves wholly to us therein." "No, by the faith I bear to God," retorted Wentworth, "we will pass nothing before we understand what it is; for that were but to make you popes. Make you popes who list, for we will make you none." Disputes about vestments had expanded into a controversy over the whole field of Church government and authority, and Parker died on May 17, 1575, lamenting that Puritan ideas of "governance" would "in conclusion undo the queen and all others that depended upon her." By his personal conduct he had set an ideal example for Anglican priests, and it was not his fault that national authority failed to crush the individualistic tendencies of the Protestant Reformation.
From the Monster High Magazine. May/June 2014 Zombie-fied Issue.
SCANNED/EDITED BY ME. DO NOT CLAIM AS YOUR OWN. FREE TO USE WITH CREDIT.
Excerpt from the Toronto Star of August 30, 2009:
As a teenager growing up south of the Junction, Joshua Barndt would wander around and spray graffiti on abandoned walls.
Last month, the 23-year-old returned to the neighbourhood with paint in hand – this time because the city wanted him there.
From July 7 to Aug. 5, Barndt and artist Jamie Bradbury, 27, led a team of five teenaged artists in painting a 122-metre mural along Dupont St. at Dundas St. W. underneath the new West Toronto Railpath for cyclists and pedestrians.
Art Starts, a non-profit organization that promotes local art, last week launched the mural, named after the Toronto Cyclists Union's motto: "Strength in Numbers."
"For me, it's coming back to old roaming ground and doing something that I'm allowed to do," Barndt said. "This is a neighbourhood ... (where) there's not a lot of access to contemporary artwork, so it's important to bring it down into the streets."
The $18,000 project was funded by the city's Graffiti Transportation Investment Program and the Toronto and Ontario Arts Councils.
As the viewer moves westward, the mural's colourful images present a narrative, first depicting the Junction's history, then themes about cycling in the city, followed by environmental issues, and ending at a utopia where nature coexists with city life.
"We've taken a corner that was undesirable," Bradbury said, "and within a matter of a month, it's completely changed the whole feeling of the area."
66 001 swweps through Rugeley Trent Valley with 6O42 Halewood to Southampton loaded cars. JLR announced it is cutting production at Halewood due to uncertainty over the UK's decision to leave the European Union and a downturn in demand for diesel vehicles due to new taxation regarding emissions.
Due to some issues with another crew in Worcester the Plainfield based crew brought NRWO all the way to Worcester instead of making the normal swap in Putnam with the Worcester based crew. This made for a much later high sun departure southbound for WONR which wasn't what I had planned, but nonetheless I grabbed a few before calling it a day.
A 500mm telephoto through the heat shimmers captures southbound WONR lead by GE B39-8E 3906 in Genesee and Wyoming orange curling through the jungle approaching the Sword St. crossing at MP 68.7 on the Norwich Sub mainline. Controlled track begins just a quarter mile behind me and the crew has a track warrant for their forty mile trip back south on this historic former Norwich and Worcester Railroad mainline dating from 1839. Operated by the Providence and Worcester since 1976, this segment never looked like this in the pre 2016 independent PW days. It was a well kept right of way with class 3 track good for 40 MPH. The new masters from Darien, Rochester, and Jacksonville clearly have different priorities with the line now laced with 25 and 10 mph slow orders and the RofW grown up like the jungle seen here.
Auburn, Massachusetts
Friday June 28, 2024
This was the only MILW unit I even seen lettered like this. Someone decided to just stencil a SOO on the nose, sure beat the "Bandit" treatment most MILW units received. June 1987 train 11 calls at Trout Lake with 138, 2553 and 957.
Digital Photographer's "Image of the Month" September issue. Taken at St. Michael's Golden Domes Cathedral in Kiev, Ukraine in April 2005
I had the chance to live in Kiev, Ukraine from the autumn of 2004 through spring of 2005. Because of this unique opportunity, I had many occasions to photograph while I was there. One of my favorite subjects was the Orthodox Churches. Their onion domes I felt added a magical sense of exoticness to the city. Saint Michael’s Golden Dome Cathedral is considered to be the third most significant church in Ukraine.
Resting on one of the hills of Kiev, the park behind the church offers a spectacular view of the city along the Dnipro River. The blue exterior, golden domes and clock tower make it a wonderful place to photograph or just drink in the view.
On a warm spring day, I went back to Saint Michael’s to capture it with my camera again after the winter snow had melted. After shooting a number of photos, I sat down on a bench outside and noticed a number of clergymen walking by. The side door was directly in front of me and I thought it would be nice to get a photo of one of the members of the clergy as he walked by it. I took a couple of photos and then, I saw a well-dressed tourist and a clergyman walking towards each other. I shot the image with the intention of having them on opposite sides of the door and facing each other. The contrast of a “man of God” and a “man of the world” walking towards each other with a door in between them was striking to me. It wasn’t until I got home and downloaded my photos that I was able to get a closer look and see that I had captured both men in mid-stride, with their front foot at a mirrored angle. It’s also interesting to see that they appear to be around the same age with similar hair color and both are dressed in black. A member of the clergy takes a vow to renounce pleasures of the material world, while the tourist in a suit, one could imagine, enjoys the material world around them.
Doors are symbolic of transition or change. You pass through them from one place to another. This could be interpreted as the clergyman having moments that bring him into the natural realm and the tourist being on a pilgrimage, bringing him closer to the spiritual realm. However, the door to the church is closed and they are both outside of it. The similarities and differences in the two men are extraordinary, which is why I feel this is such a strong image.
More photos can be seen at: elyssaconleyphotos.zenfolio.com/
Because of some ongoing health issues I'll very likely be posting large numbers of photos. With maybe 20,000 photos not published on Flickr, my uploading will probably be awash with many architectural shots soon.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This was taken in Crewe, Virginia (Nottoway County) and shows a passenger car with Norfolk & Western cloths on each of the seats. The N&W and the Southern Railroad merged in 1982. A few years later the rail line became the Norfolk Southern. The date of the car is unknown, but it's close enough to the 1950s when I occasionally found myself on a train trip.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Transit edition of the Amateur Astrophotography Ezine has been published www.amateurastrophotography.net/?page_id=79
issuu.com/isagelb/docs/underdogs-issue_1
Here is the first issue of Underdogs, my own photography publication to feature photographers I love the work. There are so many that I think I’m going to publish at least 10 issues! There are no interviews. I decided to let artists free to write or not about themselves and/or their work. Next issue: october 2014. Thanks to all of you who will have a look! Enjoy!
A print copy is available here:
www.peecho.com/checkout/punkroyaltiger-gmail/61106/underd...
Photographers featured:
Danté Belt
www.flickr.com/photos/78979713@N07/
Su bo
www.flickr.com/photos/92882419@N03/
Gaston Cerbino
www.flickr.com/photos/otroangulo/
JonatHan illingworth
www.flickr.com/photos/jonnywuden/
Dan Mitchell-Innes
www.flickr.com/photos/12263029@N00/
Netra Nei
www.flickr.com/photos/netranei/
Petter Togstad Stige
Thomas Vesterlid
www.flickr.com/photos/50217178@N04/
Tyrone Williams
www.flickr.com/photos/50983419@N06/
Print copy of Underdogs is available now here:
I look atop the Hero Headquarters building in the distance, seeing my name in the 5th slot of the leaderboard.
"I'M NUMBER FIVE!!!"
Alright, so I should probably explain. Get ready, 'cause you're in for a lot of info!
The reason I ranked up is because I've stopped enough crimes and gained enough popularity to rank up. The more/bigger the crime and popularity, the closer you get to ranking up. You don't get to keep track of how close you are, though. They're tracked by the office workers at Hero Headquarters, which is the company that started the Leaderboard.
The catch about the leaderboard is that you have to sign up to be entered into it. Anyone can enter, as long as they're a hero, obviously, and have a hero name. They also have to sign up at Hero Headquarters.
Now, here's the thing about HH. There isn't only one of them. There's one in every country. So each country has a different top 100 leaderboard.
What's my role in all of this? I'm trying to become the number one hero in America. I also live in the city that Hero Headquarters: America is located in. Advent City.
Advent City is a place that's located in every country, and each one has it's own Hero Headquarters and country leaderboard!
I've also made quite a few friends here in the past couple years. We have a team of sorts going, but that's a story for another time.
I don't want to be the number one hero because of pride or fame. It's because I wanna know that I can make it. I can be a true hero, and I really can make a difference. This is my story...I am Matchstick.
"YES!!!"
I leap joyfully into the air with my fists raised to the sky.
"Hey, where's my freeze frame?"
C: "Are you being for real, right now? We aren't in a sitcom."
"Dang, how do I keep forgetting my life isn't a TV show?"
Issue #1 of Carnage focuses entirely on the work of Hert and Atak, including extensive interviews with both and a slew of exclusive photos.
60 pages, full bleed, with a screenprinted cover. Limited to 200 hand-numbered copies.
Each issue also comes with two completely unique hand-drawn stickers by Hert and Atak!
SOLD OUT
(inspired by lots of details from Human Revolution)
As I strode of the stores one by one, three informants were standing there already. It seems like that they have anticipated me coming.
"What'd you want?"
One of the informant's accent was Canadian. The second one popped up behind me, speaking with a heavy Korean tone, "I believe it's the autopsy you're looking for, detective." The third one just approaches me like the first one, and her accent seemed European.
Adrian: Well, take a look at this. ZF-11.
Informant 2: Ahh, yes, this one. The bullet that killed the body. Informant 1: The hospital doesn't have the record because someone erased it. The killer is on the run.
Informant 3: But he wants the autopsy too, because the client he killed was an important man.
Adrian: What do you know about him?
Informant 1: Involved in financial schematics, briefly an art dealer. But I won't disclose the name.
Informant 3: ZF-11----that comes from Outerdyne's manufacturing. Rumours it's actually a cover for a micrographics company, but it doesn't seem like it. There's another rumor that the board was embezzling money from a conman which was used to fund their products.
Adrian: How do I find him?
Informant 2: He might be at the Piazza de Duomo. But hurry. This is all the information you need for now.
Informant 3: Outerdyne could have tracked our location now. Their mercenaries could be here. Go.
I proceed to leave the market in quickly, and give a call to Caroline.
Adrian: It's Outerdyne. The company that could cover itself as a micrographics company. Mercenaries could coming to silence me. I have to look for a conman at the Piazza de Duomo. He's somewhere over there, hiding. Might be in disguise.
Caroline: Hmm...my men can track him down. I'll send you the coordinates later. We'll look into information on Outerdyne if we can.
Adrian: Thanks.
I hop on to a ESP owned vehicle parked nearby and head for the quickest path.
*Around 7 minutes later...
Shit. Some mercenaries have been a step ahead, carrying guns. There is a big crowd around but it would be harder to identify the conman.
Adrian: Caroline, how many mercenaries are there?
Adrian: Caroline?
*interruption
Unnamed hacker *with modified voice*: Hello Adrian. It's me.
Adrian: Who are you? How'd you get in my comm?
Unnamed hacker: You don't remember? Really, one of your biggest fans?
Adrian: Oscar?
Oscar: Yeah, that's me. I held off the ESP for a while to talk to you, thanks to my brain I tracked your location. There are at least 8 armed mercenaries in this area, and maybe a dozen more somewhere close by. The conman is going to be in danger, because the Tranquility is also in this area too.
Adrian: Fuck.
Oscar: I called you because I needed you to help me retrieve something, but finish your mission now first. I'll fill you in once you're done, if you call back.
Adrian: Just don't hack in interrupted.
Oscar: Ok, I'm out for now.
I activate a scanner while the ESP's comm resumes to normal and explain to Caroline what happened. When I finish, the crowd seems to get lesser, and I am now stuck in between an assassin, some mercenaries and a conman I'm trying look for.
Peacock Buckle Skirt by Sweet E's Designs
February Gift 15-5 pose by Exposeur Props and Poses
Full credits are at Blue's Fantasy!
As we left Fagaras Fortress, we caught up with this groom and bride party. Their pictures were taken inside the castle and they were probably on their way to the reception.
"Built in 1310 on the site of a former 12th century wooden fortress (burned by the Tartars in 1241), Fagaras was enlarged between the 15th and 17th centuries and was considered one of the strongest fortifications in Transylvania. The fortress was surrounded by a deep moat which, in times of war or social unrest, could easily be filled with water from a nearby mountain brook. A bridge over the moat provided the only access point. The fortress boasts three floors and five towers." (www.romaniatourism.com/castles-fortresses.html#fagaras)
During the 1950s it was a prison for opponents and dissidents. After the fall of the Communist State in 1989, the castle has been restored and is currently used as a museum, the Fagaras County Museum, displaying Roman artifacts, a collection of medieval weapons and traditional folk crafts. The museum also hosts a beautiful collection of icons painted on glass.