It's easy to pick holes in the legend of Thomas the Rhymer. Many of the references to him and his predictions were written centuries after his death, but folklore is not necessarily unreliable just because it's verbal, and there's a good argument that in this case, where there's smoke there may once have been fire!

 

The problem is that the historical reality of True Thomas has been almost completely submerged in the tidal wave of myth and legend that has grown up around him over the centuries since. While it seems reasonable to dismiss the story that he "disappeared for seven years to live with the Queen of Elfland and returned to Ercildoune with the gift of prophecy", there are plenty of predictions attributed to him that may either be genuine or may have contained some degree of truth.

 

Popular lore recounts that he prophesied some of the great events in Scottish history, including the death of Alexander III of Scotland in 1286. He is said to have told the Earl of Dunbar:

 

"On the morrow, afore noon, shall blow the greatest wind that ever was heard before in Scotland."

 

There having been no significant change in the weather by the time his lordship sat down for his lunch the following day, a "please explain" was sent to Thomas, who replied that the appointed hour had not yet come, shortly after which, news arrived from Fife of the king's death.

 

Another of the Rhymer's predictions is said to go like this:

 

"When the Yowes o' Gowrie come to land,

The Day o' Judgment's near at hand"

 

A "Yowe" in the country parts of Scotland, is a ewe and the Yowes of Gowrie were two large rounded ovine looking rocks in the Tay estuary, just off the shore from Invergowrie, close to the outlet of the Fowlis Burn. Why and how should two large rocks ever come ashore you might well wonder? Well they had been observed over a period of many years to be getting slowly but surely closer to the shoreline! Or to be more precise, the shoreline was getting closer to them! Then in the 19th century they finally did come ashore. The Dundee to Perth railway line was built along that part of the coast line, seemingly just offshore of the yowes, after which the area to landward of the railway was used as a rubbish dump - supposedly burying the yowes in the process. So technically the yowes have "come to land", without triggering the Day of Judgement, although there are parts of Dundee where it probably can't come soon enough!

 

Perhaps my favourite of the Rhymer's prophecies, concerns Fyvie Castle in Aberdeenshire. He is said to have said:

 

"Fyvie, Fyvie thou'se never thrive,

lang's there's in thee stanes three :

There's ane intill the highest tower,

There's ane intill the ladye's bower,

There's ane aneath the water-yett,

And thir three stanes ye'se never get."

 

What does that mean when translated loosely into understandable English?

 

It is believed that there were three special stones at Fyvie - weeping stones. They remained permanently damp, whatever the weather and the whereabouts of two of them are unknown. The Rhymer's prediction is interpreted as meaning that until all three were located, no eldest son would succeed to his father at Fyvie. The 'Ladye's bower' is the castle's charter room, and the one surviving stone is kept there to this day. Whether there is another one built into the castles 'highest tower', nobody seems to know, but the biggest problem is the one said to be underneath the water-gate. This would place it in the River Ythan, which runs around the castle, and trying to identify a damp stone is a river is of course a difficult task!

 

So what about the prediction, that no oldest son would inherit? I have known this story, without questioning it, for most of my life, having been solemnly told that indeed, no eldest son had ever inherited the castle. But in the interests of science, I though I would spend some time now trying to find out whether that's true!

 

Fyvie was originally (before the time of the Rhymer a royal castle. We know that King Alexander II signed charters here in February 1222 and The Bruce stayed here in the early years of the 14th century. Since then, it has been owned by five families - the Prestons, the Meldrums, the Setons, the Gordons and the Forbes-Leiths.

 

Actually, technically, there were six families! In 1370, King Robert II granted Fyvie to his son and heir John (later Robert III), who in turn passed the castle to his cousin, Sir James Lindsay. However, in 1388 the Scots had a rare victory over the English at the Battle of Otterburn, during which Ralph de Percy was captured by Sir Henry Preston, the brother-in-law of Sir James Lindsay. When Robert III came to the throne two years later in 1390 he purchased the rights to Ralph de Percy's ransom by transferring ownership of Fyvie Castle from Sir James Lindsay to Sir Henry Preston. This would seem rather unfair, although I imagine Sir James would have been adequately compensated, but it does of course set the prophesy off in the right direction - Sir James' heir never inherited Fyvie!

 

So leaving Sir James Lyndsay to one side, the first effective owner of Fyvie in the post royal era, was Sir Henry Preston. When he died around the year 1433, he wasn't succeeded by his son, because he didn't have any! Fyvie went to Sir Alexander Meldrum of that ilk, who had married one of Sir Henry's two daughters.

 

Fyvie remained in the hands of the Meldrums for about 160 years, passing through the hands of several (probably five) generations of the family, but as we don't know the genealogy of this part of the Meldrum family, we can't say whether an eldest son ever inherited. Probably yes, but the accuracy of the prophesy can't be disproved! In 1596, Fyvie was sold by the Meldrums to Alexander Seton, later Chancellor of Scotland.

 

Alexander Seton, 1st Earl of Dunfermline and Chancellor of Scotland, was born in 1555. His first wife, to whom he was already married when he bought Fyvie, was Lillias Drummond and after producing five children for him, all girls, it is said that Lord Seton, blaming his wife for the lack of a son and heir, began an affair with her cousin (and future wife) Grizel Leslie. Betrayed and heartbroken Lillias died not long after learning of the affair, .

 

Lillias Drummond died in May 1601 and Lord Seton married Grizel Leslie a few months later in October 1601. On their wedding night at Fyvie it is said that they were both distracted by a 'mournful moaning' from outside their bedroom window. A search for the source of the noises produced no results but the next morning the words D. LILLIAS DRUMMOND were found carved into the stone sill outside their bedroom window, in letters three inches high and upside down, the window being over 50 feet above ground level. The letters remain visible to this day and since that time, Fyvie Castle is said to have been haunted by a lady in green, roaming the corridors of the castle, crying at her betrayal by her husband and leaving behind the scent of Rose petals!

 

How much of that is true, I don’t know, but what is true is that before her death in 1606, Grizel Leslie produced two daughters and a son Charles, and that Charles died young! It was up to Lord Seton's third wife to produce his successor, another Charles.

 

The eldest son and heir of Charles Seton, 2nd Earl of Dunfermline, also named Charles, died in 1672, just before his father! Alexander, the 2nd son became 3rd Earl of Dunfermline, but dying unmarried, the title passed to his brother James.

 

James Seton, 4th Earl of Dunfermline, died in 1694, also unmarried - which was somewhat immaterial because, having supported the Jacobite cause in the 1689 Rising, his castle and estate had already been confiscated by the crown. Fyvie remained a crown property until it was sold in 1733.

 

The purchaser in 1733 was William Gordon, 2nd Earl of Aberdeen. His wife at the time was Anne Gordon, daughter of the 2nd Duke of Gordon and their eldest son William inherited Fyvie from his father. But those that have read this far and are hoping the Rhymer's prophesy will hold true will be delighted to learn that Lord William Gordon had already been married, twice and had two sons by his 2nd wife. So once again, the eldest son and heir didn't inherit Fyvie.

 

General William Gordon, 1st of Fyvie died in 1816 when, unfortunately for Thomas the Rhymer, who now can never be taken seriously again, was succeeded by his only son William Gordon, 2nd of Fyvie Castle. He died without children in 1847, whereupon Fyvie passed to his nephew, Charles Gordon 3rd of Fyvie.

 

When the 3rd laird died in 1851, Fyvie passed to his son and heir, for the 2nd (and last) time that we know of in five centuries, William Cosmo Gordon. Either he or his executors put Fyvie up for sale and it sold in 1889 to the 5th and last family to own it.

 

Fyvie's new owner was Alexander John Forbes-Leith, later 1st Baron Leith of Fyvie. He was a local boy who had made his fortune in the steel industry in the US of A and used Fyvie to house his huge collection of paintings, tapestries, armour and furniture. His only son and heir, Percy Forbes-Leith, 2nd Lt Royal Dragoons, was killed aged 19 in 1900 during the Boer War.

 

In 1982 Fyvie Castle was once again placed on the market, and in 1984 it was purchased by the National Trust for Scotland.

 

So could Thomas the Rhymer predict the future? Well it's my belief he could do so every bit as accurately as Nostradamus!

IN ENGLISH BELOW THE LINE

 

Ningú havia vist aquestes fotos fins ara, sobretot els que les varen fer. Fins que jo les he revelat ara.

 

En aquest rodet varen apareixer força colla d'imatges, totes elles d'unes vacances esquiant i fent turisme pel Tirol cap al 1973-1986. Per sort hi ha un cartell, precisament en aquesta foto, que indica que és la estació d'esquí de Kaprun.

 

S'anomena "found film" a aquelles fotografies en pel•licula o placa que es troben sense revelar dins càmeres velles o per altres racons. La gracia és que ningú ha vist mai aquestes fotografies.

 

Aquest rodet prové d'un conjunt força gran (70 rodets, la majoria de format 120) que vaig comprar per internet a algú de Rotterdam.

 

Aquest rodet, de format 120, era del tipus Kodacolor II. Es va produir entre 1973 i 1984 i pertant es va fer servir probablement en aquest periode. El vaig revelar amb el kit C41 de Tetenal.

 

===================================================

 

Nobody, even less the author, had seen these pictures until now. Until I've developed them in the dark room.

 

This roll of 120 film was used for a skiing trip to the Tirol c.1973-1986. In this precise picture appears a mention to Kaprun ski resort.

 

They call "found film" at those images in film or plates that are find undeveloped inside old cameras or in other places, like boxes or old houses.

 

I found a large pack of medium format roll films in the Internet. I bought them from a seller from Rotterdam (Low Countries).

 

This one was a 120 format Kodacolor II film. This kind of film was produced from 1973 to 1984. I developed it with a Tetenal C41 kit.

In early 2002, in a justified act of revenge, I stole my friend Andrea Zink's bra. You know, that fleshy, beige-coloured bra all girls own for under white or sheer tops.

 

I began a campaign to photograph as many friends, acquaintances and even family in the bra. Then I sent the photos to people I knew around the globe with as a postcard template which they printed out and mailed back to Andrea, convincing her that her bra was on a walkabout around the world—torturing her from each locale.

 

Andrea hated it. One day, figuring I must've been the cause of all this, she marched into my office and threw a particular postcard (#002 to be precise) at my head and yelled "Make it stop!"

 

I did not.

Rare insignia of the 208 Infantry Division. The precise unit is the Infantry Regiment 25. It turns out that 4 badges are known for this division. 3 classics and one that only appears to be in Drakegoodmann's collection.

 

These insignia are visible since January 1917.

 

Purchase with a direct offer immediately after the sale, I absolutely wanted to have this insignia.

 

Text (xiphophilos):

"Lieber Bruder

Die besten Grüße und Küsse aus Flandern sendet dir dein Bruder Jakob. Wie geht es bei euch? Hast du Fritz noch bei dir?

Nochmals Grus(s)

dein Bruder Jakob

Auf Wiedersehn

 

Dieses Bild ist sehr schlecht getroffen.

Wenn sich Gelegenheit bietet, lasse ich mir neu machen.

 

In ink:

Andenken an meinen Bruder Jakob"

 

English translation:

Dear brother

The best regards and kisses from Flanders is sending you your brother Jakob. How are things with you? Do you still have Fritz with you?

Again regards

your brother Jakob

See you again!

 

This picture turned out very badly.

When I have the opportunity, I have a new one made for myself.

 

In ink:

Memento of my brother Jakob

 

REF: 20-20-7

It´s difficult to believe that in this precise moment we have everything we need to be satisfied with our lives but I am learning that it can be possible.

 

To be honest, being in agreement with what is, has never been the strongest point of my personality. On the contrary, I always want more, I always want to achieve better things, improve myself and mend my life but even so (or maybe because this has been a heavy burden on me), I am starting to realize that regardless of what happens there is nothing that prevent me from feeling joy if I want to.

 

In fact, I have the power to accept and feel they joy. (...)

 

read more on my blog: myhealingmoments.blogspot.com.es/2013/11/day-365126.html

PACIFIC OCEAN (Aug. 12, 2021) An MH-60S Sea Hawk, assigned to the “Black Knights” of Helicopter Sea Combat Squadron (HSC) 4, prepares to take off from the flight deck of Nimitz-class aircraft carrier USS Carl Vinson (CVN 70). Vinson is participating in Large-Scale Exercise (LSE) 2021, globally integrated training that demonstrates the Navy’s ability to deploy precise, lethal, and overwhelming force across three naval component commands, five numbered fleets, and 17 time zones. (U.S. Navy photo by Mass Communication Specialist Seaman Megan Alexander)

“ALAN B. SHEPARD JR.

Astronaut

 

(wearing U.S. Navy uniform)”

 

As expected, the relaxed grooming standard of the USN, and I assume, especially as applied to a Rear Admiral - who also happened to be the free-world’s first human in space & fifth man to walk on the moon - is glaringly evident.

I mean, look at the near ‘Elvis’ sideburns, let alone the hair touching the ears. And holding the frivolous white gloves, hand lightly grasping the sword, combination cap at the immediate ready…even a poorly displayed Precise Models LM…facing to the rear. It’s like a J. C. Penney catalog shoot. 😉

 

A fairly pronounced impression of a fold, extending up from the bottom of the photo paper & terminating immediately to the left of Shepard’s awards is visible when viewed under oblique illumination. Fortunately, there are no breaks in the emulsion.

 

The blind squirrel finds an acorn:

 

images.nasa.gov/details-S71-52263.html

 

I had no idea Shepard’s wife (Louise) passed away only five weeks after his death.

Continue to Rest In Peace both:

 

veterantributes.org/TributeDetail.php?recordID=340

Credit: "Veteran Tributes" website

 

valor.militarytimes.com/hero/56428

Credit: "The Hall of Valor Project" website

Digital capture; still life. An advertising piece for my studio portfolio.

 

I have wanted to throw some creative lighting on these gorgeous knives for a long time. The concept here is clean and metallic; get out of the food prep shots and into the sexy metal.

Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.

Final image; of a fun day & night - three shows. They were

great! Precise and professional - Bravo - Little River Band

 

EPCOT ~ Spring 2018 ~ Orlando, Florida U.S.A.

2018 International Flower and Garden Festival

 

Little River Band is an Australian rock band, formed in Melbourne in early 1975. The group chose the name after passing a road sign leading to the Victorian township of Little River, near Geelong, on

the way to a performance. Little River Band enjoyed sustained commercial success in not only Australia, but also in the United States. During its career, the band sold more than 25 million records and achieved 13 U.S. Top 40 hits - to add to many awards gained in Australia. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named "Cool Change" as one of the Top 30 Australian songs of all time. They were inducted into the Australian Recording Industry Association's Hall of Fame at the 18th Annual ARIA Music Awards in 2004. Great band!

 

***********************************************

Top 10 Little River Band Songs

www.youtube.com/watch?v=RrXThXQegsY

 

"Cool Change" - Little River Band

www.youtube.com/watch?v=9bKwRW0l-Qk

 

"Lady" - Little River Band (1978)

www.youtube.com/watch?v=BrnZv7fHGSE

 

"Take It Easy On Me" - Little River Band (1981)

www.youtube.com/watch?v=aFTzuWKR-qc

 

"Lonesome Loser" - Little River Band

www.youtube.com/watch?v=tf-AmedKfRc

 

"It's A Long Way There" - (all guitar licks)

www.youtube.com/watch?v=sDY4SvTKWJ4

 

*************************************************

*[The lead singer joked that you can walk into any

grocery-store and hear LRB music playing ... lol]

 

About LRB en.wikipedia.org/wiki/Little_River_Band

 

www.littleriverband.com/

 

(seven more photos 'from this day' in the comments)

Perhaps no more than 1200 of these special issue cars were produced in 1955 and 1956. Approximately 75% of that total appeared in the 1955 model year. Precise numbers breakdown is impossible because Dodge Division considered the LaFemme as a trim option only, rather than a model distinction. The VIN reveals no special code.

 

The car was based on the top-of-the-line Custom Royal Lancer. Standard issue was a two-door hardtop only with a 2V 270 c.i.d. early Hemi engine. All were painted this same tu-tone way, in a special non-metallic enamel version of off-white and dusty medium pink.

 

The top of dash was standard flat black with a dash face painted pink. Steering wheels were not special. They were cost-conscious standard black and ivory plastic from the CRL line (but they should have had a pink/white theme).

 

A special pink rubberized plastic grommet cushioned the steering column where it contacted the bottom of the dash. Surprisingly, this small original pink detail is the one usually overlooked by counterfeiting restorers - a black grommet there usually means the car is not a factory original. Another authentic detail to watch for is the pair of bright metal brackets arranged in a slight "V'" formation at the rear of the seat backs where special storage compartments attached. Carpet is tight-loop pile black.

 

The 1955 seat and door panel upholstery was made of custom brocaide cloth using a stylized pink rose bud pattern, trimmed with pale pink vinyl. Some headliners were light pink while others used the same off-white that appeared in normal Custom Royal Lancers.

 

Behind the front seats were two formed-plastic compartments, attached as mentioned above. The compartments contained the elements of a "Glamor Package": a light rain coat, a rain cap, an umbrella, and a pair of light rubber galoshes... all in the established pink and rose bud pattern; plus a cosmetics make-up kit. All of this goofy glamor package was made of flimsy, inexpensive material. Not meant to last. Complete examples of this kit are extremely rare. And probably survived only because someone thought to stash them (new and unfolded) in an attic box. then forgot about them.

 

The standard LaFemme (just like any standard-issue Custom Royal Lancer) would then have come stupidly equipped with black-wall tires, plain wheel covers, standard manual 3-spd transmission with a column shifter, manual window controls and manual seat adjustment. Even the heater/defroster and the radio were considered options!

 

A 4V carb was optional, with dual exhaust. All the convenience and dress-up items were special-order options: 3"-wide-whitewall tires (bias-ply), 15" spinner wheel covers, power brakes, power steering, power seats, power windows, a two-speed automatic transmission with its dash-mounted shift selector, two kinds of AM radio (standard and deluxe pushbutton with station-seeking selector bar), rear speakers in the package tray, a 45 rpm record player (called Hi-Way Hi-Fi) that mounted in the glove box, and Air Conditioning. All on a pitifully weak 6-volt generator-battery system. A 12-volt system was not in production until 1956.

 

Unusual strategy since this was supposed to be THE car for the modern woman. The 1956 versions were all done in a light lavender/pink and a medium lavender two tone. Production was planned for 1957 but dropped before new models came out.

 

Dealers usually ordered at least SOME options for their showroom floor models. Keep in mind that in this era, buyers still often sat down with their dealer six months in advance of delivery to special order their cars.

 

This car shown came with optional 15 inch "spinner" wheelcovers often referred to as Lancer wheelcovers. They were available on all Dodge models but standard on none. They are a "MUST HAVE" dress-up item (without them, all '55 Dodges looked severely dowdy) . . . along with wide whitewalls, radials preferably. All Dodges and all Chrysler Corporation vehicles could have ordered a set of five 15" Kelsey-Hayes wire wheels.

 

FYI, accurate rose-bud upholstery is now being re-manufactured, but the inexpensive glamor accessories are long gone forever.

 

These cars could have been a better idea if the marketing people had first surveyed real women instead of just scratching their collective male heads in 1953 or 1954 when this idea surfaced. The LaFemme was not continued into 1957. Certainly by around 1960 or so, the marketing people learned that women did not need a car named "The Woman", in any language. There was not yet going to be a significant auto marketing niche for the upwardly mobile working woman. Most women were housewives then and were pleased to be making exterior paint color and interior fabric decisions about the new family car.

 

So much for the LaFemme. But uncommon sightings at today's car shows does make for intriguing conversation.

Get precise with it! Tag your photo #Precision and submit it to the Flickr Friday group pool. We'll publish a selection of our favorites next week on the Flickr Blog and in a Flickr Gallery.

 

Original photo by Mario Donati.

This wan't yesterday - summer 1995 to be precise. I'd done three years piloting the big tango-coloured 'deckers around Glasgow and that was enough, much as I love my home city. So I thought I better get a snap of myself. Long before the days of 'selfies'; another driver took the snap; it's a bt blurry but serves the purpose. The High Possil terminus of busy service 48 (Liddesdale Sq) wasn't really the place to be jumping around with a camera, but it was worth the risk.

 

As for the bus, it's an Alexander bodied Metrobus, and this particular one was, for some unaccountable reason, such is the way of these things, an absolute peach of a bus. These ones had 4 speed Voith gearboxes so on the open-road (not that there was much of that, but sometimes we ran light on the M8 to Paisley etc), could do over 60mph.

 

It was a baptism of fire starting my bus career here, but the experience gained has served me well.

 

DO NOT COPY, SHARE OR POST MY PICTURES ON ANY OTHER WEBSITE WITHOUT MY PERMISSION PLEASE.

Unusual to find such a precise date on one of these little publicity or advertising recipe booklets but this has a date of 1929 and also has a gummed in slip showing the full range of Bird's 'Household Specialities' and a retail price list for 1930. Such booklets were commonplace marketing material for companies such as Bird's who were amongst the pioneers of 'ready made' or branded food products that were sold on the national market and that advertised heavily - a product of Victorian food technology, transport and newspapers.

 

Alfred Bird's origins were in invention of their still famous 'custard' powder that replaced the real thing with a dissolvable powder based on cornflour starch, colourings and vanilla flavours. They also made a wide range of similar baking and pudding 'specialities' as can be seen from the list. An old established Birmingham company now simply a brand of an international concern, their home city heritage is still to be found thanks to a re-use of the 'Custard Factory' and the survival of the railings that use the famous trilling bird motif seen here. This was first introduced in the 1920s by the company.

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

 

Similar to the University of Oxford itself, the precise date of establishment of St Edmund Hall is not certain; it is usually estimated at 1236, before any other college was formally established, though the founder from which The Hall takes its name, St Edmund of Abingdon, Oxfordshire, the first known Oxford Master of Arts and the first Oxford-educated Archbishop of Canterbury, lived and taught on the college site as early as the 1190s. The name St Edmund Hall (Aula Sancti Edmundi) first appears in a 1317 rental agreement.

In the centre of the quadrangle is a medieval well, which was uncovered in 1926 during the construction of a new lecture room and accommodation. This well is believed to be the original from which St Edmund himself drew water.

Another shot whose precise location has defeated me is this Mellor-bodied Mercedes Vario of Ringwood Coaches on the X67. I think it must be in the area of Great Hucklow, north of Tideswell, but I may be wrong.

 

This thing knew little else apart from the X67 for the first 9 years of its life, moving from Ringwood to TM Travel with the contract in 2003, staying there until 2007. It had a year with Vale's Coaches in Manchester, until that firm's closure, then went off on its travels, seeing service in Forfar, Bedford, Weymouth and Wincanton before being retired in 2015.

 

An infrared view of a laser-based test campaign – taking place at Redwire Space in Kruibeke, Belgium – which represents crucial preparation for ESA’s precision formation flying mission, Proba-3.

 

Later this year, two satellites will be launched together into orbit to maintain formation relative to each other down to a few millimetres, creating an artificial solar eclipse in space. Proba-3’s ‘Occulter’ spacecraft will cast a shadow onto the other ‘Coronagraph’ spacecraft to block out the fiery face of the Sun and make the ghostly solar corona available for sustained observation for up to six hours per 19.5 hour orbit.

 

However to maintain the position of a shadow just a few centimetres across on the Coronagraph satellite from the Occulter satellite around 150 m away, the two satellites rely on a suite of sensors, including intersatellite radio links, GNSS, visual imaging and – for the most precise positioning at closest range – a laser metrology (or ‘measurement of measurement’) system. This system will shoot a laser from the Occulter spacecraft toward a corner cube retroreflector placed on the face of the Coronagraph spacecraft for tracking of relative position and attitude (pointing direction), achieving millimetre precision.

 

“To calibrate Proba-3’s laser metrology system, its performance was tested within the 60-m long Redwire cleanroom,” explains Damien Galano, Proba-3’s mission manager. “The Coronagraph’s laser was reflected off a retroreflector and the resulting positioning measurements checked against absolute ‘ground truth’ using a separate laser tracking system.”

 

This mission is being put together for ESA by a consortium led by Spain’s Sener, with participation by more than 29 companies from 14 countries. The Proba-3 platforms have been designed by Airbus Defence and Space in Spain and satellite integration by Redwire in Belgium. GMV in Spain is responsible for Proba-3’s formation flying subsystem while its main coronagraph instrument comes from Belgium’s Centre Spatial de Liège, CSL. Proba-3 is due to be launched by PSLV-XL launcher from India in September.

 

Credits: ESA - M. Pédoussaut

The Quiet Discipline of Japanese Woodworking: A Traditional Joinery Workshop

 

Description

 

Inside a serene Japanese woodworking studio, the images reveal the slow, precise, and deeply tactile world of traditional cabinetmaking. Soft natural light filters through shoji screens, illuminating aged wooden workbenches, hand planes, chisels, saws, measuring tools, stacked timber, polished drawers, iron hardware, and carefully assembled joinery. The atmosphere is calm and contemplative, shaped by patience, repetition, and respect for material.

 

The series follows the full rhythm of artisanal creation: selecting and preparing raw boards, drawing measured plans by hand, sharpening blades on a wet stone, cutting and carving joints, planing long ribbons of wood from a board, assembling drawers and cabinets, fitting metal handles, brushing lacquer, polishing surfaces, and finally presenting finished tansu-style furniture in a quiet tatami room. Every scene emphasizes craftsmanship over speed, touch over machinery, and inherited knowledge over industrial production.

 

The visual language combines documentary realism with a refined cinematic sensibility. Warm wood tones, indigo work garments, soft diffused daylight, shallow depth of field, sawdust, wood grain, worn tools, and traditional Japanese interiors create an intimate portrait of a craft that feels timeless. The images celebrate not only furniture making, but also the philosophy behind it: restraint, precision, durability, balance, and beauty found in useful objects.

 

This collection is ideal for themes related to Japanese culture, traditional carpentry, handmade furniture, heritage crafts, sustainable design, woodworking, wabi sabi aesthetics, slow craftsmanship, interior design, and the quiet dignity of manual labor.

 

The images have been generated by Artificial Intelligence.

(Erithacus rubecula)

 

Le mâle et la femelle sont presque identiques, avec une couronne, des ailes, le dessus et la queue de couleur brune, une bande grise sur les côtés de la gorge, un ventre blanc et la fameuse « gorge rouge », plus précisément de couleur orange foncé tirant vers le rouge. L'identification des jeunes peut se révéler difficile, car il leur manque la tache rouge et ils présentent un plumage brun tacheté ressemblant fortement à celui du jeune d'un membre de la même famille, le rossignol philomèle. Le rouge-gorge est légèrement plus petit qu'un moineau, il est rondelet et haut sur pattes, ses yeux noirs sont également caractéristiques.

_______________________________________________________

The male and the female are almost identical, with a crown, wings, a top and a tail of brown color, a strip tints on the sides of the breast, a white stomach and the famous " red breast ", more exactly of dark orange color firing towards the red. The identification of the young can show itself difficult, because they miss the red spot and they present a speckled brown plumage looking like strongly that of the young of a member of the same family, the nightingale philomèle. The robin is slightly smaller than a sparrow, it is plump and high on legs, its dark eyes are also characteristic.

 

CaméraSony DSLR-A850

Exposition0,005 sec (1/200)

Ouverturef/4.0

Longueur focale200 mm

Vitesse ISO640

Détection du degré d'exposition+0.3 EV

 

See my Getty Images here :

www.gettyimages.fr/Search/Search.aspx?assettype=image&...

Without a shadow of a doubt my (new) favourite species of flowering plant. Huge thanks for pointing out the location to Dan Trim and also the two sets of very helpful women who assisted me in finding the precise hillside where they were hidden. I was not prepared for their tiny stature (same height as early spider orchid) or their inconspicuous nature, but eventually I got my eye in and saw around 20 individual plants. And as for those flowers - cola bottles? superheroes with wings? angels? crucified teddy bears? wasps, of course, are what they are supposed to look like. And then the thunderstorm arrived, and I ran for the car. More photos to follow.

At that precise time, I was happy. That was my first photo session of fireworks. I was ideally positioned upstream of the Mirabeau Bridge. In front of me, the Grenelle bridge, and Statue of Liberty*.

I was surrounded by friendly people.

I can testify that nobody knew that blood had flown at Nice. The first report came on my smartphone about ten minutes after the fireworks.

I felt devastated.

These four pictures are dedicated to Nice victims.

 

A cette heure précise, j'étais heureux. C'était ma première session photo d'un feux d'artifice. J'étais idéalement positionné en amont du pont Mirabeau. En face de moi, le pont de Grenelle, et la statue de la liberté.

J'étais entouré de gens sympathiques.

Je peux témoigner qu'autour de moi, personne ne savait que le sang avait coulé à Nice. La première notification (le Figaro) est tombée sur mon smartphone environ 5 minutes après la fin du feux d'artifice.

J'ai été dévasté.

Ces quatre photos sont dédiées aux victimes de Nice.

 

* en.wikipedia.org/wiki/Replicas_of_the_Statue_of_Liberty#P...

 

Sony Alpha A7

RF Jupiter-9 2/85mm for Zorki camera (KMZ 1954) M/L39 adapter

Shown here

...with 2 background colors...

Why? :D

well, really Just for FuN :))

 

.

Senior Master Sgt. Walt Markwas, 91st Air Refueling Squadron boom operator, focuses on controlling the boom of a KC-135 Stratotanker to refuel a C-17 Globemaster during a pilot training mission off the coast of North Carolina Feb. 3, 2015. The C-17 crew was accomplishing refuel contact qualifications. (U.S. Air Force photo by Senior Airman Vernon L. Fowler Jr./Released)

   

Traveling the beautiful country along the dreadful Norseman-Hyden Track in Western Australia. © Su Schaefer 2015

 

Signage at the (Norseman-side) start of the track. I love this sign and whoever made it and installed it. It is everything a sign should be: functional, accurate, precise.

Given objects

Similar causes

Stimulate vision

 

What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

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

 

St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

 

With serrated mandibles, a female worker Leafcutter Ant slices a precise arc through a leaf (see following photo for more leafcutter activity).

My sworn nemesis* Patchworkbunny finished her 365 today, and as she has a fondness for covering her face in stuff, I thought a little tribute was in order.

 

Well done Ellie.

 

*Programmers are always at war with software testers.

Check out this super detailed artwork printed in engraving (intaglio) technique. Intaglio is really beautiful, one of the oldest and most precise printing technology that is used for passports or money printing. We will use this technology to print your stationery and business cards. #businesscard #printmaking #stationery #engraving #illustration #intaglio

Spiritual crises as the cause of paranormal phenomena, Paranormal phenomena seen in connection with clairvoyance, and Paranormal phenomena seen in connection with channeling).Symbols from the universal images are of a completely different character. They reproduce a much clearer, more precise and superior astral wholeness. It is from these symbols you can receive direct teachings about your spiritual development process.

 

When you have trained meditation and dream yoga in many years, a so-called divine being can visit you through a symbol from the universal images: Christ, Buddha, masters, teachers, angels. Note that these of course also can from the collective images – the difference is explained below:

 

Such a symbol is, as mentioned, a telescopying, a representing quintessence of the informationquantities, which the wholeness in a universal image contains. The divine being will in that way canalize information to you from the universal image, which, together with the whole of the universal vision, constitutes the dream-tracks and the songlines in the artwork of your life. The divine being (or other symbols from the universal images) will in that way help you to compose, to synthesize and interlock, what your inner thinker in the waking state has divided. But it is very important to understand that this nothing has to do with the channeling phenomenon, which belongs to the collective images. In order to receive help from a divine being you must be very close to enlightenment yourself. Our suffering, our painbody is, through the inner evaluating ego, which the painbody is constructed around, connected with the more dangerous dephts of the astral plane´s collective history, which also are a kind of dark, ancient inertia, which opposes any change of the ego (see my article The emotional painbody and why psychotherapy can´t heal it). That is also the reason why you, through therapy, can´t heal Man from the ground. In order to heal Man from the ground you need to go into a spiritual practice. It is only within the religions and their spiritual traditions they have knowledge and names for the more dark sides of the astral plane´s collective history. The West has very precisely called this factor the original sin. The East has called it negative karma. The concepts indicate, that the inertia projects beyond the personal history (growing up conditions, traumatic bindings, painful experiences etc.) and far down into the collective inherit-backgrounds of history (genes, environment, society-ideals, the archetypes and the primordial images of the dreams, fantasies, fairy-tales, myths, and finally: instincts inherited from the animals). It is a factor, which lies in the evolution itself, in the genes, in the collective subconcious, in the collectice history.

A mystical experience is happening when astral energies and content arrive to the consciousness, either from the collective images, or from the universal images. When energy and content arrive to the consciousness from the collective images, then this energy, and this content, will symbolize itself. This is due to, that the collective images are in a condition of vague, diffuse, astral oneness. What is coming from the collective images therefore contains a much greater width and depth than the limitary, relatively narrow and clear concepts and classes of the ordinary consciousness. The vague, wide contents and energies from the collective images are therefore growing narrower in the meeting with the consciousness. The symbol is this quintessence, this shortened, condensed form of expression of the vague, wide collective material. The other types of symbols are coming from the universal images, and therewith from reality and truth itself. All reality, which shall mirror itself in the superficial mind, will automatically symbolize itself. Again the symbol is a telescopying, a representing quintessence of the informationquantities, and the greater clarity, which are connected with reality. Symbols from the collective images reproduce a more vague, more imprecisely, but richer organic astral oneness. Symbols from the universal images reproduce a clearer, more precise and superior astral oneness. The more vague astral oneness, or the more precise astral oneness, shows itself in symbolic form in the dividing, separating structure of consciousness. This refers to the three forms of states the wholeness can be in: sleep, dream, awake. When the wholeness is sleeping, mountains are mountains and woods are woods. This is the reality of the ordinary consciousness (the Ego-consciousness). The ordinary consciousness can sleep in three ways: 1) the dark sleep, which is the Ego´s deep nightly sleep; 2) the grey sleep, which is the Ego´s nightly dreams and other dreams; 3) the light sleep, where the Ego is awake. The three forms of states the wholeness can be in, can also be described as the personal time, the collective time and the universal time. Furthermore it can be described as the personal history, the collective history and the universal history. Time and history constitute the structure under your thinking. This structure is also called the astral plane, or the astral world. It is a plane of existence postulated both by classical (particular neo-Platonic), medieval, oriental and esoteric philosophies and mystery religions. It is the world of the planetary spheres, crossed by the soul in its astral body, either through the dream state, or on the way to being born and after death, and generally said to be populated by angels, demons, spirits or other immaterial beings. The astral plane is connected with the so-called Akashic records. The Akashic records are a compendium of mystical knowledge encoded in a non-physical plane of existence: the astral plane. These records are described as containing all knowledge of human experience and the history of the cosmos. They are holding a record of all events, actions, thoughts and feelings that have ever occurred or will ever occur. Since my teenage years, I have had relationships with Beings of Light such as Jeshua, Michael, Sanat Kumara, Lady Portia, Amira, Maitreya, Sananda, the Great Crystal Master, the Dragon and many others. They instructed me in their conceptions that allowed me to prune my beliefs, to experience new knowledge. Thanks to their attention, I was progressing in my inner study. Taking advantage of their advice and encouragement, I went through the adversity I had encountered. During all this time, I carefully integrated their teachings without disclosing them, I applied them consciously in my daily life. Several times they told me, through mediums, that it was time for me to work with my fellow human beings. I would say "I, who have so many obstacles" and I would continue my studies with them. More than twenty years ago, Awakeness told me that I had the opportunity to read Akashic annals, I didn't know what it was. It took me a long time to get acquainted with the library of Nature where everything is recorded in every detail, from Creation to infinity. Today, I confess that I used this database in ignorance. Facts arose without my knowledge, I met more and more people in great difficulty, I offered them, anonymously, what I had received. One day, I was offered a book on Akashic annals. I knew the time had come to expose myself. The opportunity to concretize this new experimentation presented itself to me, through one of my friends who was experiencing an important annoyance. I said to him:"If you want I ask Akasha for teachings to give you solutions to your context". The impact of the explanation and the akashic vibration collected by Martine was immediate and spread throughout her home. His entourage was surprised by this change and asked him what had happened. She received the necessary answers to her family situation and also all the understandings that allowed her to find joy in sincere and harmonious relationships, which are still in force and spread to her household. Everyone watched and looked at the sufferings he was carrying in order to transform them. An information was transmitted to her by her husband, who had crossed the bridge of earthly life for the afterlife, which confirmed her to act on the decisions.

The Sanskrit term akasha was introduced to the language of theosophy through H. P. Blavatsky (1831–1891), who characterized it as a sort of life force; she also referred to "indestructible tablets of the astral light" recording both the past and future of human thought and action, but she did not use the term "akashic". The notion of an akashic record is attributed to Alfred Percy Sinnett, who, in his book Esoteric Buddhism (1883), wrote of a Buddhist belief in "a permanency of records in the Akasa" and "the potential capacity of man to read the same."By C. W. Leadbeater's Clairvoyance (1899) the association of the term with the idea was complete, and he identified the akashic records by name as something a clairvoyant could read. In his 1913 Man: How, Whence, and Whither?, Leadbeater claims to record the history of Atlantis and other civilizations as well as the future society of Earth in the 28th century.The Akasha is an “astral light” containing occult records, which spiritual beings can perceive by their “astral senses” and “astral bodies”. Clairvoyance, spiritual insight, prophecy and many other metaphysical and religious notions are made possible by tapping into the Akashic reacords. They are metaphorically described as a library. They can be accessed through astral projection, meditation, near-death experience, lucid dreaming, or other means. The Akashic records are the wholeness, and as mentioned: the wholeness can be in three states of spiritual awakening - sleep, dream, awake – which again can be described as the personal, collective and universal time (or history).

The reactions to experience of the entire animal kingdom, the aggregation of the thought-forms of a karmic nature (based on desire) of every human unit throughout time. Herein lies the great deception of the records. Only a trained occultist can distinguish between actual experience and those astral pictures created by imagination and keen desire. Since Wilhelm Haidinger discovered the phenomenon of the ‘brush’ which is named after him in 1844, there can be no doubt that human vision comprises an additional sense for the orientation of a so called polarised luminance. In this paper the physical conditions under which Haidinger’s Brush is to be observed in transparent or reflective media are described in detail. Furthermore it will be shown how Goethe’s work on ‘entoptic colour’, Steiner’s concept of the U-Region and modern physiological and natural science touch on a mutual ground that is to be characterised by Haidinger’s Brush appearing.Seen from a spiritual perspective, this instinctive survival strategi (the Ego) appears as a resistance, an invincible inertia: original sin, negative karma. You can´t, by therapeutic strategies, free the consciousness for its attachment to this inertia. You can therefore not dissolve or dilute or convert the original sin through therapy. Only the intervention of the Source (God, Christ, the enlightened consciousness) can basically help Man with a trancendence of the negative karma of the original sin. But in order to, that a human being should be able to receive this help from the Source (gift of grace), then this requires an eminently precise and profound preparation. And as part of this preparation serve the true spiritual practice within the religions

 

mortentolboll.weebly.com/paranormal-phenomena-seen-in-con...

 

The whole extent of circumstances which have its observation in common, distinguish it as a higher phenomenon among others, that it is the primary phenomenon of polarisation.Haidinger-Büschel als Urphänomen der Polarisationserscheinungen Albert Pröbstl.f Goethe’s Urphänomen, the ferreting out of the simplest,

archetypal concept which exhibits the characteristics of the complex whole and proceeding from the simple to the more composite. At this point, the similarity of Hegel’s method to that of Goethe is evident, except of course that the relevant complex whole is not to be understoodas a natural phenomenon but rather manifestations of Spirit, specificallyformations of consciousness. , this stream of impressions has to be surmounted, and grasped as

a whole. This holistic view is not attained by contemplation of the name or the idea of Nature, but on the contrary by contemplation of Nature itself and determination of the archetypal phenomenon, the simplest unit of a complex natural process. This insight is only the outcome of patient, attentive and delicate observation. Likewise, if a citizen of any social formation, recognizes as Absolute the guiding principle of his own activity, Hegel does not suppose that they see in that form of practice a finite manifestation of Absolute Spirit. That is an insight which becomes available only to the philosopher who looks back from the end of the journey of Spirit. Goethe and Hegel shared a common concern, not just for Truth, but for the Spiritual Community. One of the driving forces of Goethe’s science was to work out a practice and concept of science which would be accessible to participation by the entire people,something of which Hegel despaired. But there are obvious differences in the conception of the Deity as well. For Goethe, God is Nature, and insofar as he is engaged with Nature, it is the principle of his relation to Nature. Man is part of Nature, but he cannot understand his literary and social activities Pantheistically. For Hegel on the other hand, Spirit produces Nature and the human world of finite spirit, and out of them produces itself, but it is above all to human affairs that Hegel looks for his glimpse of the Deity. In the human world, Hegel gains insight into the absolute Absolute which manifests in each shape of consciousness. For Goethe we have a reified God/Nature; for Hegel we have Spirit. The crucial innovation made by Hegel is his use of the Triune structure of the concept which transcends the various dichotomies inherited from Kant whilst investing the concept with internal resources for self-mediation

A central element of Hegel’s view of the relation of man

to the Absolute, he appropriated from Goethe’s Romantic

science. Goethe’s Pantheistic conception of Urphänomen

was the single archetypal phenomena exhibiting the

essential features of some natural phenomena.

Recognition of the Urphänomen constituted a glimpse of

the Deity. Although the Urphänomen is specific to some

given complex, Goethe came to see in it a general

principle. Hegel appropriated Goethe’s idea of

Urphänomen, not unlike Herder’s Schwerpunkt, in the

Phenomenology, and transformed the archetypal norm of

a Gestalt des Bewußtseins into the Begriff of the Logic, as

an archetype of the Absolute. Expressed more generally, Goethe’s problem was this: how can we understand a complex process as a whole, as a Gestalt? Goethe rejected a

number of approaches which are characteristic of what he called ‘Newtonian’ natural science. He rejected the method of hypothesising some force or vibration or principle which controlled the complex whole from beyond the horizon of phenomena. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmeric, magnetic, and psychic phenomena and is a component in all magical operations of nature.

Hegel polemicised along the same lines in the Logic. To say that people come to the city because the

city exerts a force of attraction explains nothing. Newton’s idea of acceleration being caused by gravity simply shifts the problem from understanding a form of motion sensuously given to us, to understanding an invisible and baseless force, known only through its expression for which it is supposed to be the explanation.The Urphänomen was Goethe’s solution to the problem of how to conceive of the whole.“... the Divine, which reveals Itself in Urphänomene, physical and moral, behind which it dwells, and which proceed from It” (To Eckermann, February 13 1829, quoted in Heinemann 1934)“This spiritual breath – it is of this that I really wished to

speak and that alone is worth speaking of – is what has

necessarily given me such great delight in Your

Excellency’s exposition of the phenomena surrounding

entopic colours. What is simple and abstract, what you

strikingly call the Urphänomen, you place at the very

beginning. You then show how the intervention of further

spheres of influence and circumstances generates the

concrete phenomena, and you regulate the whole

progression so that the succession proceeds from simple

conditions to the more composite, and so that the

complex now appears in full clarity through this

decomposition. To ferret out the Urphänomen, to free it

from those further environs which are accidental to it, to

apprehend as we say abstractly – this I take to be a matter

of spiritual intelligence for nature, just as I take that

course generally to be the truly scientific knowledge in

this field” (Hegel 1984: 698).New York: akasha (akasa) Im Eastern mysticism and oeculism, the all-pervasive lile principle or all pervasive space of the cosmos. The term akasha is derived from the Sanskrit term for 'sky." The akasha is known by various other names in Western occultism and MAGIC. In Hinduism, the akasha is the substance ether, a fifth element and the subtlest of all elements. The akasha per meates everything in the universe and is the vehicle for all life and sound. In yoga, the akasha is one of three unit versal principles along with prana, the universal life force, and creative mind. These three principles are immanent in all things throughout the universe and are the sources of magical and psychic power. From the akasha comes will, an important component of magic, which enables all man ner of feats to be accomplished. In Buddhism, is not ether but space, ol which there are rwo kinds. One is space that is limited by the material, from which springs the manifestation of the elements of nature. The second is space that is unlimited, unbounded by the material and beyond description. The concept of the akasha was inaroduced to Weslern occultism in the early 20th century by hel ena p blavat sky, founder of the theosophical society. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmerie, magnetic and psychic phenomena and is a component in all magi cal operations of nature. Blavatsky compared the akasha to lhe "sidereal lighi" ol rosic rucianism, he asi ral light of iphas levi, and the odyle or odic lorce of Baron Karl von uivalent of the llebrew ruah, the Reichenbach is th in motion, or moving spirit and is identi- wind, breath, air cal with the spirit of God moving on the tace ol the waters described the akasha as incomprehensible. non-created, and undefinable. Akasha creates everything and keeps everything in bal it is the all in all.

Five arts was Goethe's method of transmuting his observation of human nature into sharable form. Drawing from his novel, Elective Affinities (Wahlverwandschaften), Goethe discerned a geheime Verwandschaft (hidden relationship) of parts that explains how one form can transform into another form whilst being part of an underlying archetypal form (Ur-phänomen). It is this organizing idea or form that guides the consideration of the parts; it is a Bild or virtual image that "emerges and re-emerges from the interaction of experience and ideas"[3] This consideration is a special type of thinking (noetic ideation or denken) carried out with a different organ of cognizance to that of the brain (mentation or sinnen), one that involves an act of creative imagination, what Goethe terms "the living imaginal beholding of Nature" (das lebendige Anschauen der Natur). Goethe's nature (natura naturans, the activity of "nature naturing" – as distinguished from natura naturata, "nature natured", the domain of naturally formed objects) is one in constant flux and flow, but nonetheless governed by law, logic and intelligence above the mind. To approach vital nature requires a different cognitive capacity (denken) and cognitive organ (Gemüt) from that used to perceive inert nature (sinnen based on the Intellect or Sinn).

Hegel goes on to speak of his philosophical appropriation of the Urphänomen: “But may I now still speak to you of the special interest that an Urphänomen, thus cast in relief, has for us philosophers, namely that we can put such a preparation – with Your Excellency’s permission – directly to

philosophical use. But if we have at last worked our

initially oyster-like Absolute – whether it be grey or

entirely black, suit yourself – through towards air and

light to the point that the Absolute has itself come to

desire this air and light, we now need to throw open the

window so as to lead the Absolute fully out into the light

of day” (Hegel 1984: 699).Leaf operculum alone all others as a blessing creativity, vitality, hope and madness and more !!! Akasha is the aura of the Earth. physically. All trace continues to exist in the akasha of the Earth, which made the Egyptians say that we can survive through supports representing us (statuettes, photos, engravings, icons) and that gives the feeling to certain peoples that being photographed traps the soul ... it's partly true but not definitively. At each new galactic hour (every 25 600 years in human years), a reset of the akasha takes place. The next is scheduled for December 21, 2012. Getting back to work can be a good thing. Pilgrims of Heaven, we are! Good day. The Astral is another name to refer to the psyche (radiation of thoughts and human emotions) and the energetic aura (electromagnetic radiation) of the Earth for me. Etheric means spiritual energy of the higher consciousness planes tand qu 'energetic' refers to terrestrial and human radiation. The Paradise are the high parts of the astral, in these circles of purity are the teachings of the Ascended Masters. There are also portals to other dimensions of life here, on Earth in the 3rd dimension we are calibrated by a heart rate, a lunar rhythm, a terrestrial electro magnetic energy and the frequencies of human thoughts and emotions. All these frequencies reduce us condense us, lower us. We live at best on the frequency of our stomach (self-enhancement individualism and competition at worst on the frequency of our gut (withdrawal on the family, devaluation of self for the benefit of the local collective, war to defend its territory against invaders, aliens, energy racism) And when one is underdeveloped socially, one is based on the root chakra, connected to the spirit of survival, leads to mistrust vis-avis humans, with the need to live outside without social constraints like solitary wild animals (sdf and marginality chosen)

en.wikipedia.org/wiki/Goethean_science

  

Frankreich / Provence - Basses gorges du Verdon

 

The Verdon Gorge (French: Gorges du Verdon Occitan: Gòrja de Verdon) is a river canyon located in the Provence-Alpes-Côte d'Azur region of Southeastern France. It is about 25 km (15.5 mi) long and up to 700 metres (0.4 mi) deep. It was formed by the Verdon River, which is named for its turquoise-green colour, one of the location's distinguishing characteristics. In between the towns of Castellane and Moustiers-Sainte-Marie, the river has cut a ravine to a depth of 700 meters through the limestone mass. At the end of the canyon, the Verdon flows into the artificial Lake of Sainte-Croix.

 

The gorge is very popular with tourists, who can drive around its rim, rent kayaks to travel on the river, or hike. The limestone walls, which are several hundreds of metres high, attract many rock climbers. It is considered an outstanding destination for multi-pitch climbing, with 1,500 routes available ranging from 20 metres (65 feet) to over 400 metres (1,300 feet).

 

History

 

During the Triassic period, the Provence subsided and was covered by the sea, leaving thick layers of various limestone deposits. Several million years later, with the arrival of the Jurassic period, the area was covered by a warm shallow sea, which allowed the growth of various corals. The Cretaceous period saw what is now Basse Provence being raised and the sea reaching the current location of the Alps, which were themselves erected during the tertiary era. As a result of the large-scale geological activity, many of the Jurassic limestone deposits fractured, forming relief with valleys and other such features. The origins of the Verdon Gorge can be traced to this era.

 

The dawn of the Quaternary period had large-scale glaciation, transforming water pockets and lakes into rivers of ice, which remodeled the topography, scouring and striating the landscape. At the end of this activity, erosion by rivers continued, forming the Gorge as it is today. The Verdon's riverbed was scoured for a second time of the accumulated coral and limestone sediments, by a water delivery rate nearing 2000 to 3000 cubic metres per second.

 

Discovery

 

The gorge was described in printed form from 1782 and 1804. By the second half of the 19th century, it was featured in French tourist guides. According to Graham Robb's book The Discovery of France, the gorge did not become known outside France until 1906.

 

Recent developments

 

On 10 July 2006, the Council of State annulled the declaration of public use of a project by EDF relating to a proposed high-voltage line which would have had to pass through the Verdon Gorge. This decision ended 23 years of struggle by public groups and associations of environmental defence to preserve a site of exceptional natural interest, of which a part contains protected animal and plant species.

 

During the 2022 European drought, the water levels in the river were very low and dried up completely in some parts.

 

Geography

 

The source of the Verdon is close to the col d'Allos hill in the Trois Eveches mountain range, whence it continues, flowing into the Durance river near Vinon-sur-Verdon after traveling 175 kilometres. Between Castellane and the Galetas bridge, the river passes through the lake of Sainte-Croix, created by the construction of a dam of the same name. Before the dam was constructed, the village of Les Salles-sur-Verdon occupied the river plain. To create the reservoir, the village was destroyed in 1973. Les Salles-sur-Verdon was reconstructed as a more modern settlement higher up the valley. Today, it is the youngest village in France.

 

For some distance the Verdon Gorge forms the border between the départements of Var to the south and Alpes-de-Haute-Provence to the north in the Provence-Alpes-Côte d'Azur région.

 

This region between Castellane and the Lac de Sainte-Croix is called the Gorges du Verdon, or Verdon Gorge. It is split into three distinct parts:

 

"Prégorges" ('pre-gorge'), from Castellane to Pont de Soleils,

the deepest part of the Gorge, from Pont de Soleils to l'Imbut, and

the Canyon from l’Imbut to the Pont du Galetas.

 

The Verdon Gorge is narrow and deep, with depths of 250 to 700 metres and widths of 6 to 100 metres at the level of the Verdon river. It is 200 to 1500 metres wide from one side of the Gorge to the other at the summits. The Gorge has been compared to the Grand Canyon in the United States.

 

Hydro-electric dams

 

Between 1929 and 1975, five dams were erected on the course of the Verdon, between Castellane and Gréoux-les-Bains. These dams hold back water in the following reservoirs:

 

Lac de Castillon, which was created by flooding the village of the same name

Lac de Sainte-Croix, flooded the village of des Salles-sur-Verdon.

Lac d'Esparron-Gréoux, known locally as "lac d’Esparron".

Reservoir at Chaudanne

Reservoir at Quinson, sometimes improperly called the "lac de Montpezat", the name of the village over which it dominates.

 

Notable features

 

The Styx du Verdon, associated with the river Styx of Greek mythology, is an area of sub-canyon within the gorge.

 

The Imbut, also known as Embut or Embucq, is an area where the Verdon disappears underground, beneath enormous rock structures, before re-emerging above ground.

 

Tourism

 

The Verdon Gorge attracts numerous tourists, especially during the summer period. The river's turquoise colour is associated with glacial sources and the minerals of rock flour suspended in the water.

 

It is easily accessible on its right bank from the north (via route D952 from Castellane to Moustiers-Sainte-Marie), and on its left bank from the south (via routes D71, D90 and D955 from Aiguines to Castellane).

 

Sport

 

The Verdon Gorge attracts many rock climbers for its more than 1,500 climbing routes on good limestone rock.

The Verdon and its Gorge are also a favoured destination for fishermen, particularly for fly fishing.

Hiking, canoeing, paragliding, rafting, climbing and canyoning are some of the sports practised in the region.

 

Hiking and scenic walks

 

The most common hikes in the gorge include:

 

Le sentier (pathway) de Martel

Le sentier de l'Imbut

Le sentier du Bastidon

Le belvédère de Rancoumas par le pont de Tusset (the Rancoumas panoramic viewpoint near the Tusset Bridge)

 

The Sentier Martel, was laid out in 1928 by the Touring Club de France.[citation needed] It was named in 1930 to honor the explorer Édouard-Alfred Martel (1859–1938). Martel had visited the Verdon in 1905 as an employee of the Southeast Electricity Company, carrying out precise geological surveys of the river. On 11 August, he and his team (explorer Armand Janet, schoolmaster Isidore Blanc, geographer Cuvelier, plaus Baptistin Flory, Fernand Honorat, Prosper Marcel, and Tessier Zurcher) began an expedition of the region. Their successful arrival at the Pas de Galetas marked the completion of the first expedition of the Verdon Canyon.

 

Other expeditions to the Verdon included Martel's team the following year; followed by Robert de Joly, who in 1928 was the first to completely cross the Verdon Gorge.

 

(Wikipedia)

 

Die Verdonschlucht, französisch Gorges du Verdon, umgangssprachlich auch Grand Canyon du Verdon, ist eine Schlucht in der französischen Provence, Département Alpes-de-Haute-Provence. Sie beginnt flussabwärts nach der Stadt Castellane und endet nahe Moustiers-Sainte-Marie im Stausee Lac de Sainte-Croix. Durch den etwa 21 km langen und bis zu 700 Meter tiefen Canyon fließt der türkisfarbene Fluss Verdon. Die Gorges du Verdon sind neben der Tara-Schlucht einer der größten Canyons Europas und Hauptbestandteil des nach ihm benannten Regionalen Naturparks Verdon.

 

Geographische Lage

 

Der Verdon entspringt in der Nähe des Col d’Allos im Bergland Trois Évêchés und mündet nach etwa 175 km in der Nähe von Vinon-sur-Verdon in die Durance. Das interessanteste Stück seines Laufes befindet sich zwischen Castellane und der Galetas-Brücke kurz vor dem Lac de Sainte-Croix. Die Schlucht von Verdon definiert über weite Strecken die Grenze zwischen den Départements Var im Süden und Alpes-de-Haute-Provence im Norden. Das Gebiet ist in drei Teilabschnitte gegliedert:

 

Die „Prégorges“ zwischen Castellane und der Brücke bei Soleils

Die Schlucht zwischen der Brücke und l’Imbut

Der Canyon zwischen l’Imbut und der Brücke von Galetas

 

Die Schlucht ist am Grund zwischen 6 und 100 m breit, die gegenüberliegenden Flanken sind zwischen 200 und 1500 m voneinander entfernt und die Tiefe variiert zwischen 250 und 700 m.

 

Entstehung

 

In der Trias-Zeit senkte sich die Provence ab und wurde vom Meer bedeckt. In der Folge lagerten sich am Grund verschiedene Schichten von Kalk (abgestorbene Muscheln u. ä.) ab. Im Jura wurde die Provence erneut von einem warmen, wenig tiefen Meer überflutet, was die Entstehung mächtiger Korallenbänke begünstigte.

 

In der Kreidezeit hob sich die Provence, und das Meer zog sich in den Bereich der heutigen Alpen zurück. Erst im Tertiär wurden die Alpen aufgefaltet. Die in der Folge zerbrechenden Kalkmassive aus der Jurazeit bestimmten das Relief und die Täler. In dieser Zeit suchte sich auch der Verdon sein Bett.

 

Im Quartär überformten die eiszeitlichen Gletscher die Landschaft. Am Ende der Vereisung nehmen die Flüsse ihre Erosionstätigkeit wieder auf. Bedingt durch die Eisschmelze waren die Wassermengen gewaltig: bis zu 3000 m³/s. Diese Mengen ermöglichten die tiefen Einschnitte im weichen Gestein.

 

Jüngere Geschichte

 

Auf dem Gebiet des heutigen Stausees, der durch den Bau des Sainte-Croix-Staudamms entstand, befand sich vor 1973 die Ortschaft Les Salles-sur-Verdon, die kurz vor der Flutung des Tals vollständig zerstört und an anderer Stelle neu aufgebaut wurde. Heute ist sie eine der jüngsten Gemeinden Frankreichs.

 

Seit dem 7. Mai 1990 ist die Schlucht offizielles Naturschutzgebiet.

 

Am 10. Juli 2006 beschloss der Conseil d’État, dass die geplante 400.000-Volt-Hochspannungsleitung der Électricité de France durch den Canyon nicht gebaut werden dürfe. Damit endete ein über 23 Jahre andauernder Kampf verschiedener Umwelt- und Naturschutzorganisation, die sich für den Erhalt der ursprünglichen Schlucht einsetzen.

 

1905: Erste vollständige Durchquerung der Schlucht durch den Speläologen Martel

1929: Grundsteinlegung des Castillon-Staudamms

1932: Unterbrechung der Bauarbeiten

1936: Ein Brand beschädigt den Staudamm

1948: Fertigstellung des Castillon-Staudamms

1951: Fertigstellung des Chaudanne-Staudamms

1960: Fertigstellung des Esparron-Gréoux-Staudamms

1973: Flutung des Sainte-Croix-Stausees

1973: Wiederaufbau der gefluteten Ortschaft Les Salles-sur-Verdon etwa 400 m entfernt

1974: Beginn der Stromproduktion des Wasserkraftwerks in Sainte-Croix

1975: Flutung des Quinson-Stausees

 

Aktivitäten

 

Auf dem Wasser

 

Teilweise lässt sich die Verdonschlucht mit Wildwasser-Kajaks befahren, im Unterlauf am Lac de Sainte-Croix auch mit größeren Booten. Der Wasserabfluss der oberen Stauseen ist zumindest während der Hauptreisezeit Juli und August einheitlich festgelegt. Um den Wassersport wie Wildwasserschwimmen, Rafting etc. zu unterstützen, wird an zwei Tagen der Woche (meist dienstags und freitags) mehr Wasser abgelassen. Der Abfluss beträgt dann 10–16 Kubikmeter Wasser pro Sekunde, an den anderen Tagen ca. 0,5 Kubikmeter Wasser pro Sekunde. Es existiert eine Hotline zur Information über aktuelle Wasserstände. In der Vor- und Nachsaison hingegen wird deutlich unregelmäßiger Wasser abgelassen, in manchen Jahren wochenlang bis zu 40 Kubikmeter pro Sekunde, in anderen wochenlang nur 0,5 Kubikmeter pro Sekunde. Bei Wassermengen über 2 bis 3 Kubikmeter wird im Wildwasserschwimmen Ungeübten vom Baden in der Strömung abgeraten. Durch unberechenbare Hindernisse wie Siphone, Unterspülungen und Holzverblockungen besteht dann Lebensgefahr.

 

Wandern

 

Das Wandern in den unzugänglicheren Regionen der Schlucht ist beliebt und gilt als ungefährlich. Die bekannteste Wander-Route durch den Verdon-Canyon beginnt und endet in der Mitte des Canyons an einem Aussichtspunkt, von dem es relativ steil über Serpentinen bergab geht. Sie führt entlang des Sentier Martel (benannt nach dem Erstdurchquerer Martel). Der Abstieg beginnt von der Route de Crête, am Vereinshaus La Maline. Unten am Fluss angelangt sollte man sich an der dortigen Weggabelung nach Norden halten und dort zügig dem Wegverlauf stromaufwärts folgen. Im Verlauf der fast sechsstündigen Wanderung – ohne Möglichkeit eines Zwischenausstieges – führt der Wanderweg beständig bergauf-bergab und über einige künstlich angelegte Leitern und Treppen abwärts. Eine davon (Brèche Imbert) ist recht steil und führt über 252 Stufen von einem Aussichtspunkt hinunter. Kurz vor Ende der Route führt der Weg durch zwei hintereinander liegende Tunnel, die als einzige Möglichkeit weiterführen. Hier sollte ursprünglich der Fluss komplett umgeleitet werden, doch das Projekt wurde nach dem Zweiten Weltkrieg aufgegeben. Die Länge des ersten Tunnels beträgt 110 m, die des zweiten 657 m.

 

Insgesamt ist für diese Bergwanderung mit etwa fünf bis sechs Stunden reiner Gehzeit zu rechnen. Am End- bzw. Ausgangspunkt Point Sublime im Norden befindet sich ein weiterer Parkplatz. Für die Rückfahrt zum Ausgangspunkt besteht die Möglichkeit, ein Schluchtentaxi oder einen allerdings selten verkehrenden Linienbus zu benutzen.

 

Klettern

 

Die Verdonschlucht war in den 1970er und 1980er Jahren eines der bedeutendsten Klettergebiete. In den 1970er Jahren wurden zahlreiche ausgesetzte technische Linien erstbegangen, in den 1980er Jahren gelang dann Kletterern wie Patrick Berhault und Patrick Edlinger die freie Begehung vieler dieser Routen. Auch heute wird in dem Gebiet noch intensiv geklettert.

 

Weitere Aktivitäten

 

Auf der Ringstraße um den Verdon-Canyon sind immer wieder Aussichtspunkte zur Schlucht hin, aber auch auf die Lavendel-Felder, für die die Region berühmt ist, angelegt. Über der Schlucht kreisen häufig Paraglider, Drachen und Segelflieger, wenn das Wetter dies zulässt. Die Pont de l’Artuby wird sehr stark von Bungee-Jumpern frequentiert. Ebenso ist die Schlucht mit ihren Pässen Ziel vieler Motorradfahrer.

 

(Wikipedia)

Every exit is an entry somewhere else.

- Tom Stoppard

  

In the quiet woods, nature’s most efficient handyman gets to work. A determined woodpecker grips a heavy cordless drill like a seasoned carpenter, boring a perfect round entryway into the tree. Wood chips scatter, echoing his rhythm of precise craftsmanship. Today’s project: a custom luxury penthouse nest, complete with reinforced walls and impeccable design. With safety goggles unseen but spirit strong, the forest’s tiniest contractor proves—sometimes, power tools make nest-building a whole lot easier.

What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

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

 

St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

 

Almost every single component of the Flavel mansion seen here came from a carpenter's shop.

 

It would be a colossal job to build a precise replica of this building today even with our power tools.

 

In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.

 

However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.

 

I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!

 

Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.

========================================================

Flavel House History

 

The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.

 

His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.

 

The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.

 

The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.

 

In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.

 

From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.

 

In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.

 

Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.

 

Eventually, the County transferred full ownership of the property to the Historical Society.

 

About the Interior

 

The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.

 

The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.

 

Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.

 

The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.

 

The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.

 

The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.

 

The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.

 

The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.

 

The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.

 

The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.

 

About the Exterior

 

The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.

 

The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.

 

Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.

 

Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.

 

Outlining the roof and verandas of the house is the original wrought-iron cresting.

 

About the Carriage House

 

The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.

 

It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.

 

In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.

 

In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.

 

Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.

astoriamuseums.org/explore/flavel-house-museum/

++++++++ FROM WIKIPEDIA ++++++++++

 

Kalimpong is a hill station in the Indian state of West Bengal. It is located at an average elevation of 1,250 metres (4,101 ft).[2] The town is the headquarters of the Kalimpong district.[3] The Indian Army's 27 Mountain Division is located on the outskirts of the town.[4]

 

Kalimpong is known for its educational institutions, many of which were established during the British colonial period.[5] It used to be a gateway in the trade between Tibet and India before China's annexation of Tibet and the Sino-Indian War. Kalimpong and neighbouring Darjeeling were major centres calling for a separate Gorkhaland state in the 1980s, and more recently in 2010.

 

The municipality sits on a ridge overlooking the Teesta River and is a tourist destination owing to its temperate climate, magnificent Himalayan beauty and proximity to popular tourist locations in the region. Horticulture is important to Kalimpong: It has a flower market notable for its wide array of orchids; nurseries, which export Himalayan grown flower bulbs, tubers and rhizomes, contribute to the economy of Kalimpong.[2] Home to Nepalisindigenous Lepchas, other ethnic groups and non-native immigrants from other parts of India, the town is a religious centre of Buddhism. The Tibetan Buddhist monastery Zang Dhok Palri Phodang holds a number of rare Tibetan Buddhist scriptures.[6]

 

The Kalimpong Science Centre, established under the Darjeeling Gorkha Hill Council (DGHC) in 2008 is a recent addition to its many tourist attractions. The Science Centre, which provides for scientific awareness among the students of the town and the locals sits atop the Deolo Hill.

Contents

 

1 Name origin

2 History

3 Geography

4 Economy

5 Transport

6 Demographics

7 Civic administration

8 People, culture, and cuisine

9 Media

10 Education

11 Flora and fauna

12 Notes

13 References

14 External links

 

Name origin

 

The precise etymology of the name Kalimpong remains unclear. There are many theories on the origin of the name. One widely accepted theory claims that the name "Kalimpong" means "Assembly (or Stockade) of the King's Ministers" in Tibetan, derived from kalon ("King's ministers") and pong ("stockade"). It may be derived from the translation "ridge where we play" from Lepcha, as it was known to be the place for traditional tribal gatherings for summer sporting events. People from the hills call the area Kalempung ("the black spurs").[7]

 

According to K.P. Tamsang, author of The Untold and Unknown Reality about the Lepchas, the term Kalimpong is deduced from the name Kalenpung, which in Lepcha means "Hillock of Assemblage";[8] in time, the name was distorted to Kalebung, and later further contorted to Kalimpong. Another possible derivation points to Kaulim, a fibrous plant found in abundance in the region.[9]

History

Katherine Graham Memorial Chapel, Dr. Graham's Homes

The Clock Tower of Kalimpong.

 

Until the mid-19th century, the area around Kalimpong was ruled in succession by the Sikkimese and Bhutanese kingdoms.[8][10] Under Sikkimese rule, the area was known as Dalingkot.[11] In 1706, the king of Bhutan won this territory from the Sikkimese monarch and renamed it Kalimpong.[11] Overlooking the Teesta Valley, Kalimpong is believed to have once been the forward position of the Bhutanese in the 18th century. The area was sparsely populated by the indigenous Lepcha community and migrant Bhutia and Limbu tribes.

 

After the Anglo-Bhutan War in 1864, the Treaty of Sinchula (1865) was signed, in which Bhutanese held territory east of the Teesta River was ceded to the British East India Company.[8] At that time, Kalimpong was a hamlet, with only two or three families known to reside there.[12] The first recorded mention of the town was a fleeting reference made that year by Ashley Eden, a government official with the Bengal Civil Service. Kalimpong was added to district of Darjeeling in 1866. In 1866–1867 an Anglo-Bhutanese commission demarcated the common boundaries between the two, thereby giving shape to the Kalimpong subdivision and the Darjeeling district.[13]

 

After the war, the region became a subdivision of the Western Duars district, and the following year it was merged with the district of Darjeeling.[8] The temperate climate prompted the British to develop the town as an alternative hill station to Darjeeling, to escape the scorching summer heat in the plains. Kalimpong's proximity to the Nathu La and Jelep La passes (La means "pass"), offshoots of the ancient Silk Road, was an added advantage. It soon became an important trading outpost in the trade of furs, wools and food grains between India and Tibet.[14] The increase in commerce attracted large numbers of Nepali's from the neighbouring Nepal and the lower regions of Sikkim, the areas where, Nepali's were residing since the Gorkha invasion of Sikkim in 1790. The movement of people into the area, transformed Kalimpong from a small hamlet with a few houses, to a thriving town with increased economic prosperity. Britain assigned a plot within Kalimpong to the influential Bhutanese Dorji family, through which trade and relations with Bhutan flowed. This later became Bhutan House, a Bhutanese administrative and cultural centre.[15][16][17]

 

The arrival of Scottish missionaries saw the construction of schools and welfare centres for the British.[12] Rev. W. Macfarlane in the early 1870s established the first schools in the area.[12] The Scottish University Mission Institution was opened in 1886, followed by the Kalimpong Girls High School. In 1900, Reverend J.A. Graham founded the Dr. Graham's Homes for destitute Anglo-Indian students.[12] The young missionary (and aspiring writer and poet) Aeneas Francon Williams, aged 24, arrived in Kalimpong in 1910 to take up the post of assistant schoolmaster at Dr. Graham's Homes,[18] where he later became Bursar and remained working at the school for the next fourteen years.[19] From 1907 onwards, most schools in Kalimpong had started offering education to Indian students. By 1911, the population comprised many ethnic groups, including Nepalis, Lepchas, Tibetans, Muslims, the Anglo-Indian communities. Hence by 1911, the population had swollen to 7,880.[12]

 

Following Indian independence in 1947, Kalimpong became part of the state of West Bengal, after Bengal was partitioned between India and East Pakistan. With China's annexation of Tibet in 1959, many Buddhist monks fled Tibet and established monasteries in Kalimpong. These monks brought many rare Buddhist scriptures with them. In 1962, the permanent closure of the Jelep Pass after the Sino-Indian War disrupted trade between Tibet and India, and led to a slowdown in Kalimpong's economy. In 1976, the visiting Dalai Lama consecrated the Zang Dhok Palri Phodang monastery, which houses many of the scriptures.[12]

Most large houses in Kalimpong were built during the British era. In the background is Mount Kangchenjunga.

Morgan House is a classic example of colonial architecture in Kalimpong.

 

Between 1986 and 1988, the demand for a separate state of Gorkhaland and Kamtapur based on ethnic lines grew strong. Riots between the Gorkha National Liberation Front (GNLF) and the West Bengal government reached a stand-off after a forty-day strike. The town was virtually under siege, and the state government called in the Indian army to maintain law and order. This led to the formation of the Darjeeling Gorkha Hill Council, a body that was given semi-autonomous powers to govern the Darjeeling district, except the area under the Siliguri subdivision. Since 2007, the demand for a separate Gorkhaland state has been revived by the Gorkha Janmukti Morcha and its supporters in the Darjeeling hills.[20] The Kamtapur People's Party and its supporters' movement for a separate Kamtapur state covering North Bengal have gained momentum.[21]

Geography

A view from the Deolo Resort, atop Deolo Hill, Kalimpong's highest point

 

The town centre is on a ridge connecting two hills, Deolo Hill and Durpin Hill,[12] at an elevation of 1,247 m (4,091 ft). Deolo, the highest point in Kalimpong, has an altitude of 1,704 m (5,591 ft) and Durpin Hill is at an elevation of 1,372 m (4,501 ft). The River Teesta flows in the valley below and separates Kalimpong from the state of Sikkim. The soil in the Kalimpong area is typically reddish in color. Occasional dark soils are found due to extensive existence of phyllite and schists.[22] The Shiwalik Hills, like most of the Himalayan foothills, have steep slopes and soft, loose topsoil, leading to frequent landslides in the monsoon season.[22] The hills are nestled within higher peaks and the snow-clad Himalayan ranges tower over the town in the distance. Mount Kanchenjunga at 8,586 m (28,169 ft) the world's third tallest peak,[23] is clearly visible from Kalimpong.[2]

View of the Himalaya range

 

Kalimpong has five distinct seasons: spring, summer, autumn, winter and the monsoons. The annual temperature ranges from a high of 30 °C (86 °F) to a low of 9 °C (48 °F). Summers are mild, with an average maximum temperature of 30 °C (86 °F) in August.[24] Summers are followed by the monsoon rains which lash the town between June and September. The monsoons are severe, often causing landslides which sequester the town from the rest of India. Winter lasts from December to February, with the maximum temperature being around 15 °C (59 °F). During the monsoon and winter seasons, Kalimpong is often enveloped by fog.[25]

Economy

Oranges grown in the hillsides are exported to many parts of India.

 

Tourism is the most significant contributor to Kalimpong's economy.[26] The summer and spring seasons are the most popular with tourists, keeping many of town's residents employed directly and indirectly. The town—earlier an important trade post between India and Tibet—hopes to boost its economy after the reopening of the Nathu La (pass) in April 2006.[27] Though this has resumed Indo–China border trades,[28] it is expected that Kalimpong will have a better chance of revival as a hub for Indo–China trades if the demand of local leaders for reopening of Jelep La pass also is met.[28]

 

Kalimpong is a major ginger growing area of India. Kalimpong and the state of Sikkim together contribute 15 percent of ginger produced in India.[29] The Darjeeling Himalayan hill region is internationally famous for its tea industry.[30] However, most of the tea gardens are on the western side of Teesta river (towards the town of Darjeeling) and so tea gardens near Kalimpong contribute only 4 percent of total tea production of the region. In Kalimpong division, 90 percent of land is cultivable but only 10 percent is used for tea production.[31] Kalimpong is well known for its flower export industry—especially for its wide array of indigenous orchids and gladioli.[32]

 

A significant contributor to the town's economy is education sector.[26] The schools of Kalimpong, besides imparting education to the locals, attract a significant number of students from the plains, the neighbouring state of Sikkim and countries such as Bhutan, Bangladesh, Nepal and Thailand.[26]

 

Many establishments cater to the Indian army bases near the town, providing it with essential supplies. Small contributions to the economy come by the way of the sale of traditional arts and crafts of Sikkim and Tibet. Government efforts related to sericulture, seismology, and fisheries provide a steady source of employment to many of its residents.

 

Kalimpong is well renowned for its cheese, noodles and lollipops. Kalimpong exports a wide range of traditional handicrafts, wood-carvings, embroidered items, bags and purses with tapestry work, copper ware, scrolls, Tibetan jewellery and artifacts.[32][33]

Transport

NH31A winds along the banks of the river Teesta near Kalimpong.

 

Kalimpong is located off the National Highway 31A (NH31A), which links Sevok to Gangtok. The NH31A is an offshoot of the NH 31, which connects Sevok to Siliguri.[34] These two National Highways together, via Sevok, links Kalimpong to the plains.[35] Regular bus services and hired vehicles connect Kalimpong with Siliguri and the neighbouring towns of Kurseong, Darjeeling and Gangtok. Four wheel drives are popular means of transport, as they can easily navigate the steep slopes in the region. However, road communication often get disrupted in the monsoons due to landslides. In the town, people usually travel by foot. Residents also use bicycle, two-wheelers and hired taxis for short distances.

 

The nearest airport is in Bagdogra near Siliguri, about 80 kilometres (50 mi) from Kalimpong. Air India, Jet Airways and Druk Air (Bhutan) are the four major carriers that connect the airport to Delhi, Kolkata, Paro (Bhutan), Guwahati and Bangkok (Thailand). The closest major railway station is New Jalpaiguri, on the outskirts of Siliguri,[2] which is connected with almost all major cities of the country.

Demographics

Population growth

 

At the 2011 India census,[37] Kalimpong town area had a population of 42,988, of which 52% were male and 48% female.[37]

 

At the 2001 census,[38] Kalimpong had an average literacy rate of 79%, higher than the national average of 59.5%: male literacy was 84%, and female literacy was 73%. In Kalimpong, 8% of the population was under 6 years of age. The Scheduled castes and scheduled tribes population for Kalimpong was 5,100 and 5,121 respectively.[39]

Civic administration

 

Kalimpong is the headquarters of the Kalimpong district. The semi-autonomous Darjeeling Gorkha Hill Council (DGHC), set up by the West Bengal government in 1988, administers this district as well as the Darjeeling Sadar and Kurseong subdivisions.[40] Kalimpong elects eight councillors to the DGHC, who manages the departments of Public Health, Education, Public Works, Transport, Tourism, Market, Small scale industries, Agriculture, Agricultural waterways, Forest (except reserved forests), Water, Livestock, Vocational Training and Sports and Youth services.[41] The district administration of Darjeeling, which is the authoritative body for the departments of election, panchayat, law and order, revenue, etc., also acts as an interface of communication between the Council and the State Government.[41] The rural area in the district covers three community development blocks Kalimpong I, Kalimpong II and Gorubathan consisting of forty-two gram panchayats.[42] A Sub-Divisional Officer (SDO) presides over the Kalimpong subdivision. Kalimpong has a police station that serves the municipality and 18 gram panchayats of Kalimpong–I CD block.[43]

 

The Kalimpong municipality, which was established in 1945,[39] is in charge of the infrastructure of the town such as potable water and roads. The municipal area is divided into twenty-three wards.[44] Kalimpong municipality is constructing additional water storage tanks to meet the requirement of potable water, and it needs an increase of water supply from the 'Neora Khola Water Supply Scheme' for this purpose.[45] Often, landslides occurring in monsoon season cause havoc to the roads in and around Kalimpong.[46] The West Bengal State Electricity Distribution Corporation Limited (WBSEDCL) provides electricity here.[47] Renewable Energy Development Agency of the state has plans to promote usage of solar street lights in Kalimpong and proposed an energy park here to sell renewable energy gadgets.[48] The Public Works Department is responsible for the road connecting the town to the National Highway–NH-31A.[49] The Kalimpong municipality has a total of 10 health care units, with a total of 433 bed capacity.[50]

 

The Kalimpong assembly constituency, which is an assembly segment of the Darjeeling parliamentary constituency, elects one member of the Vidhan Sabha of West Bengal.[51]

People, culture, and cuisine

The Zang Dhok Palri Phodang monastery atop Durpin Hill

 

The original settlers of Kalimpong are the Lepchas, although the majority of the populace are ethnic Nepali, having migrated from Nepal to Kalimpong in search of jobs while it was under British rule.[52]

 

Indigenous ethnic groups include the Newars, Bhutia, Sherpas, Limbus, Rais, Magars,[53] Chettris, Bahuns, Thakuris, Gurungs, Tamangs, Yolmos, Bhujels, Sunuwars, Sarkis, Damais and the Kamis.[54] The other non-native communities as old as the Nepalese are the Bengalis, Muslims, Anglo-Indians, Chinese, Biharis and Tibetans who escaped to Kalimpong after fleeing the Communist Chinese invasion of Tibet. Kalimpong is home to Trinley Thaye Dorje—one of the 17th Karmapa incarnations.[55] Kalimpong is the closest Indian town to Bhutan's western border, and has a small number of Bhutanese nationals residing here. Hinduism is the largest religion followed by Nijananda Sampradaya, Buddhism and Christianity.[53] Islam has a minuscule presence in this region, The Oldest settlers include people residing since the mid of 19th Century and also mostly Tibetan Muslims who fled in 1959 after Chinese invasion of Tibet.[56] The Buddhist monastery Zang Dhok Palri Phodang holds a number of rare Tibetan Buddhist scriptures.[6] There is a Mosque, Kalimpong Anjuman Islamia Established in 1887 in the bazaar area of Kalimpong.[57]

 

Popular Hindu festivals include Dashain, Tihar, Cultural Programme and the Tibetan festival of Losar. Languages spoken in Kalimpong include Nepali, which is the predominant language; Lepcha, Limbu, Tamang, Kirat, Hindi, English and Bengali.[2] Though there is a growing interest in cricket as a winter sport in Darjeeling Hills, football still remains the most popular sport in Kalimpong.[58] Every year since 1947, the Independence Shield Football Tournament is organized here as part of the two-day-long Independence Day celebrations.[59] Former captain of India national football team, Pem Dorjee hails from Kalimpong.[60]

 

A popular snack in Kalimpong is the momo, steamed dumplings made of pork, beef or vegetable cooked in a wrapping of flour and served with watery soup. Wai-Wai is a packaged Nepalese snack made of noodles which are eaten either dry or in soup form. Churpee, a kind of hard cheese made from yak's or chauri's (a hybrid of yak and cattle) milk, is sometimes chewed.[61] A form of noodle called Thukpa, served in soup form is popular in Kalimpong.[62] There are a large number of restaurants which offer a wide variety of cuisines, ranging from Indian to continental, to cater to the tourists. Tea is the most popular beverage in Kalimpong, procured from the famed Darjeeling tea gardens. Kalimpong has a golf course besides Kalimpong Circuit House.[2][63]

 

The cultural centres in Kalimpong include, the Lepcha Museum and the Zang Dhok Palri Phodang monastery. The Lepcha Museum, a kilometre away from the town centre, showcases the culture of the Lepcha community, the indigenous peoples of Sikkim. The Zang Dhok Palri Phodong monastery has 108 volumes of the Kangyur, and belongs to the Gelug of Buddhism.

Media

 

Kalimpong has access to most of the television channels aired in the rest of India. Cable Television still provides service to many homes in the town and it's outskirts, while DTH connections are now practically mandatory throughout the country. Besides mainstream Indian channels, many Nepali-language channels such as Dainandini DD, Kalimpong Television KTv, Haal Khabar (an association of the Hill Channel Network), Jan Sarokar, Himalayan People's Channel (HPC), and Kalimpong Times are broadcast in Kalimpong. These channels, which mainly broadcast locally relevant news, are produced by regional media houses and news networks, and are broadcast through the local cable network, which is now slowly becoming defunct due to the Indian government's ruling on mandatory digitization of TV channels. The movie production houses like JBU films produces the movies on the nepali and other languages.[64]

 

Newspapers in Kalimpong include English language dailies The Statesman and The Telegraph, which are printed in Siliguri,[65][66] and The Economic Times and the Hindustan Times, which are printed in Kolkata.

 

Among other languages, Nepali, Hindi and Bengali are prominent vernacular languages used in this region.[25] Newspapers in all these four languages are available in the Darjeeling Hills region. Of the largely circulated Nepali newspapers Himalay Darpan, Swarnabhumi and some Sikkim-based Nepali newspapers like Hamro Prajashakti and Samay Dainik are read most.[67] The Tibet Mirror was the first Tibetan-language newspaper published in Kalimpong in 1925.[68] while Himalayan Times was the first English to have come out from Kalimpong in the year 1947, it was closed down in the year 1962 after the Chinese aggression but was started once again and is now in regular print. Internet service and Internet cafés are well established; these are mostly served through broadband, data card of different mobile services, WLL, dialup lines,[69][70] Kalimpong News, Kalimpong Online News, Kalimpong Times and KTV are the main online news sites that collect and present local and North Bengal & Sikkim news from its own agencies like KalimNews and other newspapers. Besides this there are others like kalimpong.info, kalimpongexpress.blogspot.com and several others. All India Radio and several other National and Private Channels including FM Radio are received in Kalimpong.

 

The area is serviced by major telecommunication companies of India with most types of cellular services in most areas.[71]

Education

 

There are fifteen major schools in Kalimpong, the most notable ones being Scottish Universities Mission Institution, Dr. Graham's Homes, St Joseph's Convent, St. Augustine's School, Rockvale Academy, Saptashri Gyanpeeth, Springdale Academy, St. Philomenas School, Kalimpong Girls' High School, Kumdini Homes, Chandramaya High School, Lolay Sampu High School and Gandhi Ashram School. The Scottish Universities Mission Institution was the first school that was opened in 1886. The schools offer education up to high secondary standard, following which students may choose to join a Junior College or carry on with additional two years of schooling.

 

Kalimpong College, Cluny Women's College and Rockvale Management College are the main colleges in the town. Former two are affiliated to the North Bengal University and the latter affiliated to West Bengal University of Technology and apart from these, Good Shepherd IHM (Hotel management Institution) offers courses on hospitality sectors. Most students however, choose to further their studies in Siliguri, Kolkata, and other colleges in the Indian metropolis. The Tharpa Choling Monastery, at Tirpai Hill near Kalimpong, is managed by Yellow Hat sect and has a library of Tibetan manuscripts and thankas.

Flora and fauna

Heliconia

 

The area around Kalimpong lies in the Eastern Himalayas, which is classified as an ecological hotspot, one of only three among the ecoregions of India. Neora Valley National Park lies within the Kalimpong subdivision and is home to tigers.[72] Acacia is the most commonly found species at lower altitudes, while cinnamon, ficus, bamboo and cardamom, are found in the hillsides around Kalimpong. The forests found at higher altitudes are made up of pine trees and other evergreen alpine vegetation. Seven species of rhododendrons are found in the region east of Kalimpong. The temperate deciduous forests include oak, birch, maple and alder.[73] Three hundred species of orchid are found around Kalimpong.[74]

 

The Red panda, Clouded leopard, Siberian weasel, Asiatic black bear,[75] barking deer,[76] Himalayan tahr, goral, gaur[76] and pangolin are some of the fauna found near Kalimpong. Avifauna of the region include the pheasants, cuckoos, minivets, flycatchers, bulbuls, orioles, owls, partridges, sunbirds, warblers, swallows, swifts and woodpeckers.[77]

 

Kalimpong is a major production centre of gladioli in India,[78] and orchids, which are exported to many parts of the world. The Rishi Bankim Chandra Park is an ecological museums within Kalimpong.[79] Citrus Dieback Research Station at Kalimpong works towards control of diseases, plant protection and production of disease free orange seedlings.[80]

 

Kalimpong is also famous for their rich practice of cactus cultivation. Its nurseries attract people from far and wide for the absolutely stunning collection of cacti they cultivate. The strains of cacti, though not indigenous to the locale, have been carefully cultivated over the years, and now the town boasts one of the most fascinating and exhaustive collections of the Cactaceae family. The plants have adapted well to the altitude and environment, and now prove to be one of the chief draws of tourism to the township.[81][82]

Radiant by artist Nicky Assmann (1980, lives and works in Rotterdam), in TENT. Radiant is a dynamic ‘mobile’ sculpture in which optical patterns and colour effects appear, due to a precise balance between space, form, movement and light.

www.tentrotterdam.nl/en/show/nicky-assmann-radiant/

♪ Once upon a time or two

I think I lost my mind with you

Too many times to be precise

We take a toke and drink the wine

We got the users over there

We got the whores right here

Right here ♫

 

----

 

Featuring an excerpt by Syndel Markus and Hycanthian Zsigmond:

 

Silver Aberdene's frame was tucked against the building, the broken wing hadn't healed and had crusted blood down to the cement. The wet blood just rested in congealed pool, feathers moving ever so often into it and out of it with her shallow breathing. Burns spanned from her forehead on down to the tips of her toes, what little clothing she had was gunked with burnt skin that crackled and hissed with each passing breath, nothing had even come close to trying to heal. Shadowed dust was staying just inches above the skin, keeping her in this state but not all the burns had come from her encounter. Some of the burn was from the burnt brick, her back was resting against it and seeming to barbeque continually. A soft noise came out when her head tilted, curls having kinked to the burn and it was missing in some spots. The good wing seemed untouched, agitated and moving.

 

Ms. Syn finds the angel in bad shape, she walks towards her, studying her state and whispers, "What a fucking mess.... and the smell... so glad I'm not biological." She says to you, "Hey you there. Are you conscious? What do you have of value that someone would do this to you?"

 

----

Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.

Unusual to find such a precise date on one of these little publicity or advertising recipe booklets but this has a date of 1929 and also has a gummed in slip showing the full range of Bird's 'Household Specialities' and a retail price list for 1930. Such booklets were commonplace marketing material for companies such as Bird's who were amongst the pioneers of 'ready made' or branded food products that were sold on the national market and that advertised heavily - a product of Victorian food technology, transport and newspapers.

 

Alfred Bird's origins were in invention of their still famous 'custard' powder that replaced the real thing with a dissolvable powder based on cornflour starch, colourings and vanilla flavours. They also made a wide range of similar baking and pudding 'specialities' as can be seen from the list. An old established Birmingham company now simply a brand of an international concern, their home city heritage is still to be found thanks to a re-use of the 'Custard Factory' and the survival of the railings that use the famous trilling bird motif seen here. This was first introduced in the 1920s by the company.

 

atelier ying, nyc

 

This is a wonderful accessory for this famed conductor known for his precise yet lyric and exciting interpretations. Here the metaphor seems to be that he works the orchestra as a race car, recalled in the 35ti's ultra-cool dashboard atop the camera, and it's high quality optics. It is very difficult to modify such a tiny camera as the machinery is packed so densely inside. However, this design proposes twin hydroponic gardens reminiscent of Sir Georg's countryside hut in Roccamere where he studied orchestral scores and prepared for his seasons as music director of the Chicago Symphony. The gardens are a living memento of his favorite retreat, containing moss from the site. The "Swarovski" styling mimics piano keys as Solti was a concert pianist and spent much of his early career as a repetiteur for the ballet. Solti as a street photographer is an interesting proposition. His conducting style is visually unforgettable; you were either addicted to it or nauseated by it. i have a photo of him horsing around with a singer both of them carrying water guns during a picnic. The idea of Solti on a busy corner shooting street might be a tad intimidating. I've been making plans for more Solti-inspired cameras, his legendary Ring cycle recording, etc. It's easier for me to say things across a few designs rather than clump it all together in one creation. And I'd really like one of these Nikons too. The Rollei 35 is also on my mind.

Those that follow my drawings might ask themselves, why the combination of these unsuitable ideas for a camera? Actually, cameras with fantasies allow me to work and think at a detached aesthetic distance; it frees my mind, like the element of chance did in the work of John Cage or Marcel Duchamp.

Note that this plan is only for the all-black Nikon 35TI. Also, the "oxidized copper" moss cladding will need a breathable plastic cover for short term storage to protect the optics of the camera.

 

This design drawing is copyright 2013 by David Lo,

  

Very cute bat, and very precise anatomically. I made six of them before I was satisfied! Peyton's origami is not easy at all!!

..tigress to be precise.

This was one very close encounter with the tigress in wild.

This tigress keeping an eye on us moved few feets away.

And I was in an open jeep.

 

This is first time I felt the limitation of my prime 300mm lens. If I had a zoom, I could have got better composition.

 

But I am assuming this is that one off situation, all though I would like to see this beautiful animal closely, but only from a well sealed vehicle :)

 

This photo was taken at Tadoba Andhari Tiger Reserve.

Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.

Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.