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Statement by

H.E. Mr. Benjamin Netanyahu

Prime Minister of the State of Israel

23 September 2011

 

Ladies and gentlemen, Israel has extended its hand in peace from the moment it was

established 63 years ago. On behalf of Israel and the Jewish people, I extend that

hand again today. I extend it to the people of Egypt and Jordan, with renewed

friendship for neighbors with whom we have made peace. I extend it to the people of

Turkey, with respect and good will. I extend it to the people of Libya and Tunisia,

with admiration for those trying to build a democratic future. I extend it to the other

peoples of North Africa and the Arabian Peninsula, with whom we want to forge a

new beginning. I extend it to the people of Syria, Lebanon and Iran, with awe at the

courage of those fighting brutal repression.

But most especially, I extend my hand to the Palestinian people, with whom we seek a

just and lasting peace.

Ladies and gentlemen, in Israel our hope for peace never wanes. Our scientists,

doctors, innovator apply their genius to improve the world of tomorrow. Our artists,

our writers, enrich the heritage of humanity. Now, I know that this is not exactly the

image of Israel that is often portrayed in this hall. After all, it was here in 1975 that

the age-old yearning of my people to restore our national life in our ancient biblical

homeland -- it was then that this was branded shamefully, as racism. And it was here

in 1980, right here, that the historic peace agreement between Israel and Egypt wasn't

praised; it was denounced! And it's here, year after year that Israel is unjustly singled

out for condemnation. It's singled out for condemnation more often than all the

nations of the world combined. Twenty-one out of the 27 General Assembly

resolutions condemn Israel -- the one true democracy in the Middle East.

Well, this is an unfortunate part of the U.N. institution. It's the -- the theater of the

absurd. It doesn't only cast Israel as the villain; it often casts real villains in leading

roles: Gadhafi's Libya chaired the U.N. Commission on Human Rights; Saddam's

Iraq headed the U.N. Committee on Disarmament. You might say: That's the past.

Well, here's what's happening now -- right now, today, Hezbollah-controlled

Lebanon now presides over the U.N. Security Council. This means, in effect, that a

terror organization presides over the body entrusted with guaranteeing the world's

security.

You couldn't make this thing up.

So here in the U.N., automatic majorities can decide anything. They can decide that

the sun sets in the west or rises in the west. I think the first has already been preordained.

But they can also decide -- they have decided -- that the Western Wall in

Jerusalem, Judaism's holiest place, is occupied Palestinian territory.

  

And yet even here in the General Assembly, the truth can sometimes break through.

In 1984 when I was appointed Israel's ambassador to the United Nations, I visited the

great rabbi of Lubavich. He said to me -- and ladies and gentlemen, I don't want any

of you to be offended because from personal experience of serving here, I know there

are many honorable men and women, many capable and decent people, serving their

nations here -- But here's what the rebbe said to me. He said to me, you'll be serving

in a house of many lies. And then he said, remember that even in the darkest place,

the light of a single candle can be seen far and wide.

Today I hope that the light of truth will shine, if only for a few minutes, in a hall that

for too long has been a place of darkness for my country. So as Israel's prime minister,

I didn't come here to win applause. I came here to speak the truth. The truth is -- the

truth is that Israel wants peace. The truth is that I want peace. The truth is that in the

Middle East at all times, but especially during these turbulent days, peace must be

anchored in security. The truth is that we cannot achieve peace through U.N.

resolutions, but only through direct negotiations between the parties. The truth is that

so far the Palestinians have refused to negotiate. The truth is that Israel wants peace

with a Palestinian state, but the Palestinians want a state without peace. And the truth

is you shouldn't let that happen.

Ladies and gentlemen, when I first came here 27 years ago, the world was divided

between East and West. Since then the Cold War ended, great civilizations have risen

from centuries of slumber, hundreds of millions have been lifted out of poverty,

countless more are poised to follow, and the remarkable thing is that so far this

monumental historic shift has largely occurred peacefully. Yet a malignancy is now

growing between East and West that threatens the peace of all. It seeks not to liberate,

but to enslave, not to build, but to destroy.

That malignancy is militant Islam. It cloaks itself in the mantle of a great faith, yet it

murders Jews, Christians and Muslims alike with unforgiving impartiality. On

September 11th it killed thousands of Americans, and it left the twin towers in

smoldering ruins. Last night I laid a wreath on the 9/11 memorial. It was deeply

moving. But as I was going there, one thing echoed in my mind: the outrageous

words of the president of Iran on this podium yesterday. He implied that 9/11 was an

American conspiracy. Some of you left this hall. All of you should have.

Since 9/11, militant Islamists slaughtered countless other innocents -- in London and Madrid, in Baghdad and Mumbai, in Tel Aviv and Jerusalem, in every part of Israel. I believe that the greatest danger facing our world is that this fanaticism will arm itself with nuclear weapons. And this is precisely what Iran is trying to do.

Can you imagine that man who ranted here yesterday -- can you imagine him armed

with nuclear weapons? The international community must stop Iran before it's too late.

  

That would be a tragedy. Millions of Arabs have taken to the streets to replace

tyranny with liberty, and no one would benefit more than Israel if those committed to

freedom and peace would prevail.

This is my fervent hope. But as the prime minister of Israel, I cannot risk the future of

the Jewish state on wishful thinking. Leaders must see reality as it is, not as it ought to

be. We must do our best to shape the future, but we cannot wish away the dangers of

the present.

And the world around Israelis definitely becoming more dangerous. Militant Islam

has already taken over Lebanon and Gaza. It's determined to tear apart the peace

treaties between Israel and Egypt and between Israel and Jordan. It's poisoned many

Arab minds against Jews and Israel, against America and the West. It opposes not the

policies of Israel but the existence of Israel.

Now, some argue that the spread of militant Islam, especially in these turbulent times

-- if you want to slow it down, they argue, Israel must hurry to make concessions, to

make territorial compromises. And this theory sounds simple. Basically it goes like

this: Leave the territory, and peace will be advanced. The moderates will best

rengthened, the radicals will be kept at bay. And don't worry about the pesky details

of how Israel will actually defend itself; international troops will do the job.

These people say to me constantly: Just make a sweeping offer, and everything will

work out. You know, there's only one problem with that theory. We've tried it and it

hasn't worked. In 2000 Israel made a sweeping peace offer that met virtually all of

the Palestinian demands. Arafat rejected it. The Palestinians then launched a terror

attack that claimed a thousand Israeli lives.

Prime Minister Olmert afterwards made an even more sweeping offer, in 2008.

President Abbas didn't even respond to it.

But Israel did more than just make sweeping offers. We actually left territory. We

withdrew from Lebanon in2000 and from every square inch of Gaza in 2005. That

didn't calm the Islamic storm, the militant Islamic storm that threatens us. It only

brought the storm closer and made it stronger.

Hezbollah and Hamas fired thousands of rockets against our cities from the very

territories we vacated. See, when Israel left Lebanon and Gaza, the moderates didn't

defeat the radicals, the moderates were devoured by the radicals. And I regret to say

that international troops like UNIFIL in Lebanon and EUBAM in Gaza didn't stopthe

radicals from attacking Israel.

 

We left Gaza hoping for peace.

We didn't freeze the settlements in Gaza, we uprooted them. We did exactly what the

theory says: Get out, go back to the 1967 borders, dismantle the settlements.

And I don't think people remember how far we went to achieve this. We uprooted

thousands of people from their homes. We pulled children out of -- out of their

schools and their kindergartens. We bulldozed synagogues. We even -- we even

moved loved ones from their graves. And then, having done all that, we gave the keys

of Gaza to President Abbas.

Now the theory says it should all work out, and President Abbas and the Palestinian

Authority now could build a peaceful state in Gaza. You can remember that the entire

world applauded. They applauded our withdrawal as an act of great statesmanship. It

was a bold act of peace.

But ladies and gentlemen, we didn't get peace. We got war. We got Iran, which

through its proxy Hamas promptly kicked out the Palestinian Authority. The

Palestinian Authority collapsed in a day -- in one day.

President Abbas just said on this podium that the Palestinians are armed only with

their hopes and dreams. Yeah, hopes, dreams and 10,000 missiles and Grad rockets

supplied by Iran, not to mention the river of lethal weapons now flowing into Gaza

from the Sinai, from Libya, and from elsewhere.

Thousands of missiles have already rained down on our cities. So you might

understand that, given all this, Israelis rightly ask: What's to prevent this from

happening again in the West Bank? See, most of our major cities in the south of the

country are within a few dozen kilometers from Gaza. But in the center of the country,

opposite the West Bank, our cities are a few hundred meters or at most a few

kilometers away from the edge of the West Bank.

So I want to ask you. Would any of you -- would any of you bring danger so close to

your cities, to your families? Would you act so recklessly with the lives of your

citizens? Israelis prepared to have a Palestinian state in the West Bank, but we're not

prepared to have another Gaza there. And that's why we need to have real security

arrangements, which the Palestinians simply refuse to negotiate with us.

Israelis remember the bitter lessons of Gaza. Many of Israel's critics ignore them.

They irresponsibly advise Israel to go down this same perilous path again. Your read

what these people say and it's as if nothing happened -- just repeating the same advice,

the same formulas as though none of this happened.

  

And these critics continue to press Israel to make far-reaching concessions without

first assuring Israel's security. They praise those who unwittingly feed the insatiable

crocodile of militant Islam as bold statesmen. They cast as enemies of peace those of

us who insist that we must first erect a sturdy barrier to keep the crocodile out, or at

the very least jam an iron bar between its gaping jaws.

So in the face of the labels and the libels, Israel must heed better advice. Better a bad

press than a good eulogy, and better still would be a fair press whose sense of history

extends beyond breakfast, and which recognizes Israel's legitimate security concerns.

I believe that in serious peace negotiations, these needs and concerns can be properly

addressed, but they will not be addressed without negotiations. And the needs are

many, because Israel is such a tiny country. Without Judea and Samaria, the West

Bank, Israel is all of 9 miles wide.

I want to put it for you in perspective, because you're all in the city. That's about twothirds

the length of Manhattan. It's the distance between Battery Park and Columbia

University. And don't forget that the people who live in Brooklyn and New Jersey are

considerably nicer than some of Israel's neighbors.

So how do you -- how do you protect such a tiny country, surrounded by people

sworn to its destruction and armed to the teeth by Iran? Obviously you can't defend it

from within that narrow space alone. Israel needs greater strategic depth, and that's

exactly why Security Council Resolution 242 didn't require Israel to leave all the

territories it captured in the Six-Day War. It talked about withdrawal from territories,

to secure and defensible boundaries. And to defend itself, Israel must therefore

maintain a long-term Israeli military presence in critical strategic areas in the West

Bank.

I explained this to President Abbas. He answered that if a Palestinian state was to be a

sovereign country, it could never accept such arrangements. Why not? America has

had troops in Japan, Germany and South Korea for more than a half a century. Britain

has had an an air base in Cyprus. France has forces in three independent African

nations. None of these states claim that they're not sovereign countries.

And there are many other vital security issues that also must be addressed. Take the

issue of airspace. Again, Israel's small dimensions create huge security problems.

America can be crossed by jet airplane in six hours. To fly across Israel, it takes three

minutes. So is Israel's tiny airspace to be chopped in half and given to a Palestinian

state not at peace with Israel?

Our major international airport is a few kilometers away from the West Bank.

Without peace, will our planes become targets for antiaircraft missiles placed in the

adjacent Palestinian state? And how will we stop the smuggling into the West Bank?

 

I bring up these problems because they're not theoretical problems. They're very real.

And for Israelis, they're life-and- death matters. All these potential cracks in Israel's

security have to be sealed in a peace agreement before a Palestinian state is declared,

not afterwards, because if you leave it afterwards, they won't be sealed. And these

problems will explode in our face and explode the peace.

The Palestinians should first make peace with Israel and then get their state. But I also

want to tell you this. After such a peace agreement is signed, Israel will not be the last

country to welcome a Palestinian state as a new member of the United Nations. We

will be the first.

And there's one more thing. Hamas has been violating international law by holding

our soldier Gilad Shalit captive for five years.

They haven't given even one Red Cross visit. He's held in a dungeon, in darkness,

against all international norms. Gilad Shalit is the son of Aviva and Noam Shalit. He

is the grandson of Zvi Shalit, who escaped the Holocaust by coming to the -- in the

1930s as a boy to the land of Israel. Gilad Shalit is the son of every Israeli family.

Every nation represented here should demand his immediate release. If you want to

pass a resolution about the Middle East today, that's the resolution you should pass.

Ladies and gentlemen, last year in Israel in Bar-Ilan University, this year in the

Knesset and in the U.S. Congress, I laid out my vision for peace in which a

demilitarized Palestinian state recognizes the Jewish state. Yes, the Jewish state. After

all, this is the body that recognized the Jewish state 64 years ago. Now, don't you

think it's about time that Palestinians did the same?

The Jewish state of Israel will always protect the rights of all its minorities, including

the more than 1million Arab citizens of Israel. I wish I could say the same thing about

a future Palestinian state, for as Palestinian officials made clear the other day-- in fact,

I think they made it right here in New York -- they said the Palestinian state won't

allow any Jews in it. They'll be Jew-free -- Judenrein. That's ethnic cleansing. There

are laws today in Ramallah that make the selling of land to Jews punishable by death.

That's racism. And you know which laws this evokes.

Israel has no intention whatsoever to change the democratic character of our state. We

just don't want the Palestinians to try to change the Jewish character of our state. We

want to give up -- we want them to give up the fantasy of flooding Israel with millions

of Palestinians.

 

President Abbas just stood here, and he said that the core of the Israeli-Palestinian

conflict is the settlements. Well, that's odd. Our conflict has been raging for -- was

raging for nearly half a century before there was a single Israeli settlement in the West

Bank. So if what President Abbas is saying was true, then the -- I guess that the

settlements he's talking about are Tel Aviv, Haifa, Jaffa, Be'er Sheva. Maybe that's

what he meant the other day when he said that Israel has been occupying Palestinian

land for 63 years. He didn't say from 1967; he said from1948. I hope somebody will

bother to ask him this question because it illustrates a simple truth: The core of the

conflict is not the settlements. The settlements are a result of the conflict..

The settlements have to be --it's an issue that has to be addressed and resolved in the

course of negotiations. But the core of the conflict has always been and unfortunately

remains the refusal of the Palestinians to recognize a Jewish state in any border.

I think it's time that the Palestinian leadership recognizes what every serious

international leader has recognized, from Lord Balfour and Lloyd George in 1917, to

President Truman in1948, to President Obama just two days ago right here: Israel is

the Jewish state.

President Abbas, stop walking around this issue. Recognize the Jewish state, and

make peace with us. In such a genuine peace, Israel is prepared to make painful

compromises. We believe that the Palestinians should be neither the citizens of Israel

nor its subjects. They should live in a free state of their own. But they should be ready,

like us, for compromise. And we will know that they're ready for compromise and for

peace when they start taking Israel's security requirements seriously and when they

stop denying our historical connection to our ancient homeland.

I often hear them accuse Israel of Judaizing Jerusalem. That's like accusing America

of Americanizing Washington, or the British of Anglicizing London. You know why

we're called "Jews"? Because we come from Judea.

In my office in Jerusalem, there's a -- there's an ancient seal. It's a signet ring of a

Jewish official from the time of the Bible. The seal was found right next to the

Western Wall, and it dates back 2,700 years, to the time of King Hezekiah. Now,

there's a name of the Jewish official inscribed on the ring in Hebrew. His name was

Netanyahu. That's my last name. My first name, Benjamin, dates back a thousand

years earlier to Benjamin -- Binyamin -- the son of Jacob, who was also known as

Israel. Jacob and his 12 sons roamed these same hills of Judea and Samaria 4,000

years ago, and there's been a continuous Jewish presence in the land ever since.

And for those Jews who were exiled from our land, they never stopped dreaming of

coming back: Jews in Spain, on the eve of their expulsion; Jews in the Ukraine,

fleeing the pogroms; Jews fighting the Warsaw Ghetto, as the Nazis were circling

around it. They never stopped praying, they never stopped yearning. They whispered:

Next year in Jerusalem. Next year in the promised land.

 

As the prime minister of Israel, I speak for a hundred generations of Jews who were

dispersed throughout the lands, who suffered every evil under the Sun, but who never

gave up hope of restoring their national life in the one and only Jewish state.

Ladies and gentlemen, I continue to hope that President Abbas will be my partner in

peace. I've worked hard to advance that peace. The day I came into office, I called for

direct negotiations without preconditions. President Abbas didn't respond. I outlined a

vision of peace of two states for two peoples. He still didn't respond. I removed

hundreds of roadblocks and checkpoints, to ease freedom of movement in the

Palestinian areas; this facilitated a fantastic growth in the Palestinian economy. But

again -- no response. I took the unprecedented step of freezing new buildings in the

settlements for 10 months. No prime minister did that before, ever. Once again -- you

applaud, but there was no response. No response.

In the last few weeks, American officials have put forward ideas to restart peace talks.

There were things in those ideas about borders that I didn't like. There were things

thereabout the Jewish state that I'm sure the Palestinians didn't like.

But with all my reservations, I was willing to move forward on these American ideas.

President Abbas, why don't you join me? We have to stop negotiating about the negotiations. Let's just get on with it. Let's negotiate peace.

I spent years defending Israel on the battlefield. I spent decades defending Israel in the court of public opinion. President Abbas, you've dedicated your life to advancing the Palestinian cause. Must this conflict continue for generations, or will we be able our children and our grandchildren to speak in years ahead of how we found a way to end it? That's what we should aim for, and that's what I believe we can achieve.

In two and a half years, we met in Jerusalem only once, even though my door has always been open to you. If you wish, I'll come to Ramallah. Actually, I have a better suggestion. We've both just flown thousands of miles to New York. Now we're in the same city. We're in the same building. So let's meet here today in the United Nations. Who's there to stop us? What is there to stop us? If we genuinely want peace, what is there to stop us from meeting today and beginning peace negotiations?

And I suggest we talk openly and honestly. Let's listen to one another. Let's do as we say in the Middle East: Let's talk "doogri". That means straightforward. I'll tell you my needs and concerns. You'll tell me yours. And with God's help, we'll find the common ground of peace.

 

There's an old Arab saying that you cannot applaud with one hand. Well, the same is true of peace. I cannot make peace alone. I cannot make peace without you. President Abbas, I extend my hand -- the hand of Israel -- in peace. I hope that you will grasp that hand. We are both the sons of Abraham. My people call him Avraham. Your people call him Ibrahim. We share the same patriarch. We dwell in the same land. Our destinies are intertwined. Let us realize the vision of Isaiah --(Isaiah 9:1in Hebrew) -- "The people who walk in darkness will see a great light." Let that light be the light of peace.

 

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

On the azorean island São Miguel are stated the only tea plantations in europe. The balanced, mild and moist climate is the best precondition for successfully cultivation of Camellia sinensis.

 

Auf der Azoreninsel São Miguel befinden sich die einzigen Teeplantagen Europas. Das ausgeglichene, milde und feuchte Klima ist die beste Voraussetzung für die Kultivierung der Teeplanze Camellia sinensis.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

Officially the Republic of Djibouti, is a country in the Horn of Africa. It is bordered by Eritrea in the north, Ethiopia in the west and south, and Somalia in the southeast. The remainder of the border is formed by the Red Sea and the Gulf of Aden.

 

History

The beginning

The history of Djibouti, recorded in poetry and songs of its nomadic peoples, goes back thousands of years to a time when Djiboutians traded hides and skins for the perfumes and spices of ancient Egypt, India, and China. Through close contacts with the Arabian peninsula for more than one-thousand years, the Somali and Afar ethnic groups in this region became among the first on the African continent to adopt Islam. Djibouti was part of Ottoman Empire in Habesh province between 1555-1884

 

French interest

It was Rochet d'Hericourt's exploration into Shoa (1839-42) that marked the beginning of French interest in the African shores of the Red Sea. Further exploration by Henri Lambert, French Consular Agent at Aden, and Captain Fleuriot de Langle led to a treaty of friendship and assistance between France and the sultans of Raheita, Tadjoura, and Gobaad, from whom the French purchased the anchorage of Obock in 1862.

 

French Somaliland

Growing French interest in the area took place against a backdrop of British activity in Egypt and the opening of the Suez Canal in 1869. Between 1883-87, France signed various treaties with the then ruling Somali Sultans, which allowed it to expand the protectorate to include the Gulf of Tadjoura. Léonce Lagarde was installed as governor of this protectorate. Boundaries of the protectorate, marked out in 1897 by France and Emperor Menelik II of Ethiopia, were reaffirmed by agreements with Emperor Haile Selassie I of Ethiopia in 1945 and 1954.

The administrative capital was moved from Obock in 1896. The city of Djibouti, which had a harbor with good access that attracted trade caravans crossing East Africa as well as Somali settlers from the south, became the new administrative capital. The Franco-Ethiopian railway, linking Djibouti to the heart of Ethiopia, began in 1897 and reached Addis Ababa in June 1917, increasing the volume of trade passing through the port.

 

World War II

After the Italian invasion and occupation of Ethiopia in the mid-1930s, constant border skirmishes occurred between French forces in French Somaliland and Italian forces in Italian East Africa. In June 1940, during the early stages of World War II, France fell and the colony was then ruled by the pro-Axis Vichy (French) government.

British and Commonwealth forces fought the neighboring Italians during the East African Campaign. In 1941, the Italians were defeated and the Vichy forces in French Somaliland were isolated. The Vichy French administration continued to hold out in the colony for over one year after the Italian collapse. In December 1942, after a 101-day long British blockade, Governor Pierre Nouailhetas surrendered French Somaliland. Free French and Allied forces then occupied the French colony. Before the war ended, the colony fell under the Provisional Government of the French Republic.

A local battalion from French Somaliland participated in the Liberation of Paris in 1944.

 

Reform

On July 22, 1957, the colony was reorganized by the French Fourth Republic to give the people of French Somaliland considerable self-government. On the same day, a decree applying the Overseas Reform Act (Loi Cadre) of June 23, 1956, established a territorial assembly that elected eight of its members to an executive council. Members of the executive council were responsible for one or more of the territorial services and carried the title of minister. The council advised the French-appointed governor general.

In a September 1958 constitutional referendum, French Somaliland opted to join the French community as an overseas territory. This act entitled the region to representation by one deputy and one senator in the French Parliament, and one counselor in the French Union Assembly.

On October 5, 1958, the French Fifth Republic was formed. The first elections to the territorial assembly were held on November 23, 1958, under a system of proportional representation. In the next assembly elections (1963), a new electoral law was enacted. Representation was abolished in exchange for a system of straight plurality vote based on lists submitted by political parties in seven designated districts. Ali Aref Bourhan, allegedly of Turkish origin, was selected to be the president of the executive council. French President Charles de Gaulle's August 1966 visit to Djibouti was marked by 2 days of public demonstrations by Somalis demanding independence. On September 21, 1966, Louis Saget, appointed governor general of the territory after the demonstrations, announced the French Government's decision to hold a referendum to determine whether the people would remain within the French Republic or become independent. In March 1967, 60% chose to continue the territory's association with France.

 

French Territory of the Afars and Issas

In July of that year, a directive from Paris formally changed the name of the region to the French Territory of the Afars and Issas. The directive also reorganized the governmental structure of the territory, making the senior French representative, formerly the governor general, a high commissioner. In addition, the executive council was redesignated as the council of government, with nine members.

 

Independence

In 1975, the French Government began to accommodate increasingly insistent demands for independence. In June 1976, the territory's citizenship law, which favored the Afar minority, was revised to reflect more closely the weight of the Issa Somali. The electorate voted for independence in a May 1977 referendum, and the Republic of Djibouti was established June that same year. Hassan Gouled Aptidon became the country's first president.

In 1981, Aptidon turned the country into a one party state by declaring that his party, the Rassemblement Populaire pour le Progrès (RPP) (People's Rally for Progress), was the sole legal one. A civil war broke out in 1991, between the government and a predominantly Afar rebel group, the Front for the Restoration of Unity and Democracy (FRUD). The FRUD signed a peace accord with the government in December 1994, ending the conflict. Two FRUD members were made cabinet members, and in the presidential elections of 1999 the FRUD campaigned in support of the RPP.

Aptidon resigned as president 1999, at the age of 83, after being elected to a fifth term in 1997. His successor was his nephew, Ismail Omar Guelleh.

On May 12, 2001, President Ismail Omar Guelleh presided over the signing of what is termed the final peace accord officially ending the decade-long civil war between the government and the armed faction of the FRUD, led by Ahmed Dini Ahmed, an Afar nationalist and former Gouled political ally. The peace accord successfully completed the peace process begun on February 7, 2000 in Paris. Ahmed Dini Ahmed represented the FRUD.

In the presidential election held April 8, 2005 Ismail Omar Guelleh was re-elected to a second 6-year term at the head of a multi-party coalition that included the FRUD and other major parties. A loose coalition of opposition parties again boycotted the election. Currently, political power is shared by a Somali president and an Afar prime minister, with an Afar career diplomat as Foreign Minister and other cabinet posts roughly divided. However, Issas are predominate in the government, civil service, and the ruling party. That, together with a shortage of non-government employment, has bred resentment and continued political competition between the Issa Somalis and the Afars. In March 2006, Djibouti held its first regional elections and began implementing a decentralization plan. The broad pro-government coalition, including FRUD candidates, again ran unopposed when the government refused to meet opposition preconditions for participation. A nationwide voter registration campaign is now underway in advance of the scheduled 2008 parliamentary elections.

 

Geography

Djibouti shares 113 kilometres (70 mi) of border with Eritrea, 337 kilometres (209 mi) with Ethiopia and 58 kilometres (36 mi) with Somalia (total 506 km or 314 mi). It also has 314 kilometres (195 mi) of coastline.

It has a strategic location near the world's busiest shipping lanes and close to Arabian oilfields. Djibouti is also terminus of rail traffic into Ethiopia.

 

Other info

Oficial Name:

جمهورية جيبوتي

Jumhūriyyat Jībūtī

Jamhuuriyadda Jabuuti

République de Djibouti

 

Independence:

June 27, 1977

 

Area:

22.000 km2

 

Inhabitants:

580.000

 

Capital:

City of Djibouti

 

Languages:

Afar [aar] 300,000 in Djibouti (1996). Red Sea Coast. Alternate names: Afaraf, "Danakil". Classification: Afro-Asiatic, Cushitic, East, Saho-Afar

More information.

 

Arabic, Standard [arb] Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Ta'izzi-Adeni Spoken [acq] 52,000 in Djibouti (1995). Alternate names: Djibouti Arabic. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

French [fra] 15,440 in Djibouti (1988). Classification: Indo-European, Italic, Romance, Italo-Western, Western, Gallo-Iberian, Gallo-Romance, Gallo-Rhaetian, Oïl, French

More information.

 

Somali [som] 291,207 in Djibouti (2000 WCD). Classification: Afro-Asiatic, Cushitic, East, Somali

 

Meaning country name:

Named after the bottom point of the Gulf of Tadjoura. Possibly derived from the Afar word "gabouti", a type of doormat made of palm fibres. Another plausible, but unproven etymology suggests that "Djibouti" means "Land of Tehuti" or Land of Thoth, after the Egyptian Moon God.

French Territory of the Afars and the Issas (former name): after the colonial ruler (France) and the two main ethnic groups in the country.

French Somaliland (former name): after the colonial ruler (France). For Somaliland see Somalia below.

 

Description Flag:

The national flag of Djibouti features two equal horizontal bands of blue (top) and green with a white isosceles triangle based on the hoist side bearing a red five-pointed star (representing the areas Somalis live in the region) in the centre. These five places are British Somaliland (Republic of Somaliland/Somalia), Italian Somaliland (Somalia), French Somaliland (Djibouti), Ogaden (Ethiopia) and Northeastern Kenya. The colours used can be seen to symbolise the earth (green), the sea and sky (blue) and peace (white), with the red star representing unity. It was first hoisted on the day of the independence of Djibouti, June 27, 1977.

 

Coat of arms:

The national coat of arms of Djibouti pictured here was introduced after attaining independence on 25 June 1977. It is bordered on the sides with laurel branches. Within this perimeter there is a vertical spear, in front of which is a shield. Underneath the shield, two hands rise away from the spear, which both carry a large knife. These two hands symbolize the two ethnic groups of the nation; the ethnic group Afar as well as the ethnic group Issa.

Coincidentally, in shape the arms bear a striking resemblance to the coat of arms of Ukraine.

 

National Anthem: Djibuti

 

Somali Translation

 

Hinjinne u sara kaca

Calankaan harraad iyo

Haydaar u mudateen.

Hir cagaarku qariyayiyo

Habkay samadu tahayoo

Xiddig dhi igleh hoorshoo

Caddaan lagu hadheeyaay.

Mxaa haybad kugu yaal!

 

English translation

Arise with strength; For we have raised our flag,

The flag which has cost us dear

With extremes of thirst and pain.

Our flag, whose colours are the everlasting green of the earth,

The blue of the sky, and white, the colour of peace;

And in the centre the red star of blood.

Oh flag of ours, what a glorious sight!

 

Internet Page: www.office-tourisme.dj

www.presidence.dj

www.spp.dj

 

Djibouti in diferent languages

 

eng | bre | cat | cym | dan | fao | fin | fra | glv | hat | jav | jnf | nld | nor | ron | sme | swe | vor | wln: Djibouti

bam | ibo | kin | run | swa | wol: Jibuti

dsb | hrv | hsb | slv | szl: Džibuti

arg | ast | que | spa: Yibuti

deu | ltz | nds: Dschibuti / Dſchibuti; Djibouti / Djibouti

eus | ina | lin: Djibuti

ita | lld | srd: Gibuti

ces | slk: Džibutsko; Džibuti*

ind | msa: Djibouti / جيبوتي

kaa | uzb: Djibuti / Джибути

tur | zza: Cibuti

aar: Gabuuti

afr: Djiboeti

aze: Cibuti / Ҹибути

bos: Džibuti / Џибути

cor: Jibouti

crh: Cibuti / Джибути

epo: Ĝibutio

est: Džibuuti; Djibouti

frp: Dj•iboti

fry: Dzjibûty

fur: Gjibuti; Zibuti

gla: Diobutaidh

gle: Diobúití / Diobúití

glg: Xibutí; Xibuti

haw: Dibuti

hun: Dzsibuti

isl: Djíbútí

kmr: Cîbûtî / Щибути / جیبووتی

kur: Cîbûtî / جیبووتی

lat: Dzibutum; Gibutum

lav: Džibutija; Džibuti*

lim: Djiboeti; Djibouti

lit: Džibutis

mlg: Dziboti

mlt: Ġibuti

mol: Djibuti / Ӂибути

nrm: Jibouoti

oci: Djiboti; Jiboti

pol: Dżibuti

por: Jibuti; Djibuti; Djibouti

rmy: Jibuti / जिबुती

roh: Dschibuti

rup: Gibouti

scn: Gibbuti

slo: Gxibuti / Джибути

smg: Džėbotis

som: Jabuuti

sqi: Xhibuti

tet: Jibutí

tuk: Jibuti / Джибути

vie: Gi-bu-ti

vol: Cibutän

abq | alt | bul | che | chm | chv | kbd | kjh | kom | krc | kum | oss | rus | tyv | udm: Джибути (Džibuti)

bak: Джибути / Djibuti

bel: Джыбуты / Džybuty; Джыбуці / Džybuci

kaz: Джибути / Djïbwtï / دجيبۋتي

kir: Джибути (Dǧibuti)

mkd: Џибути (Džibuti)

mon: Жибути (Žibuti)

srp: Џибути / Džibuti

tat: Джибути / Cibuti

tgk: Ҷибути / جیبوتی / Çibuti

ukr: Джибуті (Džybuti); Джібуті (Džibuti)

ara: جيبوتي (Ǧībūtī); دجيبوتي (Dǧībūtī)

fas: جیبوتی (Jībūtī)

prs: جیبوتی (Jībūtī)

pus: جيبوتي (Jībūtī)

uig: جىبۇتى / Jibuti / Джибути

urd: جبوتی (Jibūtī)

div: ޖިބޫޓީ (Jibūṫī)

heb: ג׳יבוטי (Jîbûṭî)

lad: ג'יבוטי / Djibuti

yid: דזשיבוטי (Džibuti)

amh: ጅቡቲ (Jəbuti); ጂቡቲ (Jibuti)

ell-dhi: Τζιμπούτι (Tzimpoýti); Τζιμπουτί (Tzimpoytí)

ell-kat: Δζιμπουτῆ (Dzimpoytī̃); Τζιμπουτῆ (Tzimpoytī̃); Τζιμπουτί (Tzimpoytí)

hye: Ջիբուտի (Ǧibouti); Ջիբութի (Ǧibouṭi)

kat: ჯიბუტი (Ǧibuti)

hin: जिबूती (Jibūtī)

ben: জিবুতি (Jibuti)

pan: ਜੀਬੂਟੀ (Jībūṭī)

kan: ದ್ಜಿಬೂಟಿ (Djibūṭi)

mal: ജിബൂട്ടി (Jibūṭṭi)

tam: ஜிபூட்டி (Jipūṭṭi)

tel: జిబౌటి (Jibauṭi)

zho: 吉布提 (Jíbùtí)

jpn: ジブチ (Jibuchi)

kor: 지부티 (Jibuti)

mya: ဂ္ယီဘူတီ (Jibʰuti)

tha: จิบูติ (Čibūti); จิบูตี (Čibūtī)

khm: ហ្ស៊ីបូទី (Hsībūtī); ជីបូទី (Čībūtī); ឌ្យីប៊ូទី (Dyībūtī)

 

The oldest known appearance of the name of Montenegro dates back to 1053. In a papal epistle written on November 9th, the name Montenegro, meaning the area of the region of the state of Duklja or the Slavic Kingdom is mentioned. In its Slavic, Cyrillic form, the name Crna Gora was first mentioned in King Milutin’s Charter of 1276, meaning Black Hills or Black Mountains.

 

There are several civilisation layers from prehistoric and pre-Slavic times in Montenegro. Archaeological finds from the Red Cave, the Odmut cave and other localities prove the existence of human settlements in these parts dating back to 180,000 years ago. Prehistoric periods in Montenegro are represented from finds from the stone, the bronze and iron ages. Favourable geographic and climate conditions attracted various peoples to settle and live and leave traces in these parts. According to archaeological and historical sources, in the pre-Slavic times the coastal region of Montenegro was first settled by the Greeks, then the Illyrians, and in the interior, the Docleats and the Autariats. Their state was at its peak in the middle of the third century B.C., and it dwindled between 168 and 167 B.C. Coming under Roman rule, the Illyrians were exposed to strong Romanisation. The remains of the Illyrian and Roman arts are numerous, especially at the seaside. Duklja (Duklea) was the most influential town in central Montenegro in the Roman period, while in the north it was the Roman settlement Komine close to Pljevlja.

 

By the end of the fourth century, a separate province Prevalitana, with Skadar as its centre, was formed out of Dalmatia. According to written sources, there was an Archbishopric there as early as 343, or perhaps even earlier. Montenegro is heir to a rich treasure of spiritual and material culture from the early stages of its history. After the division of the Roman Empire, the territory of modern Montenegro remained under Byzantine rule. In the 6th and 7th centuries, the Avars and Slavs fiercely broke into Montenegrin area. The Slavs then started settling the Balkans which caused great ethnic changes and a re-composition of the whole peninsular. The forefathers of modern Montenegrins used to live in the Elbe valley (eastern Germany), and they originate from the Slavic union of tribes called Veleti (Ljutici) and partly Obodriti. They settled the areas of the Roman province Prevalitana and formed their skavinija within the east Roman Empire – Byzantium. The Byzantine sources record them mostly as Dukljans. The new coming Slavs accepted the name of Duklja, a part of Prevalis named after the antique Roman town of the same name. In the late 12th century the Roman name of Duklja was gradually replaced by the Slavic name of the river Zeta (meaning fruitful land). The name Montenegro was adopted for the same state the second half of the fifteenth century.

 

The first Slavic ruler of Duklja mentioned in written sources was Archon Petar (ninth century). In his Regnum Sclavorum (Kingdom of Slavs) – a blend of legends and history, chronicler and priest Pop Dukljanin lists as many as 28 kings from Archon Petar until the end of independence of Duklja-Zeta. The history and the legends especially single out Prince Vladimir Dukljanski, (997-1016), Petrislav’s son. He was married to Kosara, the daughter of the Macedonian Emperor Samuilo. Betrayed by his brother-in-law Emperor Vladislav, Prince Vladimir was killed and proclaimed a saint. His successor Prince Stefan Vojislav (1016-1043), after winning a battle against the Byzantine army, managed to render his state independent, which was recognised by Byzantium itself. Vojislav’s rule was recognised by Raska, Hum and Bosnia and established the dynasty of Vojislavljevic’s. Stefan Vojislav’s son Mihailo Vojislavljevic was the first crowned King of Duklja. According to historical sources, before him there were eight, and after him twelve rulers of Duklja – Zeta. He received the insignia of royal power from Pop Gregory VII in 1077. Under King Mihailo’s rule Duklja received the conformation of international recognition and grew substantially becoming a military power. His son King Konstantin Bodin (1081/2-1101) further consolidated and strengthened the kingdom and acquired new territories. Bodin was anointed emperor by the Macedonians in Prizen, in gratitude for his help in their struggle against Byzantium.

 

The Archbishop of Duklja grew stronger along with the strengthening of state power, and the range of jurisdiction expanded. After King Bodin, the state became weaker, grew smaller and began to break up. During the 173 years of its existence, a specific church developed, along with a distinctive culture. Duklja was conquered in 1189 by the great prefect of Raska, Stefan Nemanja, with the support and help of Byzantium. From that time, until 1360, Duklja – Zeta was part of the state ruled by the Nemanjic dynasty, within which it managed to preserve a high level of autonomy. Sava Nemanjic established the Orthodox Bishopric of Zeta in 1219. Some think this happened in Prevlaka, and the others that it could have been somewhere near Podgorica.

 

After 1360, under the dynasty of Balsics, the rebellious Zeta – a state within a state, recognised its autonomy, which lasted, with shorter interruptions, from 1360 until 1421. In these times the interests of the Venetian Republic and the Serbian state strongly intertwined in this area. The founder of the dynasty was Djuradj Balsic I, and his successors were Balsa II, Djuradj Stracimirovic II and Balsa III. The Archbishopric of Zeta grew stronger and became a significant factor in the society.

 

The third Montenegrin dynasty is the Crnojevic dynasty (1421-1496). Under the pressure from Turkey, Venice, Herzegovina and the Serbian state territory grew smaller. The Crnojevic dynasty managed to preserve and fought fierce battles, turning to the Venetian Republic in fear of the Turkish assault. At the same time they resisted the spread of Catholicism and attempt to submit them to papal authority. Under this dynasty in Montenegro, great care was taken of churches and monasteries, which were aided and granted estates. The Bishopric of Zeta became the Montenegrin Metropolitan. Although this whole dynasty had a major role in maintaining the country, it is Ivan and his son Djurdje Crnojevic that made a particular historical contribution to Zeta – Montenegro. Having lost Podgorica (1474) and Skadar (1479), and having renewed the alliance with the Venetians, Ivan tried to mobilise the western catholic countries against Turkey, which was taking Montenegrin territory bit by bit. Retreating before the great power, Ivan moved the capital and the seat of the Metropolitan from Zabljak to Obod and then to Cetinje (1482). There he erected a palace and a monastery. His son and heir Djurdje purchased a printing press in Venice, only several decades after Johan Gutenberg invented typography and the printing press, and brought it to the Slavic south for the first time. The first printed books (the Okoih, a psalter and prayer book, among others) were the last form of weaponry defending Montenegrin spirituality and liberty. Djurdje found refuge in Venice, and Montenegro fell under Turkish domination in 1496. The country assembly, the metropolitan, the chieftains and the people remained in the part of Montenegro around the foothills of Lovcen. In the final phase of the Crnojevic dynasty, humanist and renaissance influences are apparent in culture primarily on the coast, but also in Cetinje. Although the rest of Montenegro fell under Turkish control, The Montenegrin area around Mt. Lovcen, as the only reminder of a century old state, became the nucleus of the state and national identity in days to come – of a new Montenegro.

 

In the Turkish period, Montenegro was organised on the principles of clan society, ruled by the General-Montenegrin and Montenegrin chieftains Assembly presided over by the metropolitan Bishops. The Bishops were elected from different clans at the meetings of the assembly. From 1499 to 1697 this title was not hereditary. Only from Bishop Danilo of the family Petrovic Njegos did the theocracy become hereditary. Certain elements of statehood remained, although the medieval tradition was on the wane. Under Turkish rule Montenegro gained a special status and great privileges. Montenegrin autonomy was based on tax and other privileges. Apart from Cetinje, Montenegro had no towns in the Turkish period and hence it depended on trade in the surrounding area. The Montenegrin Metropolitan was the spiritual foundation of the Montenegrin clans and society in general, and the General-Montenegrin assembly represented the main institution of clannish and military democracy, functioning as the political, national and supra-tribal court of justice. Along with the bishop, it was instrumental in the establishment of the union of clans as a first step in the restoration of centralised state governance. From 1496 until 1697 there were 18 Bishops from various clans.

 

The Petrovics were the fourth Montenegrin dynasty, particularly significant for the survival and the historical fate of Montenegro and its overall development from the end of the seventeenth century until 1918. This dynasty was founded by Danilo Scepcev Petrovic. He took the bishops seat after Sulejman Pasha of Skodar sacked and ruined the Crnojevic monastery in 1692. The young bishop built both the monastery and the state – the new Montenegro. He took a more resolute and firm attitude towards Turkey. His majesty combined the power of an ecclesiastical and state leader. He won a battle against the great Turkish army at Carev Laz in 1712. In 1711 he established connection with Russia, which then became a Montenegrin protector and supporter for the next two hundred years. In 1717, because the coast had come under the spiritual authority of Montenegro, a concession was made to Venice establishing a governorship that held mostly by the Radonjic family from Njegusi, until as late as 1830. In times of disorder, Bishop Danilo tried to bring the country under greater control. The Country Court, established in 1713, had twelve members and adjudicated on conflicts between the clans and other significant issues. Bishop Sava Petrovic Njegos (1735-1781) succeeded his uncle and helped Russia and Austria in their wars against Turkey. He travelled to Russia and received from the Holy Russian Synod recognition for the autocephalous Montenegrin and Littoral Metropolitan. Bishop Vasilije Petrovic Njegos (1750-1766) was Bishop Sava’s nephew and assistant, and he became bishop in Pec. The Serbian Metropolitan called him “the Metropolitan of the Principality of Montenegro”. He was a visionary and very energetic, resolute, active, fierce and dauntless. He ruled together with his uncle as the “second Bishop”, but in reality he made the main decisions and was the carrier of the country’s internal and foreign policies. He wrote the first History of Montenegro in 1754. He died in Petersburg and was buried there, next to Suvorov.

 

The self-styled Scepan Mali, a person of unknown origin, suddenly appeared in Montenegro in 1767 during the rule of Bishop Sava Petrovic, and falsely presented himself as the Russian Czar Petar III. He imposed himself upon the Montenegrins as their lay ruler. During his short rule he handles state affairs very successfully, while the Bishop took care of ecclesiastical matters, especially after the Patriarchy of Pec when the Montenegrin metropolitan resumed functioning as an independent church. Scepan Mali introduced order into the country, he founded a court consisting of 20 members as well as an armed unit which enforced the courts decisions. This angered the Turks and the Venetians and Scepan Mali was assassinated in 1773. After his and Bishop Sava’s death, metropolitan Arsenije Plamenac (1781-1784), the bishop’s nephew, ruled in Montenegro for a short time.

 

In 1784 the General Montenegrin Assembly chose archimandrite Petar I Petrovic Njegos (1784-1830) as the Montenegrin bishop. He is undoubtedly, the greatest – the most important personality in Montenegrin history. He became bishop in Sremski Kolovci and went to Russia. With his victories in the battles of Krusi and Marinici in 1796 he steadied the basis of the Montenegrin state and incorporated Brda (the Hills) into Montenegro. Petar I was outstandingly honest and gifted. He was not only a gifted spiritual leader, but was also an outstanding statesman, military leader, legislator, thinker, diplomat, visionary and writer. He wrote Restraint (Stega) in 1796 and the General Code of Montenegro and Brda (1798 and 1803), known as the code of Petar I. He established organs of central authority – the senate and the Kulak. He was successful in combat against Napoleons in the Boka Kotorska gulf (1806-1813) and during the short union between Montenegro and Boka Kotorska (1813-1814) he was the head of the government. In his political visions and plans he worked on the idea of creating a Slavic-Serb empire on the territory of the medieval Kingdom of Slavs. The people considered him a saint during his lifetime, and his heir Petar II proclaimed his a saint according to church canons in 1834 (Saint Petar of Cetinje).

 

Petar II Petrovic Njegos (1830-1851) continued with his uncle’s work on internal consolidation of the country and on strengthening of the organs of centralised authority. He transformed the Justice Court of Montenegro and Brda established by his uncle, into the Justice Senate of Montenegro and Brada which was the highest court and co-ordinating organ of the regime. The Guardia was an executive organ, and institution of the perjanik represented the National Guard. In 1837, under Petar II, the state was divided into captaincies, with captains at their head. He also introduced taxes (1834) and managed to settle clear boarders with Austria (1841). He was also a propagator of the Yugoslav ideal. Petar II Petrovic Njegos founded the first state school and purchased a printing press from Russia (both in Cetinje in 1834) and also published the almanac Grlica (Dove). His works “The Mountain Wreath, The Light of the Microcosm and False Emperor Scepan Mali” established his reputation as the greatest south Slavic author, and one of the greatest European writers as well. He was buried on the top of the Lovcen Mountain.

 

His successor Danilo was the first secular ruler of the Petrovic dynasty (1851-1860). Supported by Russia, he proclaimed himself a Prince, and Montenegro a Principality (1852). Ecclesiastical rule was separated from the secular. Together with his brother, the Great Duke Mirko, he managed to resist the massive military assault launched against Montenegro by Omer Pasha Latas in 1852-1853, and to win an outstanding victory at Grahovac in 1858. During his short rule, he proved to be a resolute and energetic ruler and did much to complete the establishment of state institutions, creating preconditions for the development of civic society and state. He reorganised the army and created the guard, and made a new administrative and territorial organisation. He abolished General-Montenegrin Assembly, modernised the tax system, and reformed the court. His reforms were based upon the Code of Montenegro and Brda of 1855, known as Prince Danilo’s Code. There was opposition to the Prince’s reforms and absolutism which he managed to break. State policy was aimed at the territorial expansion of Montenegro, the liberation of surrounding areas and international recognition of independence. In order to fulfil these aims the Prince sought support from the traditional Montenegrin protector and supporter, Russia, until 1856, and from then he changed his political course and turned towards France. The victory of Grahovac drew the attention of the great powers to the Montenegrin issue, and they helped effectuate the establishment of boarders between Montenegro and Turkey (1858/1859). Although the territorial extension was rather slight, this meant that Montenegro, although not formally, gained real recognition as an independent state. The Prince was killed in Kotor in 1860, victim of a revenge assassination.

 

During the reign of Prince Nikola, who became King in 1910 and is the last of the famous Petrovic- Njegos dynasty, Montenegro experienced great progress in comparison to previous periods. It went through a renaissance in all spheres of state, social, economic and cultural life. The first period of his rule (1860-1878) is characterised by territorial extension and help to the population in surrounding areas still under Turkish rule. This led to war in 1861-1862 in which the Turks were again led by the notorious Omar Pasha Latas. A catastrophe was avoided only at the intercession of the Russia and France with the Turkish government. However, the Prince did not give up his goal of territorial enlargement. In the Great Eastern Crisis (1875-1878), Prince Nikola discerned a historical opportunity for Montenegro. When he understood that because of Austrian interests he could not hope for any part of Herzegovina, he turned towards the Tara and Lim valleys and the Adriatic Sea. Although the provisions of the Berlin Congress (held in the summer of 1878) were much more unfavourable to Montenegro than the San Stefano Peace Treaty (March 1878), its territory was more than doubled and it gained important towns and part of the Adriatic coast. In the second period of the reign of Nikola I (1878-1905), there were already ripe conditions for civic, industrial and cultural development, for the establishment of transport, telephone, telegraph, agricultural reforms, for reforms in schools, state management and the army. Instead of the Senate he established the State Council, the ministries and the Great Court. The Prince’s government was formed in 1902; judicial and executive power were separated, a new administrative and territorial division into regions (and further to captaincies) was carried out but the Prince’s power remained inviolable. Dr. Valtazar Bogisic made the greatest contribution to the development of the legal system in Montenegro. His General Property Code is a masterpiece of legal thought, theory and practice. The rapid development of the society and the schooling of pupils and students resulted in the increasingly vociferous demands for the democratisation of Montenegro. The newly emerging middle class and intellegencia generally opposed the attitudes of the Prince and his regime. Although they cherished democratic ideas, amid heated political infighting and under the influence of the surrounding area, they turned against the state interests of Montenegro and it survival. The growing tension became especially obvious in the third period of Nikola’s rule (1905-1918). This is the period of the first Montenegrin Constitution and the establishment of the parliamentary system. The national Parliament was constituted, and the Prince shared his power with it. Montenegro was claimed a constitutional Monarchy and in 1910 it was raised to the level of a Kingdom. With the traditional support of Russia it followed European policy.

 

In the first Balkan war with Turkey, Montenegro liberated Pljevlja, Bijelo Polja, Berane, Plv, Gusinje and Razaje, and extended to Metohia. In the battle if Skadar (1913) Montenegrin interests opposed the interests of the Great Powers, and so, along with great casualties, it was faced with defeat. In World War I, after outstanding military successes and the battle of Mojkovac, the Montenegro army, betrayed and abandoned by the allies, experienced a catastrophe. It surrendered at the beginning of 1916, the people fell into slavery, King Nikola left the country along with the government and a substantial number of soldiers and officers were sent to Austro-Hungarian prison camps. After the capitulation of the Austro-Hungarian empire, the Great Peoples Assembly in Podgorica (November 24-28, 1918) voted for an unconditional unification of Montenegro with Serbia – disregarding the constitution of Montenegro and the will of its sovereign and its people. This was the end of the centuries- long statehood and independence. Two days later, on December I, 1918, the Kingdom of the Serbs, the Croats and the Slovenes (later the Kingdom of Yugoslavia) was proclaimed. In the new united state, Montenegro first fell within the Zeta region, and then the Zeta province.

 

In World War II, the July 13 uprising of the Montenegrin people in 1941 against Italian and German fascist occupation forces was unique in its massiveness in the whole of the conquered Europe of that time. Later, the majority of Montenegrin citizens joined the Yugoslav ant-fascist liberation movement, contributing, according to its ability, to the victory of the allies and democracy. In the Socialist Federation Republic of Yugoslavia, Montenegro achieved progress and affirmation in the fields of social and cultural life. After its disintegration in 1991 Montenegro chose to live together with Serbia in a new country – the Federal Republic of Yugoslavia.

BRITISH SPECIAL OPERATIONS EXECUTIVE & BALKAN AIR FORCE MISSIONS TO MONTENEGRO 1943-44

 

HM Ambassador Kevin Lyne unveiling the stone sculpture presented by the British Government

 

In 2009 details of all secret operations carried out by the British SOE in WW II have been released under the Public Information Act for public view. It was of particular interest to the then HM Ambassador Mr. Kevin Lyne that the following details came to light.

 

The Government of Montenegro and British Embassy organized an event in the village of Brezna on Friday 4th September. The event included a military band, an air show the unveiling of the memorial, speeches from HM Kevin Lyne and the President and photo exhibition in the school in Brezna.

 

During World War II in the summer of 1944 there was a mission of cooperation between the British SOE (Special Operations Executive), BAF (Balkan Air Force) and Partisans (dominant communist resistance fighters).

 

“Partisans being forced back by German battalions”

By August 1944 the 2nd Battalion of the Partisans were in retreat and increasingly pinned down by German forces in the vicinity of Durmitor. By 12th August, desperate battles were being waged for control of Savnik (12 miles north of Niksic), Indeed, a BAF airstrip in Negovudje (which had been earmarked for the evacuation of Partisan wounded) fell into German hands. Pinned back to a line west of the Niksic-Pljevlja road, the Partisans awaited their fate. With the number of dead, injured and incapacitated growing steadily (not to mention the burden imposed by the bearing of stretchers, estimated at least two, possibly four fighting men or woman), the Partisans were at risk of being overwhelmed by the superior German battalions. The wounded became a burden, limiting the capacity of the Partisan fighters; their ability to defend themselves against the onslaught diminishing with every casualty taken. Put simply, the situation was critical. The Partisans could only become mobile again if the wounded were airlifted out. But whilst this was theoretically possible, it was in practice exceptionally ambitious and potentially hazardous. But luck was on their side. The capitulation of both Bulgaria and Romania in August 1944 dictated that the Germans had to refocus their efforts (and manpower) on safeguarding rail communications in Serbia, and thus they were forced to withdraw a significant number from the Savnik-Niksic area.

 

“Flt Lt Philip Lawson was guest of honour at the ceremony”

But whilst this relieved the immediate pressure, it did little to solve the problem of the burden of the Partisan wounded. They could not become mobile before this matter was resolved. The BAF was required to airlift them out, but this would prove problematic. The first problem would be finding a space where large enough craft (Dakota’s) could be accommodated. In the mountainous terrain surrounding Durmitor, the chances of finding an appropriate piece of ground upon which an airstrip could be constructed for that purpose was, put simply, slim. Arguing to their superiors at SOE headquarters in Bari that an airlift was the only option for saving the Partisan effort, two SOE officers who had been seconded from the RAF – Flt Lt Thomas Mathias and Flt Lt Philip Lawson – were dispatched to the Durmitor region on a reconnaissance mission to find a suitable piece of terrain upon which to construct an airfield which would allow for the landing of the Dakota aircraft. After several fruitless expeditions and two days of marching, they found such a spot near the village of Donja Brezna (located between Niksic and Savnik). Hardly ideal and only just large enough, the space would have to suffice. A small strip of flat ground in the village of Brezna was decided upon.

 

The village of Brezna incorporating lower (donja) and upper (gornja) was the largest valley in the Piva region of Montenegro. Situated about 30 miles north of Niksic, the valley stretched between Komanica Canyon on its northern edge to mount Vojnik on its southern. The village itself was situated on about 1000 meters above sea-level and the valley was about 8 miles long from east to west and around a mile wide. The north eastern part of the valley is called Gornja (upper) Brezna and Donja (lower) Brezna on the north-western section of the valley. The central part of the valley is called Potprisoje. Before World War II the village was populated with only 1000 inhabitants with agriculture its main source of economy, predominately the nomadic style of cattle and sheep breeding. Prior to the arrival of the SOE, the majority of population supported the communist-led Partisans’, although a small proportion opted to support the Chetniks. A number of villagers took an active part in fighting with the Partisans against the Italians and Germans. It is estimated that 104 people died during the war, 43 from Gornja Brezna, 24 from Potprisoje and 37 from Donja Brezna. The majority were innocent civilians killed by Germans between 1943 and 1944. The worst incidents involved the feared German Prince Eugene Division during the Fifth Offensive against Partisans. During this period the Germans forces slaughtered many civilians in Piva Region, among them almost 70 people were killed in Brezna, with the majority killed by firing squad or burned alive in their homes.

 

In Brezna and the surrounding villages, locals (mostly children, women and older men) were mobilised into action – to clear the fields, destroy existing walls, fill in ditches and prepare the foundations for the airstrip. Hardly ideal and only just enough, the space would have to suffice. In a broadcast given to the BBC in August 1944, Flt Lt Philip Lawson described the scene:

 

The plan of making airstrips in this particular zone were no strip had been made before was decided upon as the only hope. I was sent ahead to reconnoiter for level ground. With me came a British Army Major, a Partisan Engineer and some couriers. The ground wasn’t exactly ideal. It was on a slight hill, with a wheat field, slit trenches and sheep folds across it. But we collected the inhabitants of five villages, and people came from miles around. They scythed the green corn, removed fences and filled the trenches. They carried the hard white stones away in wooden buckets and on the evening of the second day of work the airfield was ready.

 

With the work completed within 48 hours the landings could begin. But according to Flt Lt Mathias, the pilots had no idea an airfield had been built at Brezna (they had been instructed that their next mission was near Dubrovnik). Upon seeing the airstrip, however, he noted it was very satisfactory for a daytime operation – being approximately 830 yards long and 80 yards wide. On 2th August, British Spitfires guided by the white parachute canopies laid out on the runway, dropped message bags informing the beleaguered Partisans that British and American Dakotas would soon arrive to provide vital assistance to the wounded , landing in waves of six per hour (with approximately thirty wounded on each plane). In the meantime, to ensure that the objective of landing Dakotas could be achieved, it was imperative that the Partisans held their line of defense during the German assault. Failure would mean that the Partisans would have to leave their wounded to an uncertain fate. Flt Lt Mathias was one of the first Dakota pilots to land on the airstrip. He succinctly depicted the scene as he arrived at Donja Brezna:

 

“Rough landing on temporary airstrip”

 

The atmosphere at Lawson’s airfield was the tensest I have ever known. Some of the wounded had been travelling for more than four months with little or no skilled attention. This, they knew, was their only chance. If the planes did not come they would be driven again to the hills, and with the Germans closing in, many undoubtedly would have been slaughtered.

 

As the German forces advanced, the Dakotas (protected by Mustangs and Spitfires) landed in Donja Brezna. Time was of the essence. However, in a daring, chaotic and ambitious maneuver led by Wing Commander James Polson, more than 800 wounded (SOE and BAF estimates vary between 800 and 1000) were airlifted to Italy. Typhus was widespread among those airlifted out, and many were suffering critical injuries. Polson was shocked by the condition of the wounded, as he recounted following the event:

 

From a medical point of view, most of the wounded were in a pathetic state of malnutrition. Because of their shortage of stretchers and bearers, these Partisans consider anyone who can stand upright and breathe to be a walking case. One man had walked to a report centre after having had a bullet pass clean through his chest, touching his left lung. He too was a walking case… They don’t always have anaesthetic for their amputations and conditions were such that the general state of sepsis was appalling, apart from the presence of lice, typhus and some malaria. But despite their weakness they gave a tremendous cheer each time a plane landed.

 

“Wounded being helped into Dakota’s arriving every 15 minutes”

The Dakotas managed to airlift thirty-five people per flight, taking, according to Flt Lt Mathias, twenty-five minutes to load and get each of the six aircraft away. Releasing the burden of the injured and infirm liberated the stretcher bearers, who were now free to engage the German forces. Despite this, the Partisans were overwhelmed and forced into retreat, and a few hours later the Germans occupied the village of Donja Brezna. The ambitious airlift had been successful only by a matter of minutes. It remains one of the most spectacular, yet little known, air stories of the war in Yugoslavia. The Dakota landings were the first in a series of joint SOE-Allied-Partisan actions that proved instrumental in changing the dynamics on the ground. But the roll of the Balkan Air force, whilst celebrated in the context of the Dakota landings, has been the subject of significant debate. Holistically effective, the Allied intervention brought some negative effects. The Allied bombing of major towns and communication routes, through which the German forces were retreating wrought significant damage upon Niksic, Bijelo Polje, Ulcinj, Pljevlja and Podgorica. Following the Dakota landings and numerous other SOE operations, a Partisan offensive was launched that would force the German units from Montenegrin soil.

 

“The wounded arriving in Bari Italy”

 

The fighting in the summer months of 1944 was fierce. The German command in Berlin had only one objective left, ensuring that Montenegro did not fall to the communists, and in this they found a willing partner in the Chetniks. Between February and July 1944 the Chetniks carried out mass executions in the areas they still controlled, whilst in the north-east of Montenegro the notorious Albanian-dominated, 21st SS Skenderberg Division massacred over 400 of the Orthodox population around Andrijevica. Both these areas were back under Partisan control by the end of August 1944, with much of the planning being done in the BAF headquarters in Bari

  

A good panoramic view of China’s recent development and its current rejection of the democracy model for its own governance, by former Singapore ambassador to the UN, Kishore Mahbubani:

youtu.be/9NDfBMmj1Aw

 

Columbia Professor Jeffrey Sachs on the Covid vaccines, New World Order, global leadership and multilateralism:

youtu.be/q9pjNOM53aE

 

Former U.S. Ambassador Max Baucus on Speaker Nancy Pelosi's Taiwan trip:

youtu.be/YiQH5vVnzcI

----------

The Foreign Affairs article below is typical American, full of obligatory and unsubstantiated propaganda spread by the West even though it's not all complimentary about the U.S. The fact is China has alleviated extreme poverty; millions of Chinese tourists have visited overseas with hundreds of thousands of students attended various universities in the West without a single individual seeking political asylum. If China were as repressive as the West describes, wouldn't these tourists and students seek political asylum while abroad? There have been no proven evidence of any mistreatment of Uyghurs inside China. If as many as 2 million Uyghurs were incarcerated, surely, the West can show us satellite photos of these humongous prison camps, right? The fact is an overwhelming majority of the people in China believe their country is heading the right direction.

 

worldpopulationreview.com/country-rankings/freedom-index-...

In this 2022 freedom Index, Hong Kong ranks #30, ahead of South Korea (31) France (34) and Singapore (48).

 

When President Jimmy Carter established diplomatic relationship with China in 1978, he agreed to the Shanghai Communiqué which reads, among others, "The Government of the United States of America acknowledges the Chinese position that there is but one China and Taiwan is part of China."

 

The author fails to disclose that Taiwan's Tsai Ing-wen unwillingness to accept the 1992 Consensus is one of main reasons for Mainland China's treatment of her.

 

www.foreignaffairs.com/china/china-trap-us-foreign-policy...

 

The China Trap

U.S. Foreign Policy and the Perilous Logic of Zero-Sum Competition

By Jessica Chen Weiss

 

Competition with China has begun to consume U.S. foreign policy. Seized with the challenge of a near-peer rival whose interests and values diverge sharply from those of the United States, U.S. politicians and policymakers are becoming so focused on countering China that they risk losing sight of the affirmative interests and values that should underpin U.S. strategy. The current course will not just bring indefinite deterioration of the U.S.-Chinese relationship and a growing danger of catastrophic conflict; it also threatens to undermine the sustainability of American leadership in the world and the vitality of American society and democracy at home.

 

There is, of course, good reason why a more powerful China has become the central concern of policymakers and strategists in Washington (and plenty of other capitals). Under President Xi Jinping especially, Beijing has grown more authoritarian at home and more coercive abroad. It has brutally repressed Uyghurs in Xinjiang, crushed democratic freedoms in Hong Kong, rapidly expanded its conventional and nuclear arsenals, aggressively intercepted foreign military aircraft in the East and South China Seas, condoned Russian President Vladimir Putin’s invasion of Ukraine and amplified Russian disinformation, exported censorship and surveillance technology, denigrated democracies, worked to reshape international norms—the list could go on and will likely only get longer, especially if Xi secures a third five-year term and further solidifies his control later this year.

 

Yet well-warranted alarm risks morphing into a reflexive fear that could reshape American policy and society in counterproductive and ultimately harmful ways. In attempting to craft a national strategy suited to a more assertive and more powerful China, Washington has struggled to define success, or even a steady state, short of total victory or total defeat, that both governments could eventually accept and at a cost that citizens, businesses, and other stakeholders would be willing to bear. Without a clear sense of what it seeks or any semblance of a domestic consensus on how the United States should relate to the world, U.S. foreign policy has become reactive, spinning in circles rather than steering toward a desired destination.

 

To its credit, the Biden administration has acknowledged that the United States and its partners must provide an attractive alternative to what China is offering, and it has taken some steps in the right direction, such as multilateral initiatives on climate and hunger. Yet the instinct to counter every Chinese initiative, project, and provocation remains predominant, crowding out efforts to revitalize an inclusive international system that would protect U.S. interests and values even as global power shifts and evolves. Even with the war in Ukraine claiming considerable U.S. attention and resources, the conflict’s broader effect has been to intensify focus on geopolitical competition, reinforced by Chinese-Russian convergence.

 

Leaders in both Washington and Beijing claim to want to avoid a new Cold War. The fact is that their countries are already engaged in a global struggle. The United States seeks to perpetuate its preeminence and an international system that privileges its interests and values; China sees U.S. leadership as weakened by hypocrisy and neglect, providing an opening to force others to accept its influence and legitimacy. On both sides, there is growing fatalism that a crisis is unavoidable and perhaps even necessary: that mutually accepted rules of fair play and coexistence will come only after the kind of eyeball-to-eyeball confrontation that characterized the early years of the Cold War—survival of which was not guaranteed then and would be even less assured now.

 

Even in the absence of a crisis, a reactive posture has begun to drive a range of U.S. policies. Washington frequently falls into the trap of trying to counter Chinese efforts around the world without appreciating what local governments and populations want. Lacking a forward-looking vision aligned with a realistic assessment of the resources at its disposal, it struggles to prioritize across domains and regions. It too often compromises its own broader interests as fractious geopolitics make necessary progress on global challenges all but impossible. The long-term risk is that the United States will be unable to manage a decades-long competition without falling into habits of intolerance at home and overextension abroad. In attempting to out-China China, the United States could undermine the strengths and obscure the vision that should be the basis for sustained American leadership.

 

The lodestar for a better approach must be the world that the United States seeks: what it wants, rather than what it fears. Whether sanctions or tariffs or military moves, policies should be judged on the basis of whether they further progress toward that world rather than whether they undermine some Chinese interest or provide some advantage over Beijing. They should represent U.S. power at its best rather than mirroring the behavior it aims to avert. And rather than looking back nostalgically at its past preeminence, Washington must commit, with actions as well as words, to a positive-sum vision of a reformed international system that includes China and meets the existential need to tackle shared challenges.

 

That does not mean giving up well-calibrated efforts to deter Chinese aggression, enhance resilience against Chinese coercion, and reinforce U.S. alliances. But these must be paired with meaningful discussions with Beijing, not only about crisis communications and risk reduction but also about plausible terms of coexistence and the future of the international system—a future that Beijing will necessarily have some role in shaping. An inclusive and affirmative global vision would both discipline competition and make clear what Beijing has to lose. Otherwise, as the relationship deteriorates and the sense of threat grows, the logic of zero-sum competition will become even more overwhelming, and the resulting escalatory spiral will undermine both American interests and American values. That logic will warp global priorities and erode the international system. It will fuel pervasive insecurity and reinforce a tendency toward groupthink, damaging the pluralism and civic inclusion that are the bedrock of liberal democracy. And if not altered, it will perpetuate a vicious cycle that will eventually bring catastrophe.

 

THE INEVITABLE RIVALRY?

In Washington, the standard account for why the relationship has gotten so bad is that China changed: in the past decade or two, Beijing has stopped “biding its time,” becoming more repressive at home and assertive abroad even while continuing to take advantage of the relationships and institutions that have enabled China’s economic growth.

 

That change is certainly part of the story, and it is as much a product of China’s growing clout as of Xi’s way of using that clout. But a complete account must also acknowledge corresponding changes in U.S. politics and policy as the United States has reacted to developments in China. Washington has met Beijing’s actions with an array of punitive actions and protective policies, from tariffs and sanctions to restrictions on commercial and scientific exchanges. In the process, the United States has drifted further from the principles of openness and nondiscrimination that have long been a comparative advantage while reinforcing Beijing’s conviction that the United States will never tolerate a more powerful China. Meanwhile, the United States has wavered in its support for the international institutions and agreements that have long structured global interdependence, driven in part by consternation over China’s growing influence within the international system.

 

The more combative approach, on both sides, has produced a mirroring dynamic. While Beijing believes that only through protracted struggle will Americans be persuaded to coexist with a strong China, Washington believes that it must check Chinese power and influence to defend U.S. primacy. The result is a downward spiral, with each side’s efforts to enhance its security prompting the other to take further steps to enhance its own.

 

In explaining growing U.S.-Chinese tensions, some scholars point to structural shifts in the balance of power. Graham Allison has written of “the Thucydides trap”: the notion that when a rising state challenges an established power, a war for hegemony frequently results. Yet a focus on capabilities alone has trouble accounting for the twists and turns in U.S.-Chinese relations, which are also driven by shifting perceptions of threat, opportunity, and purpose. Following President Richard Nixon’s 1972 visit to Beijing, Washington came to view China as a strategic partner in containing the Soviet Union. And as the post–Cold War era dawned, U.S. policymakers began hedging against growing Chinese military power even while seeking to encourage the country’s economic and political liberalization through greater integration.

 

Throughout this period, Chinese leaders saw a strategic opportunity to prioritize China’s development in a stable international environment. They opened the country’s doors to foreign investment and capitalist practices, seeking to learn from foreign expertise while periodically campaigning against “spiritual pollution” and “bourgeois liberalization.” Despite occasional attempts to signal resolve, including during the 1995–96 Taiwan Strait crisis and after the 1999 NATO bombing of the Chinese embassy in Yugoslavia, Chinese leaders largely adhered to the former leader Deng Xiaoping’s lying-low strategy to avoid triggering the sense of threat that could precipitate efforts to strangle China’s rise.

 

If there is a year that marked an inflection point in China’s approach to the world, it is not 2012, when Xi came to power, but 2008. The global financial crisis prompted Beijing to discard any notion that China was the student and the United States the teacher when it came to economic governance. And the Beijing Olympics that year were meant to mark China’s arrival on the world stage, but much of the world was focused instead on riots in Tibet, which Chinese officials chalked up to outside meddling, and on China’s subsequent crackdown. The Chinese Communist Party (CCP) became increasingly fixated on the idea that foreign forces were intent on thwarting China’s rise.

 

In the years that followed, the halting movement toward liberalization went into reverse: the party cracked down on the teaching of liberal ideas and the activities of foreign nongovernmental organizations, crushed pro-democracy protests in Hong Kong, and built a sprawling surveillance state and system of internment camps in Xinjiang—all manifestations of a broader conception of “national security,” animated by fears of unrest. Internationally, China gave up any semblance of strategic humility. It became more assertive in defending its territorial and maritime claims (along the Indian border, in the East and South China Seas, and with regard to Taiwan). Having surpassed Japan as the world’s second-largest economy in 2010, it began wielding its economic power to compel deference to CCP interests. It ramped up development of military capabilities that could counter U.S. intervention in the region, including expanding its once limited nuclear arsenal. The decision to develop many of these capabilities predated Xi, but it was under his leadership that Beijing embraced a more coercive and intolerant approach.

 

As it registered China’s growing capabilities and willingness to use them, Washington increased its hedging. The Obama administration announced that it would “pivot” to Asia, and even as Washington sought a constructive role for China in the international system, the pace of China’s rise quickly outstripped U.S. willingness to grant it a correspondingly significant voice. With Donald Trump’s election as president, Washington’s assessment became especially extreme: a Marxist-Leninist regime was, in Trump’s telling, out to “rape” the United States, dominate the world, and subvert democracy. In response, the Trump administration started a trade war, began to talk of “decoupling” the U.S. and Chinese economies, and launched a series of initiatives aimed at countering Chinese influence and undermining the CCP. In speeches, senior U.S. officials hinted at regime change, calling for steps to “empower the Chinese people” to seek a different form of government and stressing that “Chinese history contains another path for China’s people.”

 

The Biden administration has stopped any talk of regime change in China and coordinated its approach closely with allies and partners, a contrast with Trump’s unilateralism. But it has at the same time continued many of its predecessor’s policies and endorsed the assessment that China’s growing influence must be checked. Some lines of effort, such as the Justice Department’s China Initiative, which sought to prosecute intellectual property theft and economic espionage, have been modified. But others have been sustained, including tariffs, export controls, and visa restrictions, or expanded, such as sanctions against Chinese officials and companies. In Congress, meanwhile, ever more vehement opposition to China may be the sole thing that Democrats and Republicans can agree on, though even this shared concern has produced only limited agreement (such as recent legislation on domestic semiconductor investments) on how the United States should compete.

 

Over five decades, the United States tried a combination of engagement and deterrence to bring China into an international system that broadly sustains U.S. interests and values. American policymakers knew well that their Chinese counterparts were committed to defending CCP rule, but Washington calculated that the world would be less dangerous with China inside rather than outside the system. That bet largely succeeded—and is still better than the alternative. Yet many in Washington always hoped for, and to varying degrees sought to promote, China’s liberal evolution as well. China’s growing authoritarianism has thus fed the narrative of a comprehensive U.S. policy failure, and the focus on correcting that failure has entrenched Beijing’s insecurity and belief that the United States and its allies will not accept China as a superpower.

 

Now, both countries are intent on doing whatever is necessary to demonstrate that any move by the other will not go unmet. Both U.S. and Chinese decision-makers believe that the other side respects only strength and interprets restraint as weakness. At this year’s Shangri-La Dialogue in Singapore in June, China’s defense minister, General Wei Fenghe, pledged to “fight to the very end” over Taiwan a day after meeting with U.S. Defense Secretary Lloyd Austin.

 

TELL ME HOW THIS ENDS

Where the current trajectory leads is clear: a more dangerous and less habitable world defined by an ever-present risk of confrontation and crisis, with preparation for conflict taking precedence over tackling common challenges.

 

Most policymakers, at least those in Washington, are not seeking a crisis between the United States and China. But there is growing acceptance that a crisis is more or less inevitable. Its consequences would be enormous. Even if both sides want to avoid war, crises by definition offer little time for response amid intense public scrutiny, making it difficult to find pathways to deescalation. Even the limited application of force or coercion could set in motion an unpredictable set of responses across multiple domains—military, economic, diplomatic, informational. As leaders maneuver to show resolve and protect their domestic reputations, a crisis could prove very difficult to contain.

 

Taiwan is the most likely flash point, as changes in both Taipei and Beijing have increasingly put the island at the center of U.S.-Chinese tensions. Demographic and generational shifts in Taiwan, combined with China’s crackdown in Hong Kong, have heightened Taiwan’s resistance to the idea of Beijing’s control and made peaceful unification seem increasingly fanciful. After Taiwan’s traditionally pro-independence Democratic Progressive Party (DPP) won the presidency in 2016, Beijing took a hard line against the new president, Tsai Ing-wen, despite her careful efforts to avoid moves toward formal independence. Cross strait channels of communication shut down, and Beijing relied on increasingly coercive measures to punish and deter what it perceived as incremental moves toward Taiwan’s permanent separation.

 

In response, the United States increased military patrols in and around the Taiwan Strait, loosened guidelines for interacting with Taiwanese officials, broadened U.S. declaratory policy to emphasize support for Taiwan, and continued to advocate for Taiwan’s meaningful participation in international organizations, including the United Nations. Yet many well-intentioned U.S. efforts to support the island and deter China have instead fueled Beijing’s sense of urgency about the need to send a shot across the bow to deter steadily growing U.S.-Taiwanese ties.

 

Even with an official U.S. policy of “strategic ambiguity” on whether the United States would intervene in the event of an attack on Taiwan, Chinese military planners expect U.S. involvement. Indeed, the anticipated difficulty of seizing Taiwan while also holding the United States at bay has long underpinned deterrence across the Taiwan Strait. But many U.S. actions intended to bolster the island’s ability to resist coercion have been symbolic rather than substantive, doing more to provoke than deter Beijing. For example, the Trump administration’s efforts to upend norms around U.S. engagement with Taiwan—in August 2020, Secretary for Health and Human Services Alex Azar became the highest-ranking cabinet member to visit Taiwan since full normalization of U.S.-Chinese relations in 1979—prompted China to send combat aircraft across the center line of the Taiwan Strait, ignoring an unofficial guardrail that had long served to facilitate safe operations in the waterway. Intrusions into Taiwan’s Air Defense Identification Zone (ADIZ) have become a frequent means for Beijing to register displeasure with growing U.S. support. In October 2021, Chinese intrusions into Taiwan’s ADIZ hit a new high—93 aircraft over three days—in response to nearby U.S.-led military exercises.

 

This action-reaction cycle, driven by mutually reinforcing developments in Beijing, Taipei, and Washington, is accelerating the deterioration of peace and stability across the Taiwan Strait. In recent months, Chinese official rhetoric has become increasingly threatening, using phrases that have historically signaled China’s intent to escalate. “Whoever plays with fire will get burnt,” Xi has repeatedly told U.S. President Joe Biden. In May, after Biden implied an unconditional commitment to defend Taiwan, rather than simply expressing the longstanding U.S. obligation to provide the island with the military means to defend itself and to maintain the U.S. capacity to resist any use of force, the Chinese Foreign Ministry stressed that Beijing “will take firm actions to safeguard its sovereignty and security interests.”

 

Although Beijing continues to prefer peaceful unification, it is coming to believe that coercive measures may be necessary to halt moves toward Taiwan’s permanent separation and compel steps toward unification, particularly given the Chinese perception that Washington’s support for Taiwan is a means to contain China. Even if confidence in China’s military and economic trajectory leads Beijing to believe that “time and momentum” remain on its side, political trends in Taiwan and in the United States make officials increasingly pessimistic about prospects for peaceful unification. Beijing has not set a timetable for seizing Taiwan and does not appear to be looking for an excuse to do so. Still, as the political scientist Taylor Fravel has shown, China has used force when it thinks its claims of sovereignty are being challenged. High-profile symbolic gestures of U.S. support for Taiwan are especially likely to be construed as an affront that must be answered. (As of this writing, Nancy Pelosi’s visit to Taiwan, the first trip by a U.S. speaker of the house since 1997, has prompted Chinese warnings that “the Chinese military will never sit idly by,” followed by unprecedently threatening military exercises and missile tests around Taiwan.)

 

As both the United States and Taiwan head into presidential elections in 2024, party politics could prompt more efforts to push the envelope on Taiwan’s political status and de jure independence. It is far from clear whether Tsai’s successor as president will be as steadfast as she has been in resisting pressure from strident advocates of independence. Even under Tsai, there have been troubling signs that DPP leaders are not content with the status quo despite its popularity with voters. DPP leaders have lobbied Washington to refrain from making statements that the United States does not support Taiwan independence. In March, Taipei’s representative office in Washington gave former Secretary of State Mike Pompeo a hefty honorarium to visit Taiwan, where he called on the United States to offer the island “diplomatic recognition as a free and sovereign country.”

 

The risk of a fatal collision in the air or at sea is also rising outside the Taiwan Strait. With the Chinese and U.S. militaries operating in proximity in the East and South China Seas, both intent on demonstrating their willingness to fight, pilots and operators are employing dangerous tactics that raise the risk of an inadvertent clash. In 2001, a Chinese fighter jet collided with a U.S. reconnaissance plane over the South China Sea, killing the Chinese pilot and leading to the 11-day detention of the U.S. crew. After initial grandstanding, the Chinese worked to head off a full-blown crisis, even cracking down on displays of anti-Americanism in the streets. It is much harder to imagine such a resolution today: the desire to display resolve and avoid showing weakness would make it exceedingly difficult to defuse a standoff.

 

THE CENTER CANNOT HOLD

Even if the two sides can avoid a crisis, continuation of the current course will reinforce geopolitical divisions while inhibiting cooperation on global problems. The United States is increasingly focused on rallying countries around the world to stand against China. But to the extent that a coalition to counter China forms, especially given the ideological framing that both the Trump and Biden administrations have adopted, that coalition is unlikely to include the range of partners that might stand to defend universal laws and institutions. “Asian countries do not want to be forced to choose between the two,” Singaporean Prime Minister Lee Hsien Loong wrote of China and the United States in these pages in 2020. “And if either attempts to force such a choice—if Washington tries to contain China’s rise or Beijing seeks to build an exclusive sphere of influence in Asia—they will begin a course of confrontation that will last decades and put the long-heralded Asian century in jeopardy.”

 

The current approach to competition is also likely to strengthen the alignment between China and Russia. The Biden administration has managed to deter Chinese military assistance to Russia in Ukraine, and China has mostly complied with sanctions, demonstrating that there are in fact limits to Beijing and Moscow’s “no limits” partnership. But so long as the two governments share a belief that they cannot be secure in a U.S.-led system, they will continue to deepen their cooperation. In the months since the invasion of Ukraine, they have carried out joint military patrols in the Pacific Ocean and worked to develop alternatives to the U.S.-controlled financial system.

 

Ultimately, Chinese-Russian relations will be shaped by how Beijing weighs its need to resist the United States against its need to preserve ties to international capital and technology that foster growth. China’s alignment with Russia is not historically determined: there is an ongoing high-level debate within Beijing over how close to get to Moscow, with the costs of full-fledged alignment producing consternation among some Chinese analysts. Yet unless Washington can credibly suggest that Beijing will see strategic benefits, not only strategic risks, from distancing itself from Moscow, advocates of closer Chinese-Russian cooperation will continue to win the argument.

 

Growing geopolitical tension also crowds out progress on common challenges, regardless of the Biden administration’s desire to compartmentalize certain issues. Although U.S. climate envoy John Kerry has made some headway on climate cooperation with China, including a joint declaration at last year’s climate summit in Glasgow, progress has been outweighed by acrimony in areas where previous joint efforts had borne fruit, including counternarcotics, nonproliferation, and North Korea. On both sides, too many policymakers fear that willingness to cooperate will be interpreted as a lack of resolve.

 

Such tensions are further eroding the already weak foundations of global governance. It is not clear how much longer the center of the international rules-based order can hold without a broad-based effort at its renewal. But as Beijing has grown more concerned that the United States seeks to contain or roll back its influence—by, for example, denying it a greater say in international economic governance—the more it has invested in alternative institutions, such as the Asian Infrastructure Investment Bank. Meanwhile, China’s engagement with the multilateral system is increasingly aimed at discrediting U.S. leadership within it. Even though Beijing has not exactly demonstrated fealty to many of the principles it claims to support, the divide between the haves and have-nots has allowed it to cast the United States as protecting the privileges of a minority of powerful states. At the United Nations, Beijing and Washington too often strive to undercut each other’s initiatives, launching symbolic battles that require third countries to choose between the two.

 

Last but far from least, a fixation on competition brings costs and dangers in the United States. Aggressive U.S. efforts to protect research security, combined with increased attacks against Asian Americans, are having a chilling effect on scientific research and international collaboration and are jeopardizing the appeal of the United States as a magnet for international talent. A 2021 survey by the American Physical Society found that 43 percent of international physics graduate students and early career scientists in the United States considered the country unwelcoming; around half of international early career scientists in the United States thought the government’s approach to research security made them less likely to stay there over the long term. These effects are particularly pronounced among scientists of Chinese descent. A recent study by the Asian American Scholar Forum found that 67 percent of faculty of Chinese origin (including naturalized citizens and permanent residents) reported having considered leaving the United States.

 

As the United States has sought to shield itself from Chinese espionage, theft, and unfair trading practices, it has often insisted on reciprocity as a precondition for commercial, educational, and diplomatic exchanges with Beijing. But strict reciprocity with an increasingly closed system like China’s comes at a cost to the United States’ comparative advantage: the traditional openness, transparency, and equal opportunity of its society and economy, which drive innovation, productivity, and scientific progress.

 

The climate of insecurity and fear is also having pernicious effects on democracy and the quality of public debate about China and U.S. policy. The desire to avoid appearing “soft” on China permeates private and public policy discussions. The result is an echo chamber that encourages analysts, bureaucrats, and officials to be politically rather than analytically correct. When individuals feel the need to out-hawk one another to protect themselves and advance professionally, the result is groupthink. A policy environment that incentivizes self-censorship and reflexive positioning forecloses pluralistic debate and a vibrant marketplace for ideas, ingredients critical to the United States’ national competitiveness.

 

From the World War II internment of Japanese Americans to the McCarthyism of the 1950s to hate crimes against Muslim and Sikh Americans after September 11, U.S. history is replete with examples of innocent Americans caught in the crossfire of exaggerated fears of the “enemy within.” In each case, overreaction did as much as or more than the adversary to undermine U.S. democracy and unity. Although the Biden administration has condemned anti-Asian hate and stressed that policy must target behavior rather than ethnicity, some government agencies and U.S. politicians have continued to imply that an individual’s ethnicity and ties to family abroad are grounds for heightened scrutiny.

 

BEFORE CATASTROPHE

If the United States and Soviet Union could arrive at détente, there is no reason that Washington and Beijing cannot do so as well. Early in the Cold War, President John F. Kennedy, hailing the need to “make the world safe for diversity,” stressed that “our attitude is as essential as theirs.” He warned Americans “not to see conflict as inevitable, accommodation as impossible, and communication as nothing more than an exchange of threats.”

 

Even while making clear that Beijing will pay a high price if it resorts to force or other forms of coercion, Washington must present China with a real choice. Deterrence requires that threats be paired with assurances. To that end, U.S. policymakers should not be afraid of engaging directly with their Chinese counterparts to discuss terms on which the United States and China could coexist, including mutual bounds on competition. It was relatively easy for Americans to imagine coexistence with a China thought to be on a one-way path of liberalization. The United States and its partners now have the harder task of imagining coexistence with an authoritarian superpower, finding a new basis for bilateral interaction that focuses on shaping outward behavior rather than changing China’s domestic system.

 

The most pressing need relates to Taiwan, where the United States must bolster deterrence while also clarifying that its “one China” policy has not changed. This means ensuring that Beijing knows how costly a crisis over Taiwan would be, putting at risk its broader development and modernization objectives—but also that if it refrains from coercive action, neither Washington nor Taipei will exploit the opportunity to push the envelope further. While Secretary of State Antony Blinken and other senior officials have affirmed that the United States does not support Taiwan’s independence, other actions by the administration (especially Biden’s repeated statements suggesting an end to “strategic ambiguity”) have sown doubt.

 

While helping bolster Taiwan’s resilience to Chinese coercion, Washington should avoid characterizing Taiwan as a vital asset for U.S. interests. Such statements feed Beijing’s belief that the United States seeks to “use Taiwan to contain China,” as China’s ambassador to Washington put it in May. The United States should instead make clear its abiding interest in a peaceful process for resolving cross-strait differences rather than in a particular outcome. And as they highlight the costs Beijing can expect if it escalates its coercive campaign against Taiwan, U.S. policymakers should also stress to Taipei that unilateral efforts to change Taiwan’s political status, including calls for de jure independence, U.S. diplomatic recognition, or other symbolic steps to signal Taiwan’s permanent separation from China, are counterproductive.

 

These steps will be necessary but not sufficient to pierce the growing fatalism regarding a crisis, given Beijing’s hardening belief that the United States seeks to contain China and will use Taiwan to that end. To put a floor beneath the collapsing U.S.-China relationship will require a stronger effort to establish bounds of fair competition and a willingness to discuss terms of coexistence. Despite recent meetings and calls, senior U.S. officials do not yet have regular engagements with their counterparts that would facilitate such discussions. These discussions should be coordinated with U.S. allies and partners to prevent Beijing from trying to drive a wedge between the United States and others in Europe and Asia. But Washington should also forge a common understanding with its allies and partners around potential forms of coexistence with China.

 

Skeptics may say that there is no reason for the leadership in Beijing to play along, given its triumphalism and distrust. These are significant obstacles, but it is worth testing the proposition that Washington can take steps to stabilize escalating tensions without first experiencing multiple crises with a nuclear-armed competitor. There is reason to believe that Beijing cares enough about stabilizing relations to reciprocate. Despite its claim that the “East is rising and the West is declining,” China remains the weaker party, especially given its uncertain economic trajectory. Domestic challenges have typically tended to restrain China’s behavior rather than, as some Western commentators have speculated, prompting risky gambles. The political scientist Andrew Chubb has shown that when Chinese leaders have faced challenges to their legitimacy, they have acted less assertively in areas such as the South China Sea.

 

Because Beijing and Washington are loath to make unilateral concessions, fearing that they will be interpreted as a sign of weakness at home and by the other side, détente will require reciprocity. Both sides will have to take coordinated but unilateral steps to head off a militarized crisis. For example, a tacit understanding could produce a reduction in Chinese and U.S. operations in and around the Taiwan Strait, lowering the temperature without signaling weakness. Military operations are necessary to demonstrate that the United States will continue to fly and sail wherever international law allows, including the Taiwan Strait. But ultimately, the United States’ ability to deter and Taiwan’s ability to defend against an attempt at armed unification by Beijing have little to do with whether the U.S. military transits the Taiwan Strait four, eight, 12, or 24 times a year.

 

In the current atmosphere of distrust, words must be matched by actions. In his November 2021 virtual meeting with Biden, Xi said, “We have patience and will strive for the prospect of peaceful reunification with utmost sincerity and efforts.” But Beijing’s actions since have undercut its credibility in Taipei and in Washington. Biden likewise told Xi that the United States does not seek a new Cold War or want to change Beijing’s system. Yet subsequent U.S. actions (including efforts to diversify supply chains away from China and new visa restrictions on CCP officials) have undermined Washington’s credibility among not just leaders in Beijing but also others in the region. It does not help that some administration officials continue to invoke Cold War parallels.

 

To bolster its own credibility, the Biden administration should also do more to preempt charges of hypocrisy and double standards. Consider U.S. policy to combat digital authoritarianism: Washington has targeted Chinese surveillance technology firms more harshly than similar companies based in the United States, Israel, and other Western democracies.

 

THE WORLD THAT OUGHT TO BE

So far, the Biden administration’s order-building efforts have centered on arrangements that exclude China, such as the Quad (Quadrilateral Security Dialogue) and the Indo-Pacific Economic Framework. Although officials have been careful to insist that these initiatives are not targeted at any one country, there is little sign of any corresponding effort to negotiate Beijing’s role in the international or regional order. At the margins, there have been some signs that inclusive groupings can still deliver. (The World Trade Organization has struck agreements on fishing subsidies and COVID-19 vaccines.) But if investments in narrower, fit-for-purpose coalitions continue to take priority over broader, inclusive agreements and institutions, including those in which China and the United States both have major roles to play, geopolitical tensions will break rather than reinvigorate the international system.

 

Renewing U.S. leadership will also require doing more to address criticism that a U.S.-led order means “rules for thee but not for me.” Clear and humble acknowledgment of instances where the United States has violated the UN Charter, such as the invasion of Iraq, would be an important step to overcoming that resentment. And Washington must deliver value for citizens in developing countries, whether on COVID-19, climate, hunger, or technology, rather than simply urging them not to work with China. At home, Washington must work to rebuild bipartisan support for U.S. engagement with the international system.

 

As the United States reimagines its domestic and international purpose, it should do so on its own terms, not for the sake of besting China. Yet fleshing out an inclusive, affirmative vision of the world it seeks would also be a first step toward clarifying the conditions under which the United States would welcome or accept Chinese initiatives rather than reflexively opposing them. The countries’ divergent interests and values would still result in the United States opposing many of Beijing’s activities, but that opposition would be accompanied by a clear willingness to negotiate the terms of China’s growing influence. The United States cannot cede so much influence to Beijing that international rules and institutions no longer reflect U.S. interests and values. But the greater risk today is that overzealous efforts to counter China’s influence will undermine the system itself through a combination of paralysis and the promotion of alternate arrangements by major powers.

 

Finally, the United States must do much more to invest in the power of its example and to ensure that steps taken to counter China do not undermine that example by falling into the trap of trying to out-China China. Protective or punitive actions, whether military, economic, or diplomatic, should be assessed not just on the basis of whether they counter China but also on how they affect the broader system and whether they reflect fidelity to U.S. principles.

 

Competition cannot become an end in itself. So long as outcompeting China defines the United States’ sense of purpose, Washington will continue to measure success on terms other than on its own. Rankings are a symbolic construct, not an objective condition. If the pursuit of human progress, peace, and prosperity is the ultimate objective, as Blinken has stated, then the United States does not need to beat China in order to win.

 

JESSICA CHEN WEISS is the Michael J. Zak Professor of China and Asia-Pacific Studies at Cornell University. She served as a Council on Foreign Relations International Affairs Fellow on the Policy Planning Staff at the U.S. Department of State from August 2021 to July 2022. The views expressed here are her own.

Islam is the name of a way of life which the Creator wants us to follow. We avoid the word religion because in many non-Islamic societies, there is a separation of "religion and state." This separation is not recognized at all in Islam: the Creator is very much concerned with all that we do, including the political, social, economic, and other aspects of our society. Hence, Islam is a complete way of life.

 

The source of Islam is Allah, the Creator of everything known and unknown to us. He is One, and He is Unique. Allah has taught us about Islam via two mediums: the Qur'an and the Sunnah. Both the Qur'an and Sunnah were transmitted to us, humanity, via the Messenger of Allah: Muhammad bin Abdullah, may the peace and blessings of Allah be upon him (saas). The Messenger of Allah was nothing more and nothing less than a mortal messenger of the immortal Creator.

 

The Qur'an is a book containing the literal Word of Allah. It was transmitted from Allah to an angel of His (Gabriel), and from the angel to the Messenger of Allah who delivered it to us. The Qur'an covers a wide variety of topics, including evidence to support its claim of being the Word of the Creator, stories of earlier generations, rules which humanity is asked to obey, and information about the Hereafter. The Qur'an claims that it is protected from change by other than Allah, and this is confirmed by its 1400 year history. The earliest copies and the latest copies are the same.

 

The Sunnah is the term used to describe how the Messenger of Allah (saas) lived his life. The Messenger's life is an example for all Muslims, or those who accept Islam, to follow. Whatever the Messenger (saas) did, said, or approved of is a source of Islam just as much as the Qur'an. The Messenger's role is not overemphasized: his life was dictated by what the Creator desired, and the Messenger did not add or subtract to Islam according to his own personal whim. His life was such that his wife called him "a walking Qur'an."

 

The Qur'an and Sunnah are the only two mediums by which Allah has directly taught us about Islam. This leads us to the following simple but critical principle:

 

If any man or woman engages in a belief or action which clearly contradicts the Qur'an or Sunnah, then that belief or action cannot be thought of as `Islamic'.

This rule applies whether the man or woman is Muslim or non-Muslim. Hence, we cannot equate Islam and the Muslims. Islam is the way of life; Muslims are people who claim to follow that way of life. A Muslim may claim to follow Islam, but be wrong. In the context of misconceptions, we can restate the above principle in a slightly different way:

 

Some misconceptions about Islam are due to the wrong beliefs and actions of Muslims, and others are due to a significant lack of understanding and false stereotyping by non-Muslims.

Several misconceptions are listed below. Instead of simply stating the misconception by itself, we have also included some reasons why people might adopt that misconception. Therefore, each entry in the list is given in the following form:

 

because:

    

etc.

 

After each misconception and its possible reasons, we show briefly why the misconception is false by showing one or more of three possibilities:

 

a reason is false

 

the reason does not logically lead to the misconception

 

a key piece of information is being ignored

 

Our answers to the misconceptions are drawn from the Qur'an and Sunnah. All other approaches are insufficient: Islam is a way of life which is very firmly based on a scholarly approach, an approach which is based on knowledge.

 

Misconception 1

Islam is `the religion of peace' because:

the Arabic word Islam is derived from the Arabic word "Al-Salaam" which means peace.

 

It might seem strange to think of this as a misconception, but in fact it is. The root word of Islam is "al-silm" which means "submission" or "surrender." It is understood to mean "submission to Allah." In spite of whatever noble intention has caused many a Muslim to claim that Islam is derived primarily from peace, this is not true. Allah says in the Qur'an (translated):

 

[2:136] Say (O Muslims): We believe in Allah and that which is revealed to us and that which was revealed to Abraham, and Ishmael, and Isaac, and Jacob, and the tribes, and that which Moses and Jesus received, and that which the prophets received from their Lord. We make no distinction between any of them, and to Him we have surrendered. [Arabic "Muslimoon"]

A secondary root of Islam may be "Al-Salaam" (peace), however the text of the Qur'an makes it clear that Allah has clearly intended the focus of this way of life to be submission to Him. This entails submission to Him at all times, in times of peace, war, ease, or difficulty.

 

Misconception 2

In Islam, denial of human rights is OK because:

Islam is against pure democracy

 

Islam tolerates slavery

 

The misconception does not follow from the reasons given, and the reasons ignore a great deal of information.

 

As stated earlier, Islam is a complete way of life. Given this, it is not surprising that the Creator is concerned with the method which we choose to govern ourselves. The preeminent rule which the Islamic state must observe is stated in the Qur'an (translation follows):

 

[4:59] O you who believe! Obey Allah, and obey the Messenger, and those charged with authority among you. If you differ in anything among yourselves, refer it to Allah and His Messenger, if you do believe in Allah and the Last Day; That is best, and most suitable for final determination.

From this verse, it is clear that the state's obligation of obedience to the Creator is as important as the obedience of the individual. Hence, the Islamic state must derive its law from the Qur'an and Sunnah. This principle excludes certain choices from the Islamic state's options for political and economic systems, such as a pure democracy, unrestricted capitalism, communism, socialism, etc. For example, a pure democracy places the people above the Qur'an and Sunnah, and this is disobedience to the Creator. However, the best alternative to a pure democracy is a democracy that implements and enforces the Shari'ah (Islamic Law).

 

The Creator also states in the Qur'an (translated):

 

[42:36-38] So whatever thing you are given, that is only a provision of this world's life, and what is with Allah is better and more lasting for those who believe and rely on their Lord, and those who shun the great sins and indecencies, and whenever they are angry they forgive, and those who respond to their Lord and keep up prayer, and their rule is to take counsel among themselves, and who spend out of what We have given them.

Allah orders us in this verse to conduct our matters by taking counsel among ourselves, or by consulting each other. This is the methodology of the Islamic state, to consult one another, but to always keep the Qur'an and Sunnah paramount. Any law which contradicts the Qur'an or Sunnah is unlawful. This broad principle of consultation is certainly wide enough to encompass a form of government where all are heard - in fact, encouraged to be heard. The early Islamic states were of this form. The petty governments of many `Muslim countries' today do not apply this principle and in fact commit many crimes against the people.

 

As for slavery, Islam is unique among the `religions' in its close attention to the peaceful removal of this practice. Before the advent of Islam, slavery was widespread all over the world. The Messenger of Islam taught us that freeing slaves was a great deed in the sight of Allah. From the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[3:46:693] Narrated Abu Huraira: The Prophet said, "Whoever frees a Muslim slave, Allah will save all the parts of his body from the (Hell) Fire as he has freed the body-parts of the slave." Said bin Marjana said that he narrated that Hadith to `Ali bin Al-Husain and he freed his slave for whom `Abdullah bin Ja'far had offered him ten thousand Dirhams or one-thousand Dinars.

Also from the Sunnah, specifically in the study of the Sunnah called Malik's Muwatta, we find:

 

[38:9:15] Narrated Aisha Ummul Mu'minin: The Messenger of Allah, may Allah bless him and grant him peace, was asked what was the most excellent kind of slave to free. The Messenger of Allah, may Allah bless him and grant him peace, answered, "The most expensive and the most valuable to his master."

The Creator has also made it easy for slaves to gain their freedom. From the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[3:46:704] Narrated Abu Huraira: The Prophet said, "Whoever frees his portion of a common slave should free the slave completely by paying the rest of his price from his money if he has enough money; otherwise the price of the slave is to be estimated and the slave is to be helped to work without hardship till he pays the rest of his price."

The condition of slavery is very different in Islam than the harsh conditions imposed by non-Muslims or disobedient Muslims. From the Sunnah, specifically in the study of the Sunnah called Sunan Abu-Dawud, we find:

 

[41:4957] Narrated AbuHurayrah: The Prophet (saw) said: None of you must say: "My slave" (abdi) and "My slave-woman" (amati), and a slave must not say: "My lord" (rabbi or rabbati). The master (of a slave) should say: "My young man" (fataya) and "My young woman" (fatati), and a slave should say "My master" (sayyidi) and "My mistress" (sayyidati), for you are all (Allah's) slave and the Lord is Allah, Most High.

Also from the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[3:46:721] Narrated Al-Ma'rur bin Suwaid: I saw Abu Dhar Al-Ghifari wearing a cloak, and his slave, too, was wearing a cloak. We asked him about that (i.e. how both were wearing similar cloaks). He replied, "Once I abused a man and he complained of me to the Prophet. The Prophet asked me, `Did you abuse him by slighting his mother?' He added, `Your slaves are your brethren upon whom Allah has given you authority. So, if one has one's brethren under one's control, one should feed them with the like of what one eats and clothe them with the like of what one wears. You should not overburden them with what they cannot bear, and if you do so, help them (in their hard job)."

As a result of the teachings of Islam, slavery was almost completely eradicated from many areas of the Muslim world, peacefully and without bloodshed.

 

Misconception 3

In Islam, women are inferior to men because:

a man can marry up to 4 wives, a woman can marry only one man

a man's share of inheritance is bigger than a woman's a man can marry a non-Muslim, a woman cannot

women must wear the veil

This widely held misconception does not remotely follow from the reasons given. The first and most important observation to make about the popular question "Are men and women equal?" is that it is a badly-formed, unanswerable question. The problem which many people conveniently ignore is that "equal" is not defined. This is a very critical point: the equality must be specified with respect to some measurable property. For example, women on average are superior to men if we ask who is shorter in height than the other ("Growth and Development", Encyclopaedia Britannica, 1992). Women are also superior on average if we ask whom do children bond to deeper, mothers or fathers. Women are also superior on average if we ask who has a tendency to socialize more. On the other hand, men are superior on average if we ask who is taller in height than the other. And so on: every question can be turned around, and more importantly these are properties which are irrelevant.

 

What then, is the really important property which we are worried about in terms of gender equality? Naturally, from the point of view of the Qur'an and Sunnah, the obvious important property is who is dearer to Allah, men or women? This question is emphatically answered in the Qur'an (translation),

 

[4:124] If any do deeds of righteousness - be they male or female - and have faith, they will enter Paradise, and not the least injustice will be done to them.

[33:35] For Muslim men and women, for believing men and women, for devout men and women, for truthful men and women, for men and women who are patient and constant, for men and women who humble themselves, for men and women who give in charity, for men and women who fast, for men and women who guard their chastity, and for men and women who engage much in Allah's praise, for them has Allah prepared forgiveness and great reward.

The Qur'an and Sunnah repeat over and over again that Allah only favors one person over another based on that person's awareness, consciousness, fear, love, and hope of Allah (the Arabic word is difficult to translate: Taqwa). All other criteria are excluded: gender, ethnic group, country, ancestry, etc.

 

Given that Allah does not favor one gender over the other in His attention to us (and it helps to remember that Allah is neither male nor female), we can now address the differences between the genders in Islam. First, men and women are not the same as we know. The Creator states in the Qur'an (translation),

 

[3:36]...and the male is not like the female...

Men and women are different in their composition, and in their responsibilities under Islam. However, both are bound by obligations to one another, especially the following important one which must be understood in any discussion on men and women. From the Qur'an (translation),

 

[24:32] And marry those among you who are single and those who are fit among your male slaves and your female slaves; if they are needy, Allah will make them free from want out of His grace; and Allah is Ample-giving, Knowing.

In this verse, the Creator emphasizes that marriage is to be vigorously pursued by the Muslims: the state of being single is not to be maintained. With this in mind, we can begin to understand the four reasons cited above for the nonetheless erroneous conclusion.

 

Men and women are different in their responsibilities towards the families that they are strongly encouraged to set up. Women are not obligated to work, whereas men are obligated. The man must provide for the family, but the woman does not have to spend out of her money for it, though she gets a reward for doing so. Allah says in the Qur'an (translation),

 

[4:34] Men are in charge of women, because Allah hath made the one of them to excel the other, and because they spend of their property (for the support of women). So good women are the obedient, guarding in secret that which Allah hath guarded. As for those from whom ye fear rebellion, admonish them and banish them to beds apart, and scourge them. Then if they obey you, seek not a way against them. Lo! Allah is ever High, Exalted, Great.

From the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[2:24:545] Narrated `Amr bin Al-Harith: Zainab, the wife of `Abdullah said, "I was in the Mosque and saw the Prophet (p.b.u.h) saying, `O women ! Give alms even from your ornaments.' " Zainab used to provide for `Abdullah and those orphans who were under her protection. So she said to `Abdullah, "Will you ask Allah's Apostle whether it will be sufficient for me to spend part of the Zakat on you and the orphans who are under my protection?" He replied "Will you yourself ask Allah's Apostle ?" (Zainab added): So I went to the Prophet and I saw there an Ansari woman who was standing at the door (of the Prophet ) with a similar problem as mine. Bilal passed by us and we asked him, `Ask the Prophet whether it is permissible for me to spend (the Zakat) on my husband and the orphans under my protection.' And we requested Bilal not to inform the Prophet about us. So Bilal went inside and asked the Prophet regarding our problem. The Prophet (p.b.u.h) asked, "Who are those two?" Bilal replied that she was Zainab. The Prophet said, "Which Zainab?" Bilal said, "The wife of `Adullah (bin Masud)." The Prophet said, "Yes, (it is sufficient for her) and she will receive a double rewards (for that): One for helping relatives, and the other for giving Zakat."

Given that husbands are obligated to provide for wives, and that marriage is a highly recommended goal of Islam, it is easy to see why women's inheritance share is half that of men. We note also that men are obligated to provide a suitable dowry to women on marriage. In fact, it is preferable at this point to speak in terms of husbands and wives instead of men and women. Allah says in the Qur'an (translation),

 

[4:4] And give women their dowries as a free gift, but if they of themselves be pleased to give up to you a portion of it, then eat it with enjoyment and with wholesome result.

Allah says in the Qur'an (translation),

 

[2:228]...And they (women) have rights similar to those (of men) over them in kindness, and men are a degree above them...

This one degree in no way affects the position of the Creator in which He has stated that He does not hold women dearer to him than men, or vice versa. Rather it is simply a way of partitioning responsibilities in a household of two adults: someone must make the final decision on daily matters. As will be shown below in a section on a different misconception, though the final decision rests with the husband, it is through mutual consultation that decisions are best reached at.

 

While men are allowed to marry up to four wives, they are also commanded to meet the preconditions of being able to financially support them. They must also deal with each wife justly and fairly with respect to marital and economic obligations. Allah says in the Qur'an (translation),

 

[4:3] If ye fear that ye shall not be able to deal justly with the orphans, Marry women of your choice, Two or three or four; but if ye fear that ye shall not be able to deal justly (with them), then only one, or (a captive) that your right hands possess, that will be more suitable, to prevent you from doing injustice.

Moreover, women are allowed to reject any marriage proposal made to her by prospective suitors, thus if she does not feel she can abide by the rules of the Qur'an and Sunnah if she marries a certain person, she can reject his proposal. While it is irrelevant to Islam, it is worthwhile to note that both Judaism and Christianity allow polygamy. The idea is not as foreign to the non-Muslims as is often claimed.

 

Finally, the wearing of the veil by women is also an illogical premise to claim that women are inferior to men. It is more appropriate to indict a society of female exploitation if it tolerates pornography rather than if it enforces the veil. Given that Allah is neither male nor female, given that He does not endear people to Himself based on their gender, given that the Creator cares about all of us male or female, given that the sexual and violent drive of men is stronger than that of women...given all this, it is illogical to cast a negative light on the following injunctions contained in the Qur'an (translation),

 

[33:59] O Prophet, tell your wives and daughters and the believing women to draw their outer garments around them (when they go out or are among men). That is better in order that they may be known (to be Muslims) and not be annoyed...

[24:30-31] Say to the believing man that they should lower their gaze and guard their modesty; that will make for greater purity for them; and Allah is well acquainted with all that they do. And say to the believing women that they should lower their gaze and guard their modesty; and that they should not display their beauty and ornaments except what must ordinarily appear thereof; that they should draw their veils over their bosoms and not display their beauty except to their husbands...

On this misconception, there is a great deal more to write, most of it showing how current practices in many Muslim lands go against what the Qur'an and Sunnah have ordained, lands in which women are treated as property (unIslamic), are not educated (unIslamic), are forbidden their economic rights (unIslamic), and more. On this point in particular, we encourage everyone to consult the Qur'an and Sunnah before incriminating Islam. Always remember that Islam is a complete way of life from the Creator, and that Muslims are people who claim to follow that way of life. A Muslim may claim to follow Islam, but be wrong.

 

Misconception 4

Islam is well-suited only to the Arabs because:

most Muslims are Arabs

 

the Qur'an is in Arabic

 

The first reason for this misconception is far from the truth. Of the more than one billion Muslims around the world, only 18% are Arab. The most populous Muslim country in the world is Indonesia. The second most populous Muslim country is Bangladesh. Neither of these countries is Arab.

 

Islam is the fastest growing major religion in the world (Encyclopedia Britannica). It has adherents on all the populated continents, and is accessible to Arabs and non-Arabs alike. In the United States, Muslims are expected to become the largest religious minority around the turn of the century, outstripping the Jews.

 

The universal appeal of Islam to Arabs and non-Arabs comes in spite of the Qur'an being in Arabic. Allah states in the Qur'an that this way of life called Islam is for all people (translation follows),

 

[21:107] And We (Allah) have not sent you (Muhammad) but as a mercy to the worlds.

[34:28] We have not sent you but as a universal (Messenger) to men, giving them glad tidings, and warning them (against sin), but most men understand not.

Moreover, the Creator does not use the color or mother tongue of people to judge them, be they Arab or not. Instead, it is the level of their awareness of Allah which is the criterion,

 

[49:13] O mankind! We created you from a single (pair) of a male and a female, and made you into nations and tribes, that you may know each other (not that you may despise each other). Verily the most honored of you in the sight of Allah is (he who is) the most righteous of you. And Allah has full knowledge and is well acquainted (with all things)."

The choice of Arabic as the language of the Qur'an is explained very simply and clearly (translation follows),

 

[41:44] And if We (Allah) had made it a Qur'an in a foreign tongue, they would certainly have said: "Why have not its communications been made clear? What! a foreign (tongue) and an Arab!" Say: It is, to those who believe, a guidance and a healing; and (as for) those who do not believe, there is a heaviness in their ears and it is obscure to them; these shall be called to from a far-off place.

However, it is also important to emphasize that the Qur'an in its revealed form in Arabic is the literal Word of the Creator - but any translation is not. Each translation is more accurately called a translation of an interpretation, for every translator includes his or her own bias.

 

Misconception 5

Islam rejects Jesus because:

Jesus is not accepted as `the Son of God'

 

The Qur'an and Sunnah both teach us emphatically and without any doubt that the Creator considers the statement of the Trinity to be a great falsehood. The Qur'an states (translation):

 

[19:88-93] They say: "(Allah) the Most Merciful has begotten a son!" Indeed you have put forth a thing most monstrous! At it the skies are ready to burst, the earth to split asunder, and the mountains to fall down in utter ruin, that they should invoke a son for (Allah) the Most Merciful. For it is not consonant with the majesty of (Allah) the Most Merciful that He should beget a son: Not one of the beings in the heavens and the earth but must come to (Allah) the Most Merciful as a servant.

However, the misconception that Jesus is rejected does not follow from the reason given above. It is more precise to say that identifying Jesus as `the Son of God' is rejected. As a Messenger of Allah, Jesus is accorded the same honor that all the Messengers are given, as the following verse attests to (translation),

 

[2:136] Say (O Muslims): We believe in Allah and that which is revealed to us and that which was revealed to Abraham, and Ishmael, and Isaac, and Jacob, and the tribes, and that which Moses and Jesus received, and that which the prophets received from their Lord. We make no distinction between any of them, and to Him we have surrendered. [Arabic "Muslimoon"]

Misconception 6

Islam orders the worship of a man because:

Muslims are also `Muhammadans'

 

Early non-Muslim quasi-researchers of Islam called it `Muhammadanism', implying in some way that Muslims worshipped the Messenger of Allah (saas). Hence, the (false) basis for this misconception really emanates from non-Muslims. However, as was described above, a "Muslim" is "one who submits to Allah." The essence of Islam is pure, pure, pure monotheism. Allah says in the Qur'an (translated):

 

[112:1-4] Say: He is Allah, the One and Only; Allah, the One on whom all depend; He begets not, nor is He begotten. And there is none comparable to Him.

[3:144] Muhammad is no more than a messenger: many Were the messengers that passed away before him. If he died or were slain, will you then turn back on your heels? If any did turn back on his heels, not the least harm will he do to Allah; but Allah (on the other hand) will swiftly reward those who (serve Him) with gratitude.

From the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[9:93:470] Narrated Mu'adh bin Jabal: The Prophet said, "O Mu'adh! Do you know what Allah's Right upon His slaves is?" I said, "Allah and His Apostle know best." The Prophet said, "To worship Him (Allah) Alone and to join none in worship with Him (Allah). Do you know what their right upon Him is?" I replied, "Allah and His Apostle know best." The Prophet said, "Not to punish them (if they do so)."

[4:55:654] Narrated `Umar: I heard the Prophet saying, "Do not exaggerate in praising me as the Christians praised the son of Mary, for I am only a Slave. So, call me the Slave of Allah and His Apostle."

Misconception 7

Islam tolerates the killing of innocents because:

Muslims can be terrorists

 

Muslims engage in `holy wars' (jihad)

 

Islam spread by the sword

 

it has a harsh and cruel judicial system

 

This misconception is one of the most widely held misconceptions about Islam today. And yet in the Qur'an, the Creator unambiguously states (translation),

 

[17:33] Nor take life - which Allah has made sacred - except for just cause. And if anyone is slain wrongfully, we have given his heir authority (to demand retaliation or to forgive): but let him not exceed bounds in the matter of taking life, for he is helped (by the Law)

Based on this verse, it is Islamically unlawful to murder anyone who is innocent of certain crimes. It is well to remember at this point the distinction made above between Qur'an and Sunnah, and the Muslims: only the Qur'an and Sunnah are guaranteed to be in accordance with what the Creator desires, whereas the Muslims may possibly deviate. Hence, if any Muslim kills an innocent person, that Muslim has committed a grave sin, and certainly the action cannot be claimed to have been done "in the name of Islam."

 

It should be clear, then, that "Muslim terrorist" is almost an oxymoron: by killing innocent people, a Muslim is commiting an awesome sin, and Allah is Justice personified. This phrase is offensive and demeaning of Islam, and it should be avoided. It is hoped that as the general level of public awareness and understanding of Islam increases, people will keep "terrorism" and "Islam" separate from each other, not to be used in the same phrase.

 

Another reason advanced in support of the misconception is that the Creator has imposed `jihad' on us. The term "holy war" is from the time of the Crusades and originated in Europe as a rallying cry against the Muslims in Jerusalem. Jihad is an Arabic word meaning struggle, but in the context of many verses in the Qur'an, it carries the meaning of military struggle, or war. Allah gradually introduced the obligation of military struggle to the Muslim community at the time of the Messenger (saas). The first verse ever revealed in that connection is as follows (translation),

 

[22:39] Permission (to fight) is given to those upon whom war is made because they are oppressed, and most surely Allah is well able to assist them;

This verse lays down the precondition for all war in Islam: there must exist certain oppressive conditions on the people. The Creator unequivocally orders us to fight oppression and persecution, even at the expense of bloodshed as the following verse shows (translation),

 

[2:190-192] And fight in the cause of Allah with those who fight with you, and do not exceed the limits, surely Allah does not love those who exceed the limits. And kill them wherever you find them, and drive them out from where they drove you out, and persecution is severer than slaughter, and do not fight with them at the Sacred Mosque (in Makkah) until they fight with you in it, but if they do fight you, then slay them; such is the reward of the unbelievers. But if they desist, then surely Allah is Forgiving, Merciful. And fight with them until there is no persecution, and religion should be only for Allah, but if they desist, then there should be no hostility except against the oppressors.

As one might imagine, the method of military struggle has been clearly and extensively defined in the Qur'an and Sunnah. Since this subject is a huge one, we simply summarize part of it by noting that it is unlawful to kill women, children, the infirm, the old, and the innocent. From the Sunnah, specifically in the study of the Sunnah called Sahih Bukhari, we find:

 

[4:52:257] Narrated 'Abdullah: During some of the Ghazawat of the Prophet a woman was found killed. Allah's Apostle disapproved the killing of women and children.

A related misconception to jihad is often propagated by Muslims who say that "Jihad is only for self-defense of physical borders." The Qur'an and Sunnah refute this notion categorically. As the verses cited above show, jihad is obligatory wherever there is injustice, and Muslims need not acknowledge imaginary lines around the earth when it comes to upholding this obligation. The Messenger of Allah (saas) has also commented on this extensively in the Sunnah. From the study of the Sunnah called Sahih Bukhari, we find that,

 

[4:52:65] Narrated Abu Musa: A man came to the Prophet and asked, "A man fights for war booty; another fights for fame and a third fights for showing off; which of them fights in Allah's Cause?" The Prophet said, "He who fights that Allah's Word (i.e. Islam) should be superior, fights in Allah's Cause."

Hence, the Creator obligates us to fight wherever people are being grossly deprived of freely hearing or practicing the Message of Allah as contained in the Qur'an and Sunnah. Sayyed Qutb, a famous Muslim scholar eloquently discusses the notion of jihad and self-defense in his book Milestones,

 

"If we insist on calling Islamic jihad a defensive movement, then we must change the meaning of the word `defense' and mean by it `defense of man' against all those elements which limit his freedom. These elements take the form of beliefs and concepts, as well as of political systems, based on economic, racial, or class distinction."

A third reason often cited for the misconception about Islam which says that this way of life tolerates the killing of innocents is that the judicial system of Islam is unnecessarily harsh. This reason is weak in two respects. First, it presupposes that human beings are more just and more merciful than the Creator, and therefore we can change the law. Second, it is often based on gross oversimplifications of Islamic law, such as saying "all thieves get their hands cut off."

 

The Qur'an and Sunnah make it clear that the law of retaliation (or equality) governs us for murder and physical injury, but forgiveness is better as the following verses from the Qur'an show (translation),

 

[2:178] O you who believe! the law of equality is prescribed to you in cases of murder: the free for the free, the slave for the slave, the woman for the woman. But if any remission is made by the brother of the slain, then prosecution (for the bloodwit) should be made according to usage, and payment should be made to him in a good manner; this is an alleviation from your Lord and a mercy; so whoever exceeds the limit after this he shall have a painful chastisement.

[42:40-43] The recompense for an injury is an injury equal thereto (in degree): but if a person forgives and makes reconciliation, his reward is due from Allah: for (Allah) loves not those who do wrong. But indeed if any do help and defend themselves after a wrong (done) to them, against such there is no cause of blame. The blame is only against those who oppress men and insolently transgress beyond bounds through the land, defying right and justice: for such there will be a grievous penalty. And whoever is patient and forgiving, these most surely are actions due to courage.

The Creator ordained the law of retaliation on us knowing full well that we might question it. In many non-Muslim societies today, there are ongoing debates about the death penalty. In Islam, this discussion is moot: the Creator has decided the matter for us. He has however given us an interesting verse in the Qur'an which advises to consider the matter carefully if we want to understand it (translation follows),

 

[2:179] And there is life for you in (the law of) retaliation, O people of understanding, that you may guard yourselves.

Most people are also unaware of the stringent conditions which must be met for the law of retaliation to be applicable. The Sunnah is full of examples of the Messenger of Allah showing us when the law's preconditions were fulfilled. For example, a thief is only liable to lose his or her hand if the item stolen exceeds a certain value, and if it is proven that the item was taken from its normal resting place. Stealing food is not punishable by the loss of one's hand, and other items are exempt as well. This is just an example of how gingerly the law is applied in Islam.

 

Finally, another reason advanced for this prevalent misconception is that Islam `spread by the sword'. It should be clear by now that we must always distinguish between the Qur'an and Sunnah and the Muslims when it comes to determining what the Creator has asked of us. Allah has stated clearly in the Qur'an (translation),

 

[2:256] There is no compulsion in religion; truly the right way has become clearly distinct from error; therefore, whoever rejects Satan (and what he calls to) and believes in Allah, he indeed has laid hold on the firmest handhold, which shall not break off, and Allah is Hearing, Knowing.

Hence, it is impossible to accept Islam under duress. Even if misguided Muslims were to try to `force' Islam somehow on others, it would not be accepted by the Creator based on this verse.

 

Historical arguments that try to demonstrate that Muslims did not `convert others by force' are actually secondary to the argument given above. However, it is worth noting that historically, Islam did spread by peaceful means. The Message of the Creator was conveyed to Africa and to southeast Asia by trading Muslims, and today the largest Muslim country in the world is Indonesia. The military expeditions that led to the conquest of large swathes of territory in Europe and central Asia were all marked by tolerance of other creeds and faith.

 

Again, it is important to remember that Allah declares it IMPOSSIBLE that Islam can be forced on a person, hence Muslims find it useless to try!

 

Misconception 8

Islam is intolerant of other religions because

the Qur'an condemns the other religions as false

 

The Creator has taught us in the Qur'an and Sunnah that all other `religions' and ways of life are unacceptable to Him if a person is aware of Islam. The Qur'an states (translation),

 

[3:85] And whoever desires a religion other than Islam, it shall not be accepted from him, and in the hereafter he shall be one of the losers.

However, even though the Creator has clearly specified that no other way of life is acceptable to Him except Islam (i.e. submission to Him as embodied in the Qur'an and Sunnah), He has also commanded the Muslims to be tolerant of people who espouse other creeds. From the Sunnah, specifically in the study of the Sunnah called Al-Awsat by Al-Tabarani, we find regarding those non-Muslims living in the Islamic state,

 

The Messenger of Allah (saas) said, "One who kills a non-Muslim person under protection (Arabic: dhimmi) will not even smell the fragrance of Paradise."

Also from the Sunnah, specifically in a report from Al-Khatib, we find that the Messenger of Allah (saas) also said:

 

Whoever hurts a non-Muslim person under protection, I am his adversary, and I shall be an adversary to him on the Day of Resurrection.

In short, Islam is intolerant of false ideas, however it is tolerant of the people who hold to those ideas. One historical example of Muslims living up to the standard of Islam can be found from the time of the Spanish Inquisition. During that disaster sprung by misguided Catholics, some Spanish Jews fled to Muslim Turkey and to this day, there is a community of Spanish-speaking Jews in Turkey. Another example may be found during one of the Crusader invasions from Western Europe. Some of the the Catholic Western European knights were so likely to rape, murder, and pillage the Jews and Orthodox Christians, that when the Muslims won, they were treated as a liberating force by those non-Muslims.

 

Misconception 9

Islam is a racist, afro-centric cult because:

Nation of Islam espouses the superiority of the black man

 

The Nation of Islam recognizes God as a black man

 

One of the great misconceptions of the twentieth century is that the so-called `Nation of Islam' is a Muslim community, or more precisely: a community which submits to Allah by following the Qur'an and Sunnah. The `Nation of Islam' is a man-made way of life which borrowed some elements of Islam and then mixed them with a large number of inventions and lies to reach their present doctrines.

 

It suffices to point out the `Nation of Islam's deviation in two areas. First, they reject the essence of Islam by concocting a story wherein the Creator takes the form of a black man. From their on-line publications, we find that the `Nation of Islam' believes in

 

...one God (Allah) and that Allah (God) appeared in the Person of Master W. Fard Muhammad, July, 1930; the long awaited `Messiah' of the Christians and the `Mahdi' of the Muslims...

However, the Creator states in the Qur'an (translation),

 

[6:103] No vision can grasp Him, but His grasp is over all vision: He is above all comprehension, yet is acquainted with all things.

The `Nation of Islam' also claims that white men are `devils', and that black people are in general superior to all other races. However, from the Sunnah, specifically in the Messenger of Allah's farewell sermon, we find the Messenger (pbuh) saying:

 

All mankind is from Adam and Eve, an Arab has no superiority over a non-Arab nor a non-Arab has any superiority over an Arab; also a white has no superiority over a black nor a black has any superiority over a white - except by piety and good action.

There are many other beliefs which the `Nation of Islam' holds which take it outside of Islam. It is interesting to note that in the mid-1970's, the overwhelming majority of the group realized its errors and converted to true Islam. There is, however, a splinter group which remains active today.

 

Misconception 10

Islam produces a lazy, uneducated society because:

all things come from God, and so fatalism is OK

 

modern technology and science are condemned

 

The reasons given for this misconception are false, and the misconception itself is actually refuted directly by the Qur'an and Sunnah. While it is true that the Creator is the source of everything to us, it is not true that this can be used as an excuse for humanity to hide behind as the following verses from the Qur'an state (translation),

 

[16:35] The worshippers of false gods say: "If Allah had so willed, we should not have worshipped anything but Him - neither we nor our fathers,- nor should we have prescribed prohibitions other than His." So did those who went before them. But what is the mission of messengers but to preach the Clear Message?

[43:20] They (the idolators) say, "If it had been the will of (Allah) the Most Merciful, we should not have worshipped such (deities)!" Of that they have no knowledge: they do nothing but lie!

Allah has taught us via the Qur'an and Sunnah that we all have a certain amount of free will. This free will must be exercised properly in accordance with the Qur'an and Sunnah to please the Creator. This is plenty of motivation for all Muslims to push themselves to be the most knowledgeable, effective Muslims they can be. If Muslim societies today are not meeting their potential, it is surely not due to their knowledge of Islam, rather it is their ignorance of this way of life. The importance of seeking knowledge and working are made clear in the Sunnah.

 

From the Sunnah, specifically in the study of the Sunnah called Sunan Abu-Dawud, we find:

 

[9:1637] Narrated Anas ibn Malik: A man of the Ansar came to the Prophet (pbuh) and begged from him.

He (the Prophet) asked: Have you nothing in your house? He replied: Yes, a piece of cloth, a part of which we wear and a part of which we spread (on the ground), and a wooden bowl from which we drink water.

He said: Bring them to me. He then brought these articles to him and he (the Prophet) took them in his hands and asked: Who will buy these? A man said: I shall buy them for one dirham. He said twice or thrice: Who will offer more than one dirham? A man said: I shall buy them for two dirhams.

He gave these to him and took the two dirhams and, giving them to the Ansari, he said: Buy food with one of them and hand it to your family, and buy an axe and bring it to me. He then brought it to him. The Apostle of Allah (pbuh) fixed a handle on it with his own hands and said: Go, gather firewood and sell it, and do not let me see you for a fortnight. The man went away and gathered firewood and sold it. When he had earned ten dirhams, he came to him and bought a garment with some of them and food with the others.

The Apostle of Allah (pbuh) then said: This is better for you than that begging should come as a spot on your face on the Day of Judgment. Begging is right only for three people: one who is in grinding poverty, one who is seriously in debt, or one who is responsible for compensation and finds it difficult to pay.

Also from the Sunnah, specifically in the study of the Sunnah called Sunan Ibn Majah, we find that the Messenger of Allah said:

 

Seeking knowledge is a duty upon every Muslim.

Knowledge of the Qur'an and Sunnah are clearly the best types of knowledge, and knowledge which benefits humanity is good as well. The Qur'an and Sunnah do not condemn the study of this earth and in fact the Creator encourages us to investigate the world we live in according to the following verse from the Qur'an (translation),

 

[3:190-191] Behold! in the creation of the heavens and the earth, and the alternation of night and day, there are indeed Signs for people of understanding. People who celebrate the praises of Allah, standing, sitting, and lying down on their sides, and contemplate the (wonders of) creation in the heavens and the earth, (with the thought): "Our Lord! not for nothing have You created (all) this! Glory to You! Give us salvation from the penalty of the Fire."

The states in question insist that someone has to take responsibility for restrictions of content that they demand as a precondition for flickr's formal internationalization; flickr has been anticipating this by increasingly encouraging flickr users to flag and effectively censor their own images. Obviously not everyone is going to do this (and the degree to which flickr users should partipate at all in this project of "voluntary" self-censorship is open to debate).

 

Presumably the states are demanding that flickr staff take some form of reponsibility for policing the content of flickrstreams which have failed to voluntarily self-censor. And presumably Flickr staff are bristling at the ridiculous requirement that they be reduced to morality police, enforcers of someone else's wierd conceptions of decency and political propriety. Why should Heather & Co. be the ones to get bombarded by 10,000 reams of hatemail for "filtering" this or that photo or photostream when the perception of objectionable content is arising not from individuals within the flickr community itself but from the states, who have very different - and very political - interests.

 

We don't know what demands the states are making but we can guess. And we can also guess that the decision to simpy dump a blanket safe-filter on the countries in question is a bit of a hardball ploy by Flickr - upping the ante - in order to force the states to back down. Ultimately, demanding that flickr staff act as agents of various states poltiical agendas IS unreasonable.

 

Obviously all this is complicated immensely by Flickr's corporate quasi-servility to Yahoo Corp, which has already demonstrated its corporate enthusiasm for catering to the powers that be and coddling the repressive political whims of states.

 

....

 

Finally, while denouncing germany, korea, et al, we would be wise to question whether there are not also domestic demands being made of the US-based Flickr.

 

While it's too soon to really say what's going on, I think it is wise to recall the larger political context here: "The War on terror" is effectively an American invitation to fascists all over the globe: it requires that ALL states play the American game or be subject to unpleasant consequences. One of America's favorite games is called "Total Information Awereness": they intend to allow the anonymity of internet communication to continue only as a facade, and they demand a "right" to know everything everyone has to say to anyone about anything. This fascist game, coupled with an obsessive demand for the capacity to annull critics and criticism, requires that corporations like Yahoo open wide their doors to all sorts of state intervention. And it's not like Yahoo will be fighting it. On the contrary, Yahoo's Board of Directors "strongly opposes" the recent Stockholder Proposal 6 requesting that Yahoo take a stand against internet censorship. Fascism has always been about ensuring that corporate power remains completely unchecked - but provided that it remains subject to political intervention by the state. There are vast profits to be made by states and corporations willing to play the game, and Yahoo Corp and the US are not the only ones playing.

   

From comments on the Help Forum.

Interesting discussion here as well.

 

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

The Monterey Bay Aquarium, which is located on the site of a former sardine cannery on Cannery Row in Monterey, California, is the second largest aquarium in the world. It has an annual attendance of 1.8 million and holds 35,000 plants and animals representing 623 species.

 

Among the aquarium's numerous exhibits, two are of particular note. The centerpiece of the Ocean's Edge wing is a 33-foot (10-m) high tank for viewing California coastal marine life. In this tank, the aquarium was the first in the world to grow live California Giant Kelp using a wave machine at the top of the tank (water movement is a necessary precondition for keeping Giant Kelp, which absorbs nutrients from surrounding water and requires turbidity), allowing sunlight in through the open tank top, and pumping in raw seawater. The second exhibit of note is a one million gallon tank in the Outer Bay Wing which features one of the world's largest single-paned windows (crafted by a Japanese company, the window is actually four panes seamlessly glued together through a proprietary process).

 

Sealife on exhibit includes stingrays, jellyfish, sea otters, a new 11 lb. lobster over 50 years old, and numerous other native marine species, which can be viewed above and below the waterline. For displaying jellyfish, the MBA uses an aquarium called a Kreisel tank which creates a circular flow to support and suspend the jellies. Visitors are able to inspect the creatures of the kelp forest at several levels in the building.

  

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

inspired by peace ... visiting our neighbors, our new friends ... learning and respecting both countries history ...

Info : The Prespa agreement (Greek: Συμφωνία των Πρεσπών, Macedonian: Преспански договор), also known as the Prespes agreement, Prespa accord or Treaty of Prespa, is an agreement reached on 12 June 2018 between Greece and North Macedonia, under the United Nations auspices, resolving a long-standing dispute over the latter's name.

The Greek Prime Minister Alexis Tsipras announced on 12 June 2018 that an agreement had been reached with his Macedonian counterpart Zoran Zaev on the dispute, "which covers all the preconditions set by the Greek side".The proposal would result in the Republic of Macedonia being renamed the Republic of North Macedonia (Macedonian: Република Северна Македонија Greek: Δημοκρατία της Βόρειας Μακεδονίας, with the new name being used for all purposes (erga omnes), that is, domestically, in all bilateral relations and in all regional and international organizations and institutions. The agreement was signed at Lake Prespa, a body of water which forms a partial common border between the Republic of Macedonia, Greece and Albania ...

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

"When the eccentric Zen teacher Ikkyu, alleged to be an illegitimate son of the emperor, was asked, "What is the essence of Zen?" he replied, "Attention, attention, attention." Now, on our journey, as the first ascent begins, we turn upwards once more toward the light of our innocence. Developing our attention is the first labor of our turning, and the precondition for other labors. There are many ways attention may be gathered -- fishing, breaking stones, playing violin, performing surgery, talking on the phone -- but the core of them all is the spiritual work of meditation or prayer, service to the eternal emperor whose legitimate child

we all are.

 

Meditation does not itself accomplish the tasks of life but provides spaciousness, bringing the great background near, so that whatever we do, rising in the quiet, has force and beauty. In meditation, we take time, sit down, watch, while the silence accumulates -- which is how the spirit gathers to a vessel the soul has prepared.....

*

At first, the practice of "Attention, attention, attention" is a struggle. We learn how much complicity we have had with the dark. We turn toward stillness, but our thoughts and feelings are in the way. Themselves life, they come so fast and thick that they crowd out life. We see how we have let our senses grow thin, diminished, pallid. I remember taking up meditation in a formal way when I found I was unable to watch a sunset. Looking out over the interminable blue and gold interior of Queensland with the last parrots swooping home, I could assess, comment, and have opinions, but was unable to let the landscape and the vanishing light simply act upon me; my disorderly awareness deprived me in the midst of plenty.

*

If we look inside at such a moment, we find that we are still trapped in the descent, the tumble of consciousness -- thoughts, emotions, and sensations running one upon another. In fact, an extraordinary disorder is usually going on -- a jumble of plans, griefs, obsessions, joys, comparisons, amusement, serenity. None of them is wrong in itself, yet the accumulation makes us suffer. As much as our actions, our thoughts and feelings weigh us down. An old Chinese teacher, Wumen Huaikai, put it like this:

 

"It is imperative to cut off the mind road. If you do not cut off the mind road, you will be a ghost, clinging to the grass."

*

Meditation, then, is a fasting of the heart in which, for a time, we do not go with our wanting and our fear. We cease to attach to strongly to the things of our lives. This is not because they lack worth, but because, when we are full of them, there is too little of us; we cannot discriminate between things, or love them enough.

*

Life is the gift that we do not deserve or earn. It is one of the paradoxes of the spirit that to receive this gift we have to practice awareness. On occasion it is enough just to open ourselves to what comes; but as some point we have to master the techniques of the trade. In this, the inner work is not different from studying the piano. The first task in meditation is to focus on, give all our concentration to, the breath. We attend, for the duration of the meditation period, only to the breath, in an exercise equivalent to practicing a Bach prelude.

*

It becomes clear that grabbing things makes us want more things; hating people brings about more hatred; ambivalence, too, perpetuates itself. We can test this by observation, and find that when we let all this activity come to rest, we are the inheritors of a natural joy. We do not miss our former habits of mind.......

*

When the heart fasts and we don't pursue the world, the world begins to come to us.......

 

{Selected from "The Light Inside the Dark--Zen, soul, and the spiritual life" by John Tarrant}

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

PREFACE

 

My Galaxy S3 is almost two years old now, but even after the appearance of the S4 and recently the S5 I was still feeling like I want to use it as long as possible. Inside is a quad core CPU with 1 GB RAM. Even the S5 only got 4 cores here in Europe and 2 GB RAM is also not that generous, as of my feeling. So one of the main reasons to upgrade would be the full HD display which finally would give me finer detailed text display.

 

OK my phone is still fast with Cyanogen and a few weeks ago it fell down and unluckily hit a concrete edge and the display cracked. I have seen many display cracks since the appearance of the first iPhone, but this was the first display crack I ever was responsible for. As I didn't feel like spending a few hundred bucks for the repair of an old S3 but also don't want to be forced by that mistake to buy a brand new S5 I googled a bit about that display repair kits and found out that in contrast to the iPhones where the whole display unit needs to be replaced that there is another option for the S3. Just replacing the glass.

 

I found a DIY here www.ifixit.com/Guide/Samsung+Galaxy+S+III+Broken+Front+Gl...

 

I got me a repair kit then for about 12 EUR. This kit comes with a few tools (6) a double side glue tape layer (7) and the glass itself (7).

 

I don't want to repeat all what is said already in the linked DIY guide. So make sure that you read that before you start this procedure yourself.

  

DISCLAIMER

 

This article is only for documentation purposes. In no way do I want to encourage you to try that with your phone, nor I gonna be liable if you mess up your phone by any steps you see in this guide here. Try this at YOUR OWN RISK!

  

INDEX

 

1 Precondition / Cracks

 

2 Remove battery, SIM and storage card

 

3 read the guide

 

4 heat gun

 

5 pyrometer

 

6 tools (the screwdrivers were together in that package but you don't need them until you want to take out the motherboard or whatever you desire)

 

7 display glass and double-sided S3-shaped adhesive tape - look at this more close; there are a lot of DIY guides recommending to buy just some 3M tape, but in my kit there was a special tape layer in the shape of the original installed one ... on the picture this is the one with the blue protection layer

 

8 heating up the surface SLOWLY and equally (!)

 

9 I tried to never let the surface temperature go above 80 °C as I don't want to melt the AMOLED circuits or organic material whatever is inside

 

10 slowly lift the display glass ... between the glass an the display there is a soft gel layer which slowly will go off (more about that gel layer at the end)

 

11 heat again and again and take off slowly and heat again ... take care on the bottom of the device as there is a cable for the bottom keys backlight! (just dont stick something in at the bottom more than 2 or 3mm to be safe)

 

12 the glass is off and I did not crack the display - yeah :) ... now we see residue of the gel layer on the display ... I took this off slowly with the blue plastic tools ... this and cleaning of all the edges was the most time consuming part of all because you will want to be very careful to not damage the sensitive AMOLED display which has no protection at this point anymore

 

13 heat again - take off the adhesive (black stripe) ... and clean again ... after I cleaned the display surface with a micro fibre towel and display cleaner (no solvents!) ; also take out the metal part for the ear speaker, this one you will have to attach before you glue in the new adhesive layer

 

14 before you attach the new glass make sure everything is clean and then mount the new adhesive tape ... for this step I went outside to have less of dust (from interior textiles) coming on the display ... but that depends on the weather at your place (humidity binds dust particles; wind is bad!)

 

14 yes DONE its mounted!

 

15 and the best news its working - even the multi touch is working flawlessly - to my own surprise I have to admit

 

16 the old parts

 

17 Now a word for the gel layer. A lot of DIY guides never mention the gel layer which sits between the display and the glass cover. This was a big surprise to me and I had to find out a way to deal with that by my own as nobody told me before that there is a gel layer I will not be able to reuse. This gel layers main task is to optically link the glass and the display together. If you follow this guide you will loose this gel layer! If you work very carefully this will not be a technical problem, but without a gel layer between the glass and the display this simply means there will be a gap of air. Two surfaces will result in more reflections than one. So after the DIY replacment you will have more visible reflections (like sky) on your display than before. For me that is OK as I save more than 150 bucks with this trade in, but it would have been nice just if someone would have mention that before. So here we go.

  

RESUME

 

Despite of spending about 200 EUR for a professional replacement of the whole display unit, the option to exchange just the top glass layer sounds interesting. But beware that this is a dangerous process for your phone. If you are lacking mechanical skills or tools or patience it is very likely that you mess up your delicate hardware. Another point to mention again, you loose the gel layer which prevents major reflections between the glass and the display. Even if you would have that gel layer it might be another challenge to apply it properly with a ultra high vacuum machine. I had none of either, so I have to live without the gel layer now. Still, it took almost 3 hours for me to finish this, but including taking photos and having a small snack break. Patience is the key.

 

[EDIT after three months:] Slowly but steadily dust particles are locating in the place of the now removed gel layer. This means a negative aesthetic appearance, especially when the display is turned off. In the case of dust particles being big enough (still much less than 1mm) I even observed the particles resulting in false touch detection. This can lead to the unability of controlling the phone by touch gestures. As a temporary curement you will need to knock on the edge of the phone until the particles fall off from the display surface. If you still plan to try this DIY repair I can just emphasize the importance of thorough cleaning not only of the display itself but also on all other parts which will be covered by the glass cover, as all remaining particles have the possiblity to locate in the air gap sooner or later, affecting visual impression and false touch detection.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

St Peter and St Paul, Salle, Norfolk

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

The greatest East Anglian churches were built in the 15th century. It is often observed that there can never have been enough people to fill them, but this is to miss the point. They were never intended for the forms of worship to which they now play host.

 

The shape of a late medieval church is not an accident. East Anglian parish churches of the 15th century had many common features; wide aisles to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a large nave for social activities, large windows to fill the building with light, a roof of angels to proclaim a hymn of praise, a pulpit for the preaching of orthodox doctrine, benches to enable the people to hear the preaching, and carvings, stained glass and wall paintings of the sacraments, Gospels and rosary mysteries, of the catechism and teaching of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a late medieval East Anglian church was a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new Church inherited buildings that were often unsuitable for congregational protestant liturgy - a problem that the Church of England has never satisfactorily solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the rise of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This Victorian conception of the medieval suited itself to congregational worship, and responded in a satisfactory way to the structure of the building. But still, of course, they weren't full.

 

This 19th century re-imagining is the condition in which we find most of them today, and Anglican theologians everywhere are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

It requires a shift in the mind to recall that these were not originally Anglican buildings, but it is a shift we need to make. The idea of a previously unchanging Church now confronting the demands of the modern age is wholly incorrect. These buildings have faced a variety of challenges over the centuries; they have only ever been truly suitable for the use for which they were originally built six hundred years ago.

 

Two of the largest late medieval churches in East Anglia are just three miles apart, at Cawston and Salle in the middle of Norfolk. These clusters are not uncommon; think of Blythburgh, Southwold and Walberswick in Suffolk, for example, or Lavenham and Long Melford in the same county. But Cawston and Salle are really close - you can see the tower of one from the other. St Peter and St Paul is a complete example of a 15th century rebuilding; St Agnes at Cawston retains its elegant earlier chancel.

 

If not merely for congregational worship, why were these churches built so big? Impressive as they seem now, they must have been awesome at the time they were built, since they were the only substantial buildings outside of the towns, and would have dwarfed the houses of the parish. Some were in villages; but many were not. Salle church has always been out in the fields. Why are earlier East Anglian churches not so massive? Certainly, East Anglia has its cathedrals; Norwich and Ely pre-date the great churches by several centuries, and Bury Abbey was bigger than either before its destruction. The great majority of East Anglia's churches are piecemeal affairs; typically, a 13th century chancel, which must have been the most substantial part of the building when it was first erected, an early 14th century nave and tower, and perhaps later elaborations of the piece with aisles and a clerestory. Salle and Cawston churches are both rebuildings of earlier structures, but a surprising number of East Anglian churches were not rebuilt, until perhaps the Victorians saw the need for a new chancel, or new aisles. Often, these smaller churches are exquisitely beautiful, as if beauty rather than grandeur was the imperative.

 

And then, towards the end of the 1340s, a great pestilence swept across Europe; in East Anglia, outside of Norwich which got off lightly, it killed perhaps a half of the population. In emptying the countryside, it completely altered the economic balance; a shortage of labour gave new power to the survivors, perhaps setting in place the preconditions for the capitalism that we can recognise by the 16th century. And, in extinguishing the flower of Decorated architecture, it also gave birth to the great love affair between the late medieval mind and death.

 

In Catholic theology there is no great divide between the dead and the living. For the medieval Christian, communion was something that existed between all members of the parish, whether alive or dead. Thus, prayers were said for the souls of the dead (who, it was presumed, were saying prayers for the souls of the living).

 

To ensure that prayers were said for them after their death, the very richest people endowed chantries. These were foundations, by which priests could be employed to say masses for their souls in perpetuity. A priest in such a capacity was called a chantry priest. The masses would be said at a chantry altar, probably in the nave; if the person was rich enough, this might be enclosed in a specially constructed chantry chapel. Many churches had them. After the Reformation, many were pressed into service as family mausoleums or pews.

 

For the poorest people, there was the opportunity to join a guild, where, for a penny or so a week, they could ensure that the guild chantry priest would say masses for their soul after their death (along with those of the other dead members of the guild). Many of these guilds were organised around particular occupations or devotions, and became a focus of social activity. The investment that produced the income to pay the chantry priests was most commonly in land. The church or guild oversaw the management of the land, which is one of the reasons we have an image of a wealthy pre-Reformation church. Land bought to produce income in this way was known as chantry land, a name surviving in many places today. Those who invested in chantries (and few and far between must have been those who didn't) presumed that they were ensuring prayers and masses in perpetuity; but, of course, this was not to be.

 

Bequests and chantries seem to have reached their peak in the 15th century. Perhaps the Black Death reinforced the urgency of the task. People did not merely want to be remembered; they wanted to be prayed for. And so, those who could afford it ensured that this was not forgotten by leaving their wealth in the very place that was at the centre of communion: the parish church. The richest paid for the additions of aisles and chapels, or for a new font or rood screen. This was not just a naked desire for the recognition of their family status. There was an underlying insecurity to the new landed classes. They wanted to control their destiny beyond their deaths. And so, their gift would be recorded in the form of a dedicatory inscription. One of these survives on the screen at Cawston, and another on the base of the font at Salle. Orate pro anima, they begin, "Pray for the soul of...", an injunction urgently emphasised by the pre-Reformation liturgy, only to be cursed and defaced by the later Anglicans and puritans. Stained glass was another common gift, as well as images, candlesticks, furnishings. Thus were many churches developed piecemeal.

 

But sometimes, where a parish could rely on a steady supply of substantial bequests, they might be channelled into a complete rebuilding, as at Salle, a summa cum laude apothesosis, where the new church of the late 15th century survives in pretty much its original form. Sometimes, a single wealthy family would shape and direct the rebuilding of a church. One of the richest families in East Anglia in the 14th and 15th centuries was the de la Poles, the Earls of Suffolk. Their mark can be found throughout East Anglia, but most famously and substantially at Wingfield in Suffolk, and at Cawston in Norfolk. Theirs was a long term project; at Cawston, the tower predates the furnishings of the nave and chancel by almost a century.

 

So why so vast? Certainly, it was ad maiorem deo gloria, to the Greater Glory of God; but it was also to the greater glory of the de la Poles and their contemporaries. The great landed families of England came into the late middle ages full of confidence, and they were determined to demonstrate it. They had survived the Black Death. They had grown richer on its consequences. They had assumed a political power unthinkable a few centuries before. They controlled not just the wealth but the imagination of their parishes. They asserted orthodox Catholic dogma in the face of rural superstitions and abuses. They imposed a homogenised Catholicism on late medieval England. And, as they increased their secular power and influence, a time would come when they would embrace the Great Idea already beginning to take shape on the continent - protestantism. But that was still in the future.

 

And so, to Salle. St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

 

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower. The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets also as at Great Witchingham). The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena.

 

Despite the wonders of the font, the screen and the glass, the crowning glory of the building is the set of bosses that line the roof of the chancel. They are easily missed, being very high. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection, and the Ascension into Heaven.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a cock, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and Psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord!

 

The nave benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching. Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

 

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

The transhumanist stands ready to ascend with his tools: information technology, nanotechnology, biotechnology and cognitive science.

 

Is he the harbinger of the posthuman era, or a self-deluded fool who listens to pseudoscience and science fiction all too credulously? Only time will tell – but it is also up to the transhumanist to prove himself. Can he harness his will to gain the necessary skills, resources and plans to achieve his ambitions?

 

The scientist/technologist is descended from the magician and still shares his niche in public consciousness. They both seek to understand and influence the world through knowledge and skill. Still, there is a chasm between the outlooks: one seeks to gain control and understanding by experiment and theory that is open to outside scrutiny and testing, the other seeks the same things but fears the sceptics and their demands of knowing how the trick was done. As the scientist clouds himself in jargon and assumptions he becomes a magician. As the magician refines his theories and dares to subject them to testing and publication, he becomes a scientist.

 

Will. Ambition. Intellectual creativity

 

Details

 

With his right hand he points towards the blessed future. With his left hand he presses control-D to break with the past.

 

Behind him are the stores of past human knowledge and history. Around him are the documents of current knowledge. He needs to make new tools to gain the new knowledge he seeks.

 

The plant is Ginko Biloba - a living fossil whose family appeared in the Carboniferous era and survived both the ends of the cretaceous age and the latest ice ages. It would likely have died out if not Chinese monks had decided it was sacred and cultured it. It is rich in antioxidants and appears to improve short-term memory by increasing blood throughput in the brain.

 

The tools are the calculator (dagger), the pill bottle (cup), the DNA model (the wand) and the credit card (the pentacle) surrounding the fullerene molecule. They represent the analytic skills, the health and energy, the sense of destiny and the practical/material preconditions needed to get anywhere.

 

The infinity sign signifies his lack of limitations. At worst his imagination is unbounded from ordinary assumptions. At best his destiny infinite - far beyond human limitations. But it is a Möbius strip. One has to be careful not to follow it round and round in self-referential loops to get anywhere.

 

He is standing barefoot - he is still very much connected to his human past and plans to remain so even when he has become something transcendent. But his head is in the air.

 

And yes, that is a butterfly of transformation and a cryotag. Cannot leave them out.

Fljurija Katunari, 18, brings two month-old daughter Elvira for a health check at a local pediatric clinic.

 

Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.

Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes.

In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses.

 

©UNDP /Jodi Hilton

 

Read their story

This revolution lasted for about 10 years, in some ways, it was the concluding chapter of the Cold War as played out in Latin America. The notion of a romantic revolutionary hiding in the hills struggling to rip off the yoke of dictatorship and imperialism seems as obsolete now as a space race to the moon. The preconditions that led to the Sandanista Revolution still exist, the idea of embracing a Marxist-Leninist model has been revised.....even Red Chinese have embraced market economies with enthusiasm. By the time I arrived in Nicaragua, people were generally fed up with war, hyper inflation of their currency and never ending antagonism from their super power Northern neighbor. The lady I lived with in Managua lamented the days of the dictatorship when you could buy a refrigerator on credit. Sometimes the free market rewards a society with a middle class and rapid development, other times it leads to authoritarianism and mass poverty which will always breed inevitable revolutions. The FSLN (Sandanistas) were far from perfect, they made a lot of mistakes. However, I had a sense that they always had the common people's interests at heart. The CIA and the Reagan Administration succeeded in blasting this ten year revolutionary experiment into oblivion.

 

It's my hope that the changing tide of history has benefited the Nicaraguan people. The United States could of handled this differently. Although hindsight is 20/20, I'm sure the Nicaraguan people would of voluntarily abandon Marxist/East German Models as the rest of the world did with the collapse of the Soviet Bloc. In the 1980's, Ronald Reagan preached that the Nicaraguan's were staging tank columns and plotting the invasion of Texas, in reality they couldn't even keep the municipal water and electricity on for more than a week, much less launch an invasion of the Southwest.

 

So where does history lead us now? Central America deserves a reprieve. I hope they're doing well.

 

The constitution known as the February Patent promulgated in 1861 created an Imperial Council as an Austrian legislature, and a new building had to be constructed to house this constitutional organ. The original plan was to construct two separate buildings, one for the House of Lords (Herrenhaus) and one for the House of Representatives (Abgeordnetenhaus). However, after the Austro-Hungarian Compromise (Ausgleich) which effectively created the Dual-Monarchy in 1867, the Kingdom of Hungary received its own separate legislative body, the re-established Diet, and the original plan for two buildings was dropped.

 

The precursor to the present building was the temporary House of Representatives, located on Währinger Straße, a street off the newly laid out Ringstraße boulevard. It was erected within six weeks in March and April 1861 according to plans designed by Ferdinand Fellner, a famous Austrian theatre architect. In its layout with a ramp and a lobby area, the Abgeordnetenhaus was a model for the later Parliament Building. Completed on 25 April 1861 this temporary structure was opened by Emperor Franz Joseph I of Austria, and soon afterwards mocked Schmerlingtheater, after Minister Anton von Schmerling. It was used by the deputies of Cisleithania until the completion of the present-day parliament building in 1883, while the House of Lords resided at Palais Niederösterreich, then the seat of the Lower Austrian Landtag assembly.

 

Ringstraße and Parliament Building around 1900

The site for the new building was on the city’s ancient fortifications and walls. In his famous decree Es ist Mein Wille of 1857, Emperor Franz Joseph I had laid down plans for the Ringstraße to replace the old city walls. The parliament building was supposed to feature prominently on the boulevard, in close proximity to Hofburg Palace and the Vienna City Hall.

 

An Imperial Commission was appointed to consider a design for a Parliament building. Influenced by the industrialist and politician Nikolaus Dumba, the Commission decided that its style should be classical, the argument being that classical Greek architecture was appropriate for a Parliament because of the connection to the Ancient Greeks and the ideal of democracy. After studying rival proposals, the Imperial Commission chose the plan by Theophil Hansen, who could rely on his drafts for Zappeion Hall in Athens. In 1869 the k.k. Ministry of the Interior gave von Hansen the order to design the new Austrian parliament building.

 

Ground was broken on June 1874; the cornerstone has the date “2 September 1874“ etched into it. At the same time, work also commenced on the nearby Kunsthistorisches Museum and Naturhistorisches Museum on Maria-Theresien-Platz, the City Hall, and the University. In November 1883 the offices of the House of Representatives were completed and put to use. On 4 December 1883 the House of Representatives held its first session under its president, Franz Smolka. On 16 December 1884 the House of Lords under its president, Count Trauttmansdorff, held its first session. Both chambers would continue to meet in the building until the end of the Austro-Hungarian Empire in 1918.

 

The official name of the building was Reichsratsgebäude (Imperial Council Building), and the street behind the building, the Reichsratsstraße, still recalls this former name. The word "Parliament" however was in use since the beginning as well.

 

The building saw tumultuous years during the late years of the declining multi-ethnic Austrian monarchy stretching from Dalmatia to Bukovina, as the House of Representatives was extremely fractious with tensions among liberals and conservatives, German nationalists and Young Czech deputies, as well as between the government and parliament. It became notorious for filibusters, parliamentary brawls and undisciplined deputies throwing inkwells at each other as a common feature. The joke on the Viennese streets was that Athena was so disgusted by the political infighting that she deliberately turned her back to the building. Nevertheless, the building housed the first form of a parliamentary system for many of the people of Central Europe. Some of the former deputies continued their political careers after the dissolution of the Empire and became important politicians in their home countries.

 

Proclamation of the Republic of German-Austria, 12 November 1918

The Reichsratsgebäude continued to function until 1918, when the building was occupied by demonstrators during the disintegration of the Austro-Hungarian Empire. From 21 October 1918 the remaining German-speaking deputies convened in a "Provisional National Assembly", first at the Palais Niederösterreich, from 12 November onwards in the Parliament Building. On this day the presidents of the assembly officially proclaimed the Republic of German-Austria from the ramp in front of the building. Upon the Austrian Constitutional Assembly election in 1919 and the establishment of the First Austrian Republic, the building itself was renamed the Parlament, with the new republican National Council (Nationalrat) and Federal Council (Bundesrat) replacing the old Imperial House of Deputies (Abgeordnetenhaus) and the House of Lords (Herrenhaus).

 

The parliament was incapacitated, when on 4 March 1933 Chancellor Engelbert Dollfuß took the occasion of a parliamentary law quarrel to cease its function, the first step to the introduction of his Austrofascist dictatorship. By the imposed "May Constitution" of 1934 the Parliament Building became the seat of the Bundestag, the formal legislature of the Federal State of Austria. It finally lost its function with the Austrian Anschluss to Nazi Germany in 1938. The Nazis used it as an administrative seat of the Vienna Reichsgau. During the Second World War, half of the building suffered heavy damage by Allied bombing and the Vienna Offensive. Parts of the interior, such as the former House of Lords Chamber and the Hall of Columns, were completely destroyed.

 

Soviet troops dancing with locals in front of the burnt-out Parliament Building after the capitulation of Nazi Germany in 1945

It was in the old Abgeordnetenhaus Chamber that the new Chancellor Karl Renner on 27 April 1945 declared the rebirth of an independent Austria, backed by Soviet troops. Max Fellerer and Eugen Wörle were commissioned as architects; they chose to redesign and readapt the former Lords Chamber for the National Council, and in the process the meeting room of the National Council was rebuilt in a Modern and functional style. Work on the National Council Chamber was completed in 1956. The original appearance of the other publicly accessible premises, such as the Hall of Columns, and the building's external appearance were largely restored to von Hansen's design.

 

Exterior

 

Baron von Hansen's design for the Reichsratsgebäude uses the neo-Greek style, which was popular during the 19th century Classic revival. Hansen worked at that time in Athens and was recruited by the Greek-Austrian magnate Nikolaus Dumba, who was on the committee for constructing a new parliament building.

 

Hansen was inspired by the design of the Zappeion hall in Athens. The original plans saw separate buildings for the House of Representatives and the House of Lords, but for practical and financial reasons it was later decided to house both chambers in one building. Von Hansen's concept of the layout reflected the structure of the Imperial Council (Reichsrat), as was stipulated by the so-called February Patent of 1861, which laid down the constitutional structure for the empire. The two chambers were connected by the great hypostyle hall, which was the central structure. The hall was supposed to be the meeting point between the commoners and the lords, reflecting the structure of society at the time.

 

The gable has not changed since the monarchy and is decorated with symbols and allegories of the 17 provinces (Kronländer) of the old Austro-Hungarian Empire. The ramp is about four meters high. The pillars are in the Corinthian style. On both ends of the roof are quadrigas. The building used to be surrounded by small patches of lawns, which have since been transformed into parking spaces. The building is up to four stories high.

 

Roof

 

Corresponding to the horse tamers at the Ringstraße ramp, eight quadrigas made of bronze decorate both ends of the roof. The quadriga is a symbol of victory, driven by the goddess of victory Nike. The attic design of both chambers is rich in symbolism, with 76 marble statues and 66 reliefs forming a decorative ensemble. There are 44 allegorical statues which represent human qualities and branches of human activity, while 32 statues represent famous personalities from Classical Antiquity. The reliefs are allegorical as well and correspond to the areas of public life on which the famous personalities impacted. The crown lands, important cities, and rivers of the empire are portrayed in 50 smaller reliefs. The roof is for the most part kept in the ancient Greek form, decorated with ancient Greek-style caps and palmettes made of copper sheet metal.

 

Material

It was the emperor’s personal wish to use Austrian marble for the construction of the buildings on the Ringstraße. For that purpose, marble from the village of Laas in the county of Tyrol was brought in and generously used on the Hofburg Imperial Palace and the Reichsratsgebäude. For the architect Baron von Hansen, the white, sturdy stone was perfect, since the building blocks for the façade and statues could be made to look like those in ancient Greece. Over the decades and with increased air pollution, the marble has proved remarkably resilient, stronger than its famous counterpart from Carrara.

 

Bronzework

Four bronze statues of the horse tamers are located at the two lower ends of the ramp (Auffahrtsrampe). They are a powerful symbol of the suppression of passion, an important precondition for successful parliamentary cooperation. They were designed and executed by J. Lax in the Kaiserlich Königliche Kunst-Erzgießerei in 1897 and 1900. Further bronze works are the two quadrigas on top of the roof, each chariot pulled by four horses and steered by the goddess Nike. The bronze works had to undergo extensive conservation and restoration work in the 1990s, due to damage from acid rain and air pollution. Further oxidation corroded the bronze over the decades and ate holes into the sculptures. For that purpose each sculpture was completely encased in a separate structure for protection them from the elements while they underwent restoration.

 

Pallas Athene Fountain

 

Pallas-Athena-Brunnen in front of parliament

The Athena Fountain (Pallas-Athene-Brunnen) in front of the Parliament was erected between 1893 and 1902 by Carl Kundmann, Josef Tautenhayn and Hugo Haerdtl, based on plans by Baron von Hansen. In the middle is a water basin and a richly decorated base. The four figures lying at the foot of Athena are allegorical representations of the four most important rivers of the Austro-Hungarian Empire. They represent at the front the Danube and Inn, in the back the Elbe and Vltava (German: Moldau) rivers. On the sides little cupids ride dolphins. The statues of the Danube, Inn, and the cupids were executed by Haerdtl, those of the Elbe and Moldau by Kundmann. The female statues above represent the legislative and executive powers of the state and were executed by Tautenhayn. They are again dominated by the Goddess of Wisdom, Athena, standing on a pillar. Athena is dressed in armour with a gilded helmet, her left hand carries a spear, her right carries Nike.

 

Grounds

Parliament is surrounded by greenery. On the north side the Rathausplatz a park is located, on the southern side a small lawn next to the Justizpalast. Monuments to the founders of the First Republic as well as to Dr. Karl Renner are located on either end.

 

Interior

The entrance

 

Layout of the Austrian Parliament Building. Click on the image for a key to the annotations.

The middle axis from east to west is divided into an entrance hall, vestibule, atrium, peristyle and two large rooms at the far end. For the interior decoration Baron von Hansen used Greek architectural elements such as Doric, Ionic and Corinthian pillars, and in the two rooms Pompei-style stucco technique for the walls.

 

The main entrance at the portico is an exact copy of the gate of the Erechtheion on the Acropolis of Athens, fitted with a bronze portal. From the main entrance at the Ringstraße one passes into the vestibule of the building, which contains Ionic pillars. The walls are decorated with Pavonazzo marble. The niches contain statues of Greek gods. Seen from the entrance starting from the left these are Apollo, Athena, Zeus, Hera, and Hephaestus, and from the right Hermes, Demeter, Poseidon, Artemis and Ares.

 

Above the niches with the gods is a frieze more than 100 m long by the Viennese artist Alois Hans Schram, running along the corridor and continuing into the atrium. It is an allegorical depiction of the blessing of Peace, the civic Virtues and Patriotism.

 

Above the entrance that leads to the grand Hall of Pillars (Säulenhalle) is a frieze with an allegorical depiction of Austria on her throne. Representing the motto "Goods and Blood for thy country" (Gut und Blut furs Vaterland), warriors are swearing their loyalty and women are bringing offerings

 

Located behind the entrance atrium is the grand Hall of Pillars (Säulenhalle) or peristyle. The hall is about 40 m long and 23 m wide. The 24 Corinthian pillars are made of Adnet marble, and all of them are monoliths weighing around 16 tons each. The pillars carry the skylighted main ceiling in the middle and the coffered side ceilings. The floor is made of polished marble resting on a concrete hull. The space below was designed as a hypocaust for a floor heating and air circulation system for the hall.

 

Located on the transverse axis at the end of the Hall of Pillars are the chamber of the former House of Representatives (on the left ) and the chamber of the former House of Lords (on the right). Von Hansen's idea was to have the Hall of Pillars as the main central part of the building. It was designed to act as a meeting point between the House of Lords and the House of Representatives. Hansen also wanted to have the hall used by the monarch for the State Opening of Parliament and the Speech from the Throne, similar to the British tradition. However, such ceremonies were never held in the building, since Emperor Franz Joseph I had a personal disdain for the parliamentary body. Speeches from the Throne in front of the parliamentarians were held in the Hofburg Palace instead.

 

The architect von Hansen paid particular attention to the design and construction of this hall. The marble floor was polished in a complicated process. The capitals of the pillars were gilded with 23 carat (96%) gold. Running around the wall was a frieze which was 126 m long and 2.3 m high. It was designed and painted by Eduard Lebiedzki. The monumental piece of work took decades to prepare and design, and four years, from 1907 until 1911, to paint. The frieze showed allegories depicting the duties of parliament on a golden background.

 

The hall was heavily damaged by aerial bombardments by British and American during World War II. On February 7, 1945 the hall suffered direct hits by aerial bombs. At least two pillars and the skylight were completely destroyed. The gilded coffered side ceilings under which the frieze ran on the walls were almost completely destroyed. The few surviving parts of the frieze were removed and stored. Only in the 1990s were the surviving parts restored as much as possible.

 

Because of its representative character, the Hall of Pillars is presently used by the President of the National Council and the Federal Council for festive functions, as well as for traditional parliamentary receptions.

 

Located at the back of the Hall of Pillars is the reception salon (Empfangssalon) of the President of the National Council. The room is fitted with Pompeian wall decorations in stucco and a large glass skylight. Hanging on the wall are portraits of the Presidents of the National Council since 1945.

 

Further behind the reception salon is the former reception hall for both chambers of the Imperial Council. It is used today for committee meetings and hearings on financial, state budget, and audit court matters by the National Council, thus its present name, Budgetsaal. The hall is richly decorated with marble, stucco, and a rich coffered ceiling in the Renaissance style. Inlaid into the ceiling are the coat of arms of the 17 Kronländer kingdoms and territories represented in the Imperial Council.

 

Former House of Representatives Chamber

 

Debating Chamber of the former House of Deputies of Austria

The chamber of the former House of Representatives (Abgeordnetenhaus) is used today by the Federal Assembly (Bundesversammlung) whenever it convenes for special occasions such as National Day and the inauguration ceremony of a newly elected Federal President of Austria. The chamber is built in a semicircle of 34 m diameter and 22.5 m depth.

 

It originally contained 364 seats. With the introduction of various electoral reforms, the number was increased to 425 seats in 1896 and with the introduction of male universal suffrage in 1907 to 516 seats.

 

The chamber has viewing galleries on two levels. The first gallery has in the middle a box for the head of state. The right side of the gallery is for the diplomatic corps and the left side for the cabinet and family members of the head of state. On both far ends are seats for journalists. The gallery on the second level, which is slightly recessed from the one on the first level, is for the general public.

 

The chamber is architecturally based on an ancient Greek theatron. The wall behind the presidium is designed like an antique skene with marble colonnades that carry a gable.

 

Marble Colonnade

The group of figures in the gable are made of Laas marble and depict the allegorical times of the day. The columns and pilasters of the wall are made of marble from Untersberg, the stylobates of dark marble, the decorations of the doors of red Salzburg marble. The wall space between the pillars is made of grey scagliola, with niches in between decorated with statues made of Carrara marble. The statues show historical persons such as Numa Pompilius, Cincinnatus, Quintus Fabius Maximus, Cato the Elder, Gaius Gracchus, Cicero, Manlius Torquatus, Augustus, Seneca the Younger and Constantine the Great. The friezes above were painted by August Eisenmenger and depict the history of the emergence of civic life. Starting from left to right it shows:

 

Kampf der Kentauren und Lapithen (Battle of the Centaurs and Lapithes)

Minos richtet nach eigenem Ermessen (Minos judges according to his own discretion)

Einsetzung der Volksvertretung in Sparta (Swearing-in of the representatives of Sparta)

Brutus verurteilt seine Söhne (Brutus condemns his sons)

Menenius Agrippa versöhnt die Stände (Menenius Agrippa reconciles the estates)

Sophokles im Wettkampf mit Aischylos (Sophokles in competition with Aischylos)

Sokrates auf dem Markte von Athen (Sokrates visiting the market of Athens)

Anordnung der Prachtbauten durch Perikles (The order of the representative buildings through Pericles. Note: the head of Pericles actually has the features of Baron Theophil von Hansen)

Herodot in Olympia

Plato lehrt die Gesetze (Plato teaches law)

Demosthenes redet zum Volke (Demosthenes addresses the people)

Decius Mus weiht sich dem Tode (Decius Mus dedicates himself to death)

Caius Gracchus auf der Rednertribüne (Caius Gracchus holds a speech from the speaker's platform)

Solon läßt die Athener auf die Gesetze schwören (Solon has the Athenians swear on the laws)

der Friede (Peace)

The chamber of the House of Representatives was important for the history of the Austro-Hungarian Empire. Many politicians started their career as deputies, such as Karl Renner, later chancellor and president of Austria, and Leopold Kunschak, later conservative leader. Other deputies from outside core Austria played important roles in their native countries after the First and Second World Wars. When Karl Renner became Federal President, he once gave a speech honouring the historic importance and function of the old chamber:

 

Important politicians who started their career and had their first democratic experience later played important roles in their native countries after the end of the Austro-Hungarian Empire. These include:

 

In Austria

 

Karl Renner, former deputy of Moravia, later Federal Chancellor and President of Austria

Leopold Kunschak, former deputy of Lower Austria, later Austrian conservative leader

In Czechoslovakia

 

Tomáš Masaryk, former delegate from Bohemia, later first President of Czechoslovakia

Karel Kramář, former delegate from Bohemia, later first Prime Minister of Czechoslovakia

Vlastimil Tusar, former delegate from Bohemia, later Prime Minister of Czechoslovakia und

Bohumír Šmeral, former delegate from Bohemia, later Czechoslovak Communist leader,

in Poland

 

Ignacy Daszyński, former delegate from Galicia, later Sejm Marshal of the Second Polish Republic,

Wincenty Witos, former delegate from Galicia, later Prime Minister of Poland,

in Italy

 

Alcide De Gasperi, former delegate from the Tyrol, later Prime Minister of Italy,

in Yugoslavia

 

Anton Korošec, former delegate from Styria, later Prime Minister of Yugoslavia

in Ukraine

 

Yevhen Petrushevych, former delegate from Galicia, later President of Western Ukrainian People's Republic

Kost Levytskyi, former delegate from Galicia, later Head of the Government of Western Ukrainian People's Republic

The Austrian Imperial Council (Reichsrat) was the recruiting school for central and southeastern democracy and socialism.

 

National Council Chamber

Since 1920 the former meeting room of the House of Lords has been used as a plenary meeting room by the National Council. The House of Lords (Herrenhaus) used to have its chamber where today the National Council convenes. The chamber was designed in the classical style, with a horseshoe-shaped seating arrangement facing the chair. The Chamber of the National Council was destroyed in 1945 during aerial bombardments and was completely rebuilt in a modern style. The new chamber was finished in 1956 and is a typical example of 1950s architecture. Apart from the coat of arms made of steel, the chamber is lacklustre without decoration. The carpet is mint-green, considered to be neutral at the time since it was not the colour of any political party. Green was also said to have a soothing effect, something that apparently weighed in the decision, considering the tumultuous debates the building had to endure before the two World Wars. Behind the speaker's pult is the government bench (Regierungsbank), which is however only fully occupied during important events such as the declaration of the government (Regierungserklärung) or the state budget speech (Budgetrede).

 

Located next to the Chamber of the former House of Lords is the current Chamber of the Federal Council of Austria (Bundesrat). The room was used by the Lords as an antechamber and informal meeting room. After the end of the Austro-Hungarian Empire and the new republican constitution in 1920, the former Lords room became the Chamber for the Federal Council.

 

The seating arrangement of the present Chamber of the Federal Council is similar to the other two great chamber halls. Member of the Federal Council sit in a semicircle facing the presidium. In front of the presidium is the cabinet bench. The furniture was completely renewed in 1999. In 1970, the coat of arms of Austria as well as of the nine Austrian states was installed above the presidium.

 

Culture and tourism[

The

 

exterior of the Austrian Parliament—especially the statue and fountain of Athena—is one of the most visited tourist attractions in Vienna. The United Nations Educational, Scientific and Cultural Organization (UNESCO) classifies the inner city of Vienna, including the Ringstraße and thus the Parliament Building as a World Heritage Site. It is also a Grade I listed building. There is no casual access to the interior, but it may be seen in a number of ways:

 

Since October 2005 a visitors centre has been built and opened. Visitors can now enter the building not from the old side entrance, but from the front at ground level.

   

Photo taken at the National Black-footed Ferret Conservation Center in norther Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Video Credit: Ryan Moehring / USFWS

"আমি প্রত্যেক বস্তু জোড়ায় জোড়ায় সৃষ্টি করেছি, যাতে তোমরা হৃদয়ঙ্গম কর।"- আল কুরআন

 

Pairing is the precondition of love and creation. The harmonious `give and take` relationship between subjective and object create joy and happiness in our life and society. It is very needed to unite the difference for making new dimension of view and practices for peace as much as possible.

 

#photography #artphotography #philosophy #harmony #love #creation #peace #canon #tokyocameraclub

Photo taken at the National Black-footed Ferret Conservation Center in northern Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Photo Credit: Ryan Moehring / USFWS

New York Times

November 4, 1994

  

ARCHITECTURE REVIEW

 

Rem Koolhaas's New York State of Mind

 

By HERBERT MUSCHAMP

 

EW YORK CITY'S most inspiring architect lives in London, works in Rotterdam and has yet to build a thing on the North American continent. But for the next three months, Rem Koolhaas has the stage at the Museum of Modern Art, where New Yorkers can see for themselves how their city continues to shape the world even as their own architecture has slipped below world-class standards. Considering all the fanfare this show has generated, including lavish spreads in the fashion glossies, "O.M.A. at MOMA: Rem Koolhaas and the Place of Public Architecture" turns out to be relatively modest in scale. Confined to one top- floor gallery in the Modern's department of architecture and design, the show presents models and drawings for five projects designed in the last five years by Mr. Koolhaas and his Office for Metropolitan Architecture (O.M.A.). Three additional models, depicting urban plans, are displayed on the landing outside.

(Models for three private houses are on view in the museum's Education Center on the ground floor.)

 

But anticipation for this show, which was first scheduled to open more than a year ago, has been mounting for some time. And the hoopla is not incidental to the work on view. This is a show about buildings and cities, but it is also a show about aura: the aura of the city, the role buildings play in creating that aura and the glamour that occasionally surrounds an architect of promise, leading excitable critics to plunge recklessly overboard with extravagant words of praise.

 

Mr. Koolhaas, who was born in the Netherlands in 1944 and educated at the Architectural Association in London, first achieved public attention with the 1978 publication of his book "Delirious New York," an ecstatic love poem to Manhattan that challenged conventional thinking in urban design. While planners and urban designers struggled to bring logic, sanity and order to the built environment, Mr. Koolhaas argued that the glory of the city lies in the exceptional, the excessive, the extreme. A champion of what he called "the culture of congestion," Mr. Koolhaas viewed the Manhattan skyline as a kind of euphoric party, as if architecture had been squeezed vertically not by real- estate values but by the eagerness of people to get together on a small island and laugh it up.

 

Since that colorful debut, Mr. Koolhaas has accumulated an impressive body of built work, including apartment buildings in the Netherlands and Japan, the Netherlands Dance Theater in the Hague and the Kunsthal, an art exhibition center in Rotterdam. He has also pushed the limits of architecture with provocative designs for projects that so far remain unbuilt, like the Jussieu Library in Paris. But the achievement that has established him most solidly on the international map is Mr. Koolhaas's master plan for Euralille, a commercial project now nearing completion in northern France. Designed to exploit Lille's position as a major hub for Europe's high-speed trains, Euralille includes buildings by the architects Christian de Portzamparc and Jean Nouvel, in addition to a trade and convention center designed by Mr. Koolhaas.

 

These projects, too, display Mr. Koolhaas's enduring passion for New York: the glass-curtain-wall skyscrapers pioneered by Mies van der Rohe; the bustling street life of places like Times Square, where peril and pleasure jostle each other in a synergistic mix. But Mr. Koolhaas's most highly burnished New York touchstone is the work of the architect Wallace K. Harrison. Harrison, the subject of a show organized by Mr. Koolhaas in 1980 at the Institute for Architecture and Urban Studies in Manhattan, designed such fabled New York landmarks as the United Nations Headquarters, the Trylon and Perisphere at the 1939 New York World's Fair, and the Hall of Science at the 1964-65 World's Fair. For Mr. Koolhaas, these projects represent the ideal of an architecture at once modern and romantic; they defined an urban mythology for changing times.

 

Organized by Terence Riley, chief curator of the Modern's architecture and design department, the Koolhaas show was at one point scheduled to run concurrently with last season's mammoth show on Frank Lloyd Wright. The two would have made an illuminating pair, for Mr. Koolhaas's vision of the city is nearly the antithesis of Wright's. Wright, at the threshold of the automobile age, championed the centrifugal city, dispersed into the suburban landscape by the car, the highway and the romantic ideal of individual autonomy. Mr. Koolhaas stands, by contrast, for the centripetal city: for the urban center that, at the end of the century, continues to act as a cultural magnet and an incubator for ideas. Mr. Koolhaas's designs for archetypal urban institutions - - two libraries, a museum, a school, a marketplace -- are the core of the Modern's show.

 

On a certain level, these buildings are about coping. Mr. Riley writes in the exhibition brochure that Mr. Koolhaas and O.M.A "perceive the city as a survivor." Survivors are not victims. They have earned the right to set their own terms. Cities shouldn't be competing with the suburbs by trying to become more like them. They don't have to turn themselves into theme parks. They have better things to do than indulge the fear that their best days are behind them by encouraging architects to design new buildings that look old.

 

Mr. Koolhaas is undoubtedly right to question current urban shibboleths. But are the terms he proposes the right ones for the city today? Essentially, Mr. Koolhaas asks us to believe that spectacular public buildings, or spectacular groupings of them, contribute at least as much to the vitality of the city as do the systematic designs of urban planners. Those who crave urban life, he insists, want something more than safe, clean streets, trains that run and contextual design guidelines for new development. They're looking to be part of a legend in the making. Just as it is the business of music, film and physics to produce spectacular singers, directors and theorists, so it is the job of the city to produce wonderful, fabulous places: buildings we'd walk blocks out of our way to see.

 

This is an odd time to be staking out this position. In the aftermath of the 1980's building boom, a widespread reaction has set in against stand-alone, signature buildings by star architects. The movement today is toward urban systems, social responsibility and the connective tissue that integrates buildings into community life. If there is any validity to Mr. Koolhaas's position, it must hinge on whether his designs are stronger, architecturally and urbanistically, than the solo performances we've already seen.

 

I believe that his designs are indeed stronger, and that their strength lies mainly in their forms. After all, any properly run library, school, museum or convention center should be able to gather crowds. If there's a larger urban dimension in Mr. Koolhaas's designs for these institutions, it is because his forms vibrate on some urban frequency other architects have not yet tuned in to. But how to analyze those vibrations?

 

Mr. Riley refers to the "marked sense of formlessness" of Mr. Koolhaas's projects, and the visitor to the show is confronted by a dizzying array of forms: ovals, cloud shapes, diagonals, grids, screens of perforated steel and corrugated glass, undulating ramps, elongated triangles, tilted ramps, media projections. These forms are seemingly haphazard in their purpose if not in their skillful composition. And one hesitates to analyze the logic of that composition, not only because it is elusive, but also because Mr. Koolhaas's clear intention is to provide pleasure through the appearance of spontaneity.

 

Still, one of the major advantages of seeing these projects in a single gallery is that a unifying design concept does emerge. In most of the projects, the defining form arises from Mr. Koolhaas's attempt to loosely reconcile a spiral or pinwheel shape with a square or a rectilinear grid. The spiral harks back to Wright's Guggenheim Museum, the unbuilt "endless museum" project of Le Corbusier, the pinwheel plan of Mies van der Rohe's early villas, the ramp of Harrison's Trylon and Perisphere. But some may feel that Mr. Koolhaas's most pertinent historical precedent is Bruegel's "Tower of Babel," with its vertiginous terror, its breathtaking hubris and its iconic image of a polyglot metropolis housed within one monumental coil.

 

Occasionally, as in his 1989 design for the French National Library in Paris, Mr. Koolhaas places a conventional spiral within a rectangular volume. More often, the spiral is discernible only in the whirling organization of interior spaces. For the Kunsthal in Rotterdam, completed in 1992, the spiral takes the form of a series of squared-off interior ramps. For the Jussieu Library in Paris, entire floors of the high-rise building are sliced and tilted to create a free-form, continuous ramp, dotted with auditoriums, classrooms and cafes, as if an entire Parisian boulevard had been carefully folded up and placed inside a gleaming crystal box.

 

At Congrexpo, the oval convention center shortly to open in Lille, visitors will whirl through time and sensibility as well as space. From an auditorium shaped like a Roman amphitheater, they will pass to an erotic fantasy of a theater lined with gold-studded black leatherette. The building's ovoid exterior is clad with a rectilinear collage of flashy finishes: shingled glass, concrete in a tacky black pebble texture and corrugated glass shot through with metallic filaments, an effect at once gossamer and garish.

 

For Wright, the spiral was an anti-urban symbol. It signified not only organic growth, but also spatial freedom, particularly the mobility made possible by the car. For Mr. Koolhaas, the spiral also signifies growth, but of an urban, artificial kind. Where Wright summoned up images of trees, hills, the highway unrolling across the prairie to escape urban congestion, Mr. Koolhaas ushers us into a tight coil densely packed with shapes, colors, materials, solids and voids that emulate the city in its complexity, variety, social condensation and insatiable appetite for spectacle.

 

But Mr. Koolhaas's designs are not mindless merry-go-rounds. His attempt to merge the grid with the spiral conveys a philosophical message. The square is a symbol of reason, the spiral a sign of romance. In synthesizing these forms, Mr. Koolhaas shows that clarity and reason are not the enemies of romanticism; they are the essential preconditions for it. A clear-eyed view of the contemporary city and a pragmatic grasp of what architects can reasonably achieve within it form the foundation from which a truly lyrical expression can arise.

 

This idea sets Mr. Koolhaas apart from modernists and post-modernists alike. Orthodox modern architects banished romantic myth-making in favor of objective truth. Post-modernists hoped to restore a more romantic view of the city, but alas, they saw romance as a restoration, a feeling that could be recaptured only by looking backward to a sepia-tinted past.

 

Mr. Koolhaas, by contrast, seeks a lyrical mythology for the city as it exists today, with its electronic information circuits gaily humming amid brutal physical decay, its enduring glamour improbably compounded from money, fashion, ambition, fear, destitution, tackiness and profound hope. He is not the only architect of his generation engaged in that search. But none have carried it further, sustained it with greater inventiveness and poise, or arrived at such rich results. Now that's coping.

 

In his first-rate design for the show, Mr. Riley had the happy inspiration of using bus-stop poster boxes to organize the gallery space. The boxes are arranged in pinwheel fashion, recalling the free-standing planes of the classic Miesian villa, and each contains a blowup picture of the project displayed beside it. This witty synthesis of the Bauhaus and the Gap elegantly mirrors Mr. Koolhaas's street-smart sensibility as it teases out the logic of his forms.

 

Don't miss this bus.

 

"O.M.A. at MOMA: Rem Koolhaas and the Place of Public Architecture" remains at the Museum of Modern Art, 11 West 53d Street, through Jan. 31. It then travels to the Canadian Center for Architecture in Montreal (Feb. 21 to April 21) and the Wexner Center for the Arts in Columbus, Ohio (opening May).

vacationrentalsexperts.pennistonemedia.com/montreal-the-c... -

 

Taxis can be hailed easily on most busy streets. Cabbies are friendly, though they may be aggressive drivers.

 

Tipping is usually 15% or more, by cash.

 

And remember that while most drivers will understand street names in English, some may not.

 

Bikes are the best transport around the city’s central neighborhoods, and there are 660 km of cycling paths crisscrossing across the city. You can rent the popular Bixi bike for a flat fee of $7 for an entire day with some preconditions.

 

You can also walk around the packed Downtown, through the narrow, charming European streets of Old Montreal, or through the waterfront parks and exhibitions of the Old Port in summer.

 

Walking is one of the most popular ways to explore the busy Rue Sainte-Catherine and the pedestrian-only Rue Prince-Arthur and Montreal’s Chinatown.

 

And climbing Mount Royal to look down on the city is one of the first things that most visitors to the city do.

 

Cheque Bounce: bit.ly/2J6BkEV

With the increase in the usage of cheque instead of cash or any other mode, the ease of transactions has without doubt increased. What also has increased is the evading of payments i.e. cheque bounce in the garb of providing cheque that can be honoured by the banks or in simple words when the bank cannot process the cheque presented for the payment due because of some reasons.

 

There have been a plethora of such incidents wherein an individual or an entity presents the cheque to a bank only to receive a bank memo stating its inability to make the payment.

What Is The Procedure Of Sending Cheque Bounce Notice?

What one must be aware of is that cheque bouncing is an offence and you have legal remedies against the defaulter. The Indian laws have provisions in the Negotiable Instruments Act, 1881 for the offence of Cheque Dishonour. This implied that the Drawee in whose name the cheque is issued should be aware of his rights: to demand the payable amount through a legal notice and in the event where the payment is not made even upon the demand, to approach the appropriate court of proper jurisdiction. Before approaching the court, you must be sure to have read this checklist. The legal remedy to the drawee is available only if: .

 

The cheque was issued in discharge of a debt or liability, in whole or in part, and not as a gift or loan.

You presented the cheque within the period of its validity;

You have sent the defaulter a written demand notice within 30 days of the receipt of information of cheque bounce from the bank, giving 15 days for the payment of due amount, and

The payment has not been made within the 15 days as provided in the demand notice.

It is only after the above that you have to engage a lawyer and approach the court with a criminal complaint under the provisions of Section 138 Negotiable instruments Act, 1881, within a period of 30 days from the date of the receipt of the Legal Notice.

 

Grounds of Divorce: bit.ly/2H6DfHs

 

Divorce procedure is governed by various laws/Acts prevalent in India. Divorce in India can be initiated by any of the party as per the grounds provided under the relevant laws prevalent in India. Generally among Hindus, Buddhists, Sikhs and Jains, Divorce is governed by the Hindu Marriage Act, 1955, for Muslims by the Dissolution of Muslim Marriages Act, 1939, for Parsis by the Parsi Marriage and Divorce Act, 1936 and for Christians it is governed by the Indian Divorce Act, 1869.

 

Various Types Of Divorce Petition In India

Section 13 of the Hindu Marriage Act, 1955 covers the provision of mutual consent divorce as well as other provisions. Divorce can be filed with mutual consent, or it can be filed by either husband or wife without the consent of the other.

 

Divorce by Mutual Consent

Divorce not out of Mutual Consent such as due to Cruelty, Adultery, Desertion, Conversion, Mental Disorder, Communicable Disease, Renunciation of World, Presumption of Death etc.

Preconditions To Start Divorce Proceeding

Under various Divorce laws prevalent in India, either partner can send a legal notice for Divorce to the other. So sending a legal notice is the first step to be taken before starting any legal proceedings to make aware about the conflict between the parties (if any)/ or it is last sort of medium to resolve/end the conflict between the parties.

 

Legal notice is a formal communication sent by one party to the other, warning them before taking any legal action further and communicating his/her intention to undertake legal proceedings against the other party and make the other party aware of the grievance.

  

Advocate Narender Kalra can be consulted for further information lawyerinc.net/advocate-narendra or by calling at 9681006624.

Photo taken at the National Black-footed Ferret Conservation Center in norther Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Video Credit: Ryan Moehring / USFWS

Ineos Grenadier could be built in France

 

New negotiations with Daimler might spell the end for planned factories in Portugal and Bridgend.

 

Smartville. Trailblazing production concept in Hambach

 

Innovative production of an innovative car

Plant built out in the open countryside

Extensive environmental protection requirements observed

 

Critics of the smart project had doubted whether we would be able to equip such an innovative car with a length of just 2.5 meters with a convincing package of safety features. They were taught otherwise and today will appreciate that we opted for a completely new approach in production as well – to produce a car that is both inexpensive and profitable,” said the then President of the Supervisory Board of Micro Compact Car AG, Jürgen Hubbert, in 1997 on the occasion of the inauguration of the smart plant in Hambach, France. The managing director of MCC France SAS and first plant manager of the new smartville production facility, Harald Bölstler, added: “The smartville industrial park is more than just a new car factory. It is the result of successful cooperation between MCC and its partners.”

Nothing significant has changed to this day. Seven system partners are still supplying their parts directly to the line in the assembly factory which is laid out in the form of a plus sign. In part, they even install their prefabricated modules into the smart themselves. Time and flexibility, just-in-time supplies and minimized delivery periods at all levels rank among the factors which have remained exemplary to this day. In this facility, transportation and logistics costs are reduced to a minimum so that the smart city coupe, which was renamed smart fortwo in 2004, is completed in less than five hours.

On September 14, 1994, a group of experts arrived in Hambach, looking for a site for an industrial project. Only four days later, an industrial site named Europôle de Sarreguemines was introduced to the MCC executives, Christoph Baubin, Hans Jürg Schär and Johann Tomforde. The subsequent steps were taken unusually smoothly. In an unbureaucratic approach, the MCC’s wishes for special preparations of the site and infrastructural measures including the supply of electricity, gas and water were fulfilled. At the time, the MCC planners specially appreciated the observance of agreed timeframes by all the French administrative panels involved.

On December 7, 1994, Micro Compact Car AG (MCC) founded in March and the French district administration responsible for the town of Hambach in Lorraine signed a Memorandum of Understanding on the location that had been selected. Today the company is called smart GmbH and a wholly owned affiliate of DaimlerChrysler AG. As early as December 20, 1994, the Memorandum of Understanding was followed by a contract between the two partners. Production of the smart in Hambach was planned according to novel principles, and the resulting plant for the large-scale production of automobiles was to attract worldwide attention in subsequent years.

The decision in favor of Hambach had been made after the scrupulous assessment of over 70 potential locations, and it is seen as a clear commitment to Europe as a location of production. Situated in central Europe and close to the German border, smartville is connected to international traffic arteries. It lies on the A4 motorway from Strasbourg to Paris as well as on a railway line. What’s more, the Sarreguemines region offered a large reservoir of skilled labor most of whom were bilingual. It was possible to introduce flexible working hours at the Hambach location. Hence the lower labor costs in France as compared to Germany and Switzerland were far from being the main reason for the choice of location.

A major criterion was the fact that Lorraine, its industry being engaged in far-reaching restructuring, was making great efforts in attracting new industries. And finally, Hambach was located in the structurally vulnerable coal-mining region of France. Those involved succeeded in winning over the state-owned company SOFIREM as a partner. This company had the task of promoting such regions, and in Hambach, SOFIREM was instrumental in integrating smartville in the industrial landscape of Lorraine, establishing valuable business contacts at regional and national levels.

Closely networked industrial complex

The greatest challenge facing the MCC production and factory planning team from Daimler-Benz at the Hambach location at the time was the development of a networked form of industrial complex at the request of MCC Chief Engineer Tomforde. Like the product, this complex had to have a modular structure for production processes which were organized as efficiently as possible. After plans of a U or L shape as layout principle for the assembly line had been discarded, the engineers came up with the idea of subdividing the line into four sections with a joint center and a full-length “pearl-string” assembly line. The idea of the assembly plus sign was born, which optimally met the different requirements of logistics and assembly. In simplified terms, the tasks set out below were assigned to the four branches:

Integration of the cockpit in the steel body immediately after the application of powder-based coating

Technical work underneath the car including the integration of the drive system (“wedding”)

Cladding of the car with body panels, doors and glazing

Installation of the seats, accessories and wheels, plus finish and final inspection.

This structure takes up little space, and the maximum distance between the docking point for the suppliers’ trucks and the assembly line is ten meters. It also means that the assembly sectors are independent of each other. As a result, small buffer zones were established which in the event of disturbance prevent the assembly line from coming to a complete standstill.

An additional building serves as product integration and preparation center. It is located outside the assembly complex and links product development in Germany with the system partners and assembly in Hambach. South of the complex, a test track for pre-production trials and quality assurance was built; here many different road surfaces for suspension tuning tests are integrated on a length of 1.5 kilometers. The smart communications center was built in full view of the near-by A4 motorway. Its task is to inform the public about the smart and the smart culture. It also serves as a venue for conferences and conventions as well as for major regional events.

Here are some figures to illustrate the networked approach in smartville: an MCC workforce of only around 1,000 for all corporate functions points to the high level of external capacity. When you add the system partners’ staff, more than 2,000 people are employed here – under extreme conditions for 126 hours in four shifts per week. They are able to produce up to 200,000 cars annually. Each car runs through a total of 140 assembly steps in just four-and-a-half hours – an absolute benchmark in a European comparison.

Some 300 companies were involved in the construction of smartville from June 1995. Of these, 90 percent were French, seven percent German and three percent from the Benelux countries. Of the French companies, 55 percent had their headquarters in Lorraine, 18.5 percent in Alsace and 16.5 percent in other regions of France.

Well-thought-out financing scheme

Construction of the new production facilities in Hambach required an innovative financing concept. In his capacity as MCC director, Baubin time and again came up with new ways of helping the young company onto its feet. The total investment did, after all, amount to some 2.8 billion French Francs. Of this total, some 1.5 billion Francs or 53 percent was contributed by MCC and 1.3 billion Francs by the system partners. The largest investor among the local partners was the internationally acting US-Canadian Magna Group which produces the body-in-white (Tridion safety cell) of the smart. Second place was occupied by Dynamit Nobel, responsible for the production of all plastic bodywork and attachment parts – the body panels. And the third-largest investor was Messrs. Eisenmann, responsible for surface coating and paintwork. Complementing these investments in the Hambach industrial park, system partners invested additional funds, estimated at over one billion Francs, in ancillary activities.

Together with several hundred million Swiss Francs invested by the sales partners of MCC in the establishment of European sales outlets, as well as some 700 million Deutschmarks spent on development and tools in 1994, the total project volume including the system partners’ investments amounted to some eight billion French Francs at the time production was started in 1997.

The development costs incurred by the different smart versions at MCC were financed from the equity and funds of partners and third parties. The amounts invested in the Hambach industrial park by MCC and its system partners came in part from a European banking consortium and in part from investment subsidies granted by central and regional French authorities within the framework of EU regulations.

In this respect, the European Commission had stipulated on July 30, 1996 that the subsidies must not exceed the maximum defined for the region of Lorraine, namely 17 percent of the investment that is eligible for promotion. The effective maximum of some 450 million Francs was invested because the new project did not cause any shifts in the competitive conditions in Europe – production of the smart created a new market segment. In addition, the high investment in environmental protection and especially in the project’s host of innovations was crucial in securing the subsidies. According to experts, the phenomenon of the smart was to provide substantial stimuli for strengthening the international competitiveness of the European motor industry.

The bank funds were paid out in accordance with a leasing concept that was supported by two groups of banks. One was headed by the French Crédit Commercial de France bank, the other by the German Morgan Grenfell Luxemburg bank. Together they formed a Groupement d'Intérêt which itself acted as lessor. Since mid-1998, MCC and the system partners participating in the leasing concept have been paying biannual leasing fees for the use of the industrial park.

Close network of system partners

Through synergies of the expertise and creativity of all the partners involved, the competitiveness of the joint project was to be strengthened. This was the starting position for the cooperation of MCC with its system partners in 1994. In the course of time, this developed into the “smart alliance” with a much-acclaimed cooperation codex. The latter underlines the joint responsibility and goals of all seven system partners at the Hambach location.

Magna International produces the Tridion safety cell of the smart. Eisenmann Surtema operates the innovative paint shop, an ecologically compatible powder coating system suitable for large-scale production – and the first of its kind on a global scale at the time of the production startup. VDO, a company of the Mannesmann Group, is responsible for the production and installation of the cockpit module. The Krupp-Hoesch Automotive Group locally assembles the rear-axle drive unit, and Bosch does the same with the front module. Dynamit Nobel locally produces the body panels and other outer-skin parts, and Ymos contributes the doors and tailgate modules.

Equally integrated in the cooperation model but not located in Hambach are the system partners for the smart drive and suspension: the Berlin plant of Mercedes-Benz supplies the turbocharged three-cylinder engines and the Hamburg plant of Mercedes-Benz the axles. In this way, the new city coupes of MCC France SAS were completed with just ten direct suppliers of sub-systems.

But MCC consistently pursued new routes not only in the development and production of the smart. In close coordination with the operating companies, a logistic system was also established and accommodated in smartville. The Rhenus logistics and haulage company assumed responsibility for parts deliveries to the assembly line, TNT for the supply with parts and accessories, Panopa for the control of the means of transport and Mosolf for the delivery of customer cars.

The partnership model operated in Hambach is the systematic further development of the conventional producer/supplier relationship. In this new setup, the motor manufacturer acts as modular-systems integrator, process manager and producer with overall responsibility. Every systems partner in turn assumes more comprehensive responsibility. This advanced system generates above-average motivation among partners who contribute to the economically viable implementation of joint corporate targets with their own innovative approaches.

All stages of the product lifecycle, starting with the development of individual smart components via the construction of the industrial park in Hambach through to the use and recycling of the smart, are integrated in a strictly ecological concept. Here again, Tomforde promoted a holistic and ecologically sound approach to be adopted by the construction committee. For the industrial park in Hambach, an unprecedented model of ecological compatibility was implemented. All production materials had to be compared against the black list of banned, i.e. environmentally harmful materials. All buildings are free of formaldehyde and fluorocarbons. The façade cladding is made of Trespa, a raw material produced largely from rapidly growing European trees. The planners even distinguished between wastewater from the buildings’ rain runnels and the wastewater from road and car-park drainage systems: wastewater from the roofs is collected in reservoirs for fire-extinguishing water. All other wastewater is channeled through oil separators, treated in reservoirs and reused.

Environmental protection writ large

A central biological purification plant reflecting the state of the art cleans all sanitary and industrial wastewater. The plant uses bio-membranes according to the BioSep process, a highly flexible recycling method that was applied in France for the first time. The purified wastewater is used for watering the green spaces as well as for process cooling.

The chassis of the two-seater smart is completely coated with powder-based paint. This economically efficient and environment-friendly paint method was applied throughout the paint process here in Hambach for the first time in the motor industry. Over and beyond its high level of environmental compatibility, the method stands out for its qualitatively advanced coat although the paint layer is thinner than that achieved with conventional paint technologies. What’s more, no solvents are emitted and no hazardous waste such as paint sludge is produced. The overall process incorporates a zinc-phosphating step without passivation – which means that it is a lead- and cadmium-free process. The strict implementation of ecological goals is also reflected by the recovery and reuse of excess materials such as the so-called overspray powder.

In the implementation of the energy concept at smartville in Hambach, Lorraine, top priority was accorded to an energy-savings policy right from the start, from the effective sound and heat insulation of the building’s facades through to the systematic implementation of holistic heat recovery concepts. The waste heat from the injection-molding shop and the waste air from the paint shop, for instance, are channeled through rotary heat recovery systems and air-to-air heat exchangers. The extent to which waste heat is utilized here is unique, and it means that cooling towers can be dispensed with; ultimately, this results in cost cuts and reduces the strain on resources. The power plant of smartville, consisting of heat plant and block power station, also represents the state of the art. The combustion of natural gas instead of conventional fuels alone causes lower pollutant emissions. The utilization of waste heat goes a long way towards raising the degree of efficiency.

The harmonious integration of the industrial park in the gently rolling hills of Lorraine is ensured by an ecological green-space concept. Its major characteristics are flowing transitions between factory premises and the neighboring villages and woodlands. This is why there are not only meadows and trees lining the roads but also orchards on the premises. A pond with aquatic and foliage plants provides for the ecological balance, as do the extinguishing-water reservoirs which equally function as biotopes.

Environmental protection activities formed a fixed element of smart development right from the start. MCC was the first motor manufacturer to incorporate an environment management system with certification in accordance with the DIN EN ISO 14001 norm in its specification docket as early as 1994. In fact, the very first smart city coupe already incorporated a high proportion of recycled materials used for visible exterior and interior surfaces and even for highly stressed components. Natural fibers are used to reinforce the underfloor cover. So-called single-material systems combine with standardized connecting elements to ensure the exemplary recyclability of the smart and impressively add to its innovative potential.

The modular structure of the smart is also a guarantor for its economically efficient dismantling at the end of its lifecycle. This was a precondition for closed material cycles. In keeping with corporate philosophy, the company thus assumed ecological product responsibility to an extent that was unprecedented. With its dynamic environment management system which is subject to continuous improvement, the new smart brand sets a milestone in environmentally compatible individual mobility.

 

Photo taken at the National Black-footed Ferret Conservation Center in norther Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Video Credit: Ryan Moehring / USFWS

The D'Oliveira Affair

 

1967

January 26 Pieter le Roux, South Africa's minister of the interior, says D'Oliveira will not be admitted if chosen for the tour the following year. His comments come in the aftermath of a visit to South Africa by Billy Griffith, the MCC secretary.

 

January 30 The MCC assures the UK government, which has been pressed for a statement by more than 200 MPs, that the touring side will be picked on merit and any restrictions on who to pick would be "wholly unacceptable". In the Times, John Woodcock notes that "MCC heads are emerging that have long been buried in the sand".

 

February 1 The Cape Times gloomily predicts sporting isolation "if our government insists visiting teams contain no men of colour" and warns "the MCC dare not omit D'Oliveira from their team even if he goes a bit off form in the coming English summer".

 

February 10 le Roux denies specifically referring to D'Oliveira in his comments but reiterates the country's apartheid laws. Alec Douglas-Home, the former British prime minister, meets with John Vorster, South Africa's prime minister, but adopts a weak stance. He returns to tell the MCC committee that were D'Oliveira to be chosen, the odds were 5/4 on him being allowed in.

 

March 10 D'Oliveira returns from coaching in South Africa but politely declines to comment on the debate over his position. He admits he has not watched any of the ongoing South Africa-Australia series as he would have had to sit in special enclosures for coloured people.

 

April 11 Vorster implies that racially mixed teams will be allowed to tour the country. He warns, however, that anyone who thinks this means all barriers had been removed was "making a very big mistake". His comments are generally regarded as a sign that D'Oliveira would be allowed to tour with the MCC.

  

1968

January 5 The MCC sends a cable to the South African Cricket Board (SACA) insisting that the tour could not go ahead without an assurance that South Africa would make "no preconditions about selection".

  

February Douglas-Home again meets with Vorster and again takes a weak line, advising neither side take action. It later emerges that Douglas-Home's policy towards South Africa was that it was best to maintain cordial relations, hence his reluctance to force the D'Oliveira issue at this stage.

 

March 1 After eight weeks, SACA replies that it would "never presume to interfere with the manner in which you chose your sides". But on advice from Douglas-Home, the MCC does not respond to the letter and treats it as if it had never been sent. It, therefore, avoids having to press the matter further. Gubby Allen, the MCC treasurer, later denies ever having received any correspondence.

    

March 4 Lord Cobham, a former MCC president, has dinner with Arthur Coy, the SACA secretary, during which Cobham says the MCC "would do almost anything to ensure the tour is on" and agrees that it would be "disastrous" for D'Oliveira to tour, and even suggests that the player should be approached "with ideas that would suit us".

 

March 6 Vorster and Coy discuss offering D'Oliveira a bribe to make himself unavailable to tour. The offer was to be made when he was in South Africa after the England tour of the Caribbean, but in the event he returned directly to Worcestershire.

 

Vorster, through secret channels, warns the MCC that if D'Oliveira is selected then the tour will not proceed. By this time, all senior MCC officials - Griffith, Allen, and Arthur Gilligan, the president - are aware of the position, but nothing has been formally documented and so the full committee has not been consulted.

 

May 12 D'Oliveira is named in the MCC side to play the Australians at Lord's despite a poor tour of the Caribbean the previous winter when he had been dropped.

 

May 26 MCC cancels the Rhodesian leg of their winter tour on government advice. The British Lions rugby tour, however, goes ahead.

 

May 31 D'Oliveira is named in a 14-man squad for the first Test against Australia.

 

June 11 England lose by 159 runs but D'Oliveira makes an unbeaten 87, batting with an "ease which discredited some of England's earlier efforts".

 

June 16 D'Oliveira is named in the 13-man squad for the second Test but the Times warns he might be left out to allow for an extra bowler.

 

June 19 Colin Milburn is preferred to D'Oliveira in the final XI. On the same day, Griffith takes D'Oliveira aside and suggests he withdraw from the forthcoming tour but declare himself available for South Africa in a bid to save the series. D'Oliveira angrily refuses.

 

June 20 EW Swanton, the influential Daily Telegraph correspondent, makes an identical offer which is again refused. D'Oliveira returns to county cricket but endures a wretched run of form. From early June to mid-August he makes 205 runs at 12.81.

 

July 7 D'Oliveira is not named in the 12 for the third Test even though Milburn is injured. John Arlott, writing in the Guardian warns that this raises issues and that it "is the duty of English cricket to be above suspicion ... it would be naïve of the MCC or anyone else to think his omission without good reason would pass without public protest".

 

July MCC approaches 30 players to check their availability for the South Africa tour. D'Oliveira is not one of them.

 

August 10 D'Oliveira is called by Tienie Oosthuizen, the head of a tobacco firm, and offered a lucrative ten-year coaching deal, worth £4000pa, in South Africa. Oosthuizen demands an answer there and then. D'Oliveira stalls and is given until August 14 to decide.

 

August 18 Colin Bland, a South African Test cricketer, is refused entry to the UK because he holds a Rhodesian passport. The UK has sanctions against Rhodesia as a result of their Unilateral Declaration of Independence. D'Oliveira is not named in the side for the Oval Test.

  

August 20 Oosthuizen calls D'Oliveira, who has been stalling, and presses him to give an answer. D'Oliveira hesitates again, insisting he is waiting for the naming of the tour party eight days later. They agree to talk the following day.

 

August 21 Roger Prideaux pulls out of the Oval Test with an injury and D'Oliveira gets a late call-up. Eyebrows are raised as an opener is replaced with an allrounder, with speculation rife it is a political decision resulting from months of pressure on the selectors. It emerges D'Oliveira is the third-choice replacement behind Tom Cartwright and Barry Knight, but both are injured. Oosthuizen cancels his telephone call with D'Oliveira and the pair never speak again. At the pre-Test dinner, Doug Insole, the chairman of selectors, asks the squad to tell him if they are available for South Africa. D'Oliveira is the one player Insole does not ask.

     

August 22 D'Oliveira is 24 not out at the close of the first day of the Oval Test.

 

August 23 D'Oliveira makes 158 in five-and-a-half hours, being dropped four times. As he reaches his hundred, Charlie Elliott, the umpire, says to him: "Oh Christ, you've put the cat amongst the pigeons now." In Johannesburg, Vorster follows D'Oliveira's progress alongside Oosthuizen. Oosthuizen calls the Surrey secretary and asks him to pass on a message: "If today's centurion is picked, the tour will be off."

 

August 26 The Johannesburg Star warns the inclusion of D'Oliveira would be a test case for Vorster's new policy.

 

August 27 A sensational end to the Test as England win within minutes to spare to level the series. At a six-hour selection meeting at Lord's, which ends at 2am, the squad is picked. The minutes of the meeting are suspiciously missing. Aside from the selectors - Insole, Alec Bedser, Peter May, Don Kenyon and Colin Cowdrey - it is believed there were at least five senior MCC men there as "advisors". Cowdrey, who privately tells D'Oliveira he will back him, does not, reasoning that his bowling would not be effective on South African pitches. Only Kenyon backs his former team-mate.

 

August 28 The tour party for South Africa is named and D'Oliveira is not among the 16-man squad. Insole says: "I think we have got rather better than him in the side". The Guardian editorial says "anyone who would swallow that would believe the moon was a current bun". But not all the media agree, the bulk of the heavyweights supporting the selectors. A dignified D'Oliveira, who makes 128 for Worcestershire, declines to say anything other than admitting it "is a bitter disappointment". The MCC denies suggestions his omission was because of political pressure from those not wanting to jeopardise relations with South Africa. Louis Duffus, a leading South Africa reporter, says the news was received with "a national sigh of relief". A relieved Vorster calls Coy to thank him for all his work.

 

August 29 Sir Learie Constantine describes the selection as "deeply suspicious" while the Rev David Sheppard says the MCC have made "a dreadful mistake". In South Africa, members of the ruling National Party applaud when a rally is interrupted with the news that D'Oliveira has not been selected.

 

September 6 MCC members gain enough support to call a meeting to discuss the D'Oliveira affair and the MCC's policy of sending teams to South Africa and playing against segregated teams.

 

September 6 The News of the World announces that it will be sending D'Oliveira to cover the South Africa series for them. Die Beeld, seen as the official mouthpiece of the apartheid regime, slams the move as a deliberate attempt to embarrass South Africa.

 

September 9 Cowdrey defends the selection decision and the whole tour of South Africa, while insisting he "disliked the whole principle of apartheid". The SACA says press facilities for D'Oliveira should he travel with the News of the World would be down to local boards and subject to Group Area Act permits. This act was one of the bedrocks of segregation. As a player, D'Oliveira may have been granted a blanket exemption (as was the case for all Japanese, who were, technically, coloured).

   

September 11 Vorster tells the National Party congress that "guests who have ulterior motives, or are sponsored by those with ulterior motives, usually find they are not invited".

 

September 12 MCC receives a letter threatening to blow up the plane carrying the squad to South Africa. D'Oliveira insists his News of the World contract would not breach "any of the rules which I know so well in a country in which I grew up".

 

September 16 D'Oliveira is called up after Tom Cartwright withdraws from the squad - Cartwright had missed almost all of the second half of the summer with a shoulder injury. Conspiracy theorists point out that a bowler has been replaced by a batting allrounder, but the MCC defends the decision, claiming there are no equivalent bowlers available. Speculation is rife that Vorster will ban D'Oliveira from entering the country.

 

September 17 An angry Vorster does just that. "We are not prepared to receive a team thrust upon us by people whose interests are not in the game but to gain certain political objectives which they do not even attempt to hide. The MCC team is not the team of the MCC but of the anti-apartheid movement." The MCC reacts with a statement saying that if the team as picked is not acceptable then the tour will not happen. The MCC sends an airmail letter formally advising the SA board of the squad. Denis Howell, the sports minister, calls Vorster's speech "ludicrous".

 

September 18 The South African media, save for a hard core among the vociferously pro-government Afrikaans press, criticise Vorster's decision, warning it could trigger a more general shunning of South African sport. In Johannesburg a local businessman floats the idea of funding an alternative tour by an international Cavaliers side.

 

September 19 A stinging editorial in the Times says Vorster's speech was "an indication of the mental weakness of apartheid, which is a fetish rather than a policy", adding that all he had done was "given a sop to right-wing malcontents". Pakistan's and India's boards both offer to host the tour.

 

September 20 A senior minister in South Africa says the MCC "are wasting their time" trying to persuade the authorities to accept D'Oliveira, accusing them of "political blackmail". New Zealand authorities, in the light of the D'Oliveira decision, demand clarification on admission of Maori players for a forthcoming rugby tour.

 

September 22 MCC members again demand clarification of the club's policy towards South Africa. Sheppard says "it would be too easy to think with D'Oliveira out of the game all will be well and we can resume relations".

 

September 23 Vorster reiterates his stance, telling the National Party faithful he "had taken a decision for South Africa".

 

September 24 The MCC calls off the tour after a meeting at Lord's with representatives of the South African board. The MCC was told D'Oliveira was "not acceptable for reasons beyond the control of the SACA" and a spokesman said he was "terribly sorry and disappointed". Sheppard welcomes the decision but accuses the MCC of a "lack of foresight and weakness".

 

September 27 Vorster says Maori players will be welcomed if picked by New Zealand.

 

December 5 Sheppard loses a vote proposing a censure of the club at a special meeting of the MCC by 3971 to 1256. He also loses other proposals to bar tours of South Africa (4664 to 1214) and to examine proposals by SACA towards non-racial cricket (4508 to 1352).

  

1969

January 23, 1969 MCC votes to invite South Africa to tour in 1970.

  

Martin Williamson is executive editor of Cricinfo

What We Have Now

[brew note - four preconditions for Artificial General Intelligence (AGI) or at least what I made of it]

1. Better machines

- Fast computers internetworked, compute clouds

- Hardware is not the problem

 

2. Basic understanding of human cognition and brain

- basic understanding of human cognition and architecture.

- A cruder but useful understanding of brain structure and dynamics

 

3. Embodiment – Virtual and Physical

- Decent virtual worlds for AI embodiment

- Halfway-decent robot bodies

 

4. Theoretical understanding of AGI

- Lots of AI algorithms and representations

- often useful in specialized areas

- often not very scalable on their own

- a theoretical understanding of general intelligence under conditions

of massive computational resources

 

From the opening session: Review of AI and AGI Past Present and Future by Ben Goertzel of Novamente at the The First Conference on Artificial General Intelligence (AGI-08) Ben Goertzel was one of the conference organizers and is a driving force in the AGI community.

  

Artificial General Intelligence (AGI) research focuses on the original and ultimate goal of AI -- to create intelligence as a whole, by exploring all available paths, including theoretical and experimental computer science, cognitive science, neuroscience, and innovative interdisciplinary methodologies. AGI is also called Strong AI in the AI community.

 

Another good reference is Artificial General Intelligence : A Gentle Introduction by Pei Wang

  

I030108 546

Photo taken at the National Black-footed Ferret Conservation Center in norther Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Video Credit: Ryan Moehring / USFWS

René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.

 

Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.

 

From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.

 

In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.

 

Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

 

On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.

 

Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.

 

During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.

 

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.

 

In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

 

In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.

 

Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.

 

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

Photo taken at the National Black-footed Ferret Conservation Center in northern Colorado, where the U.S. Fish and Wildlife Service leads a captive breeding and recovery program where this endangered species is bred and preconditioned for release into the wild.

 

Photo Credit: Ryan Moehring / USFWS

Autoren der dritten Ausgabe sind Markus Miessen, Sandra Schramke, Something Fantastic, João Azougado, Jesko Fezer, Mirko Krause, Kristian Faschingeder, Ioanna Angelidou und Bernhard König. Interviews mit Geoff Manaugh und Nicola Twilley, David van Severen von OFFICE KGDVS, Luis Callejas von Paisajes Emergentes und Peter Grundmann. Projekte von nonconform, BeL + studio uc, H Arquitectes und Rui Mendes.

 

A dinner talk with Luis Callejas / Paisajes Emergentes

 

David Bauer, Michael Kraus, Konrad Lubej, Marco Rüdel and Simon Scheithauer

in conversation with Luis Callejas and Clara Arango, Weimar, December 13th 2010

 

To see through the sector of Latin American architecture

from a European point of view is in the

figurative sense nearly as hard as to cross the

rain forest. One must consider the divergence of those

different spheres: What are the preconditions of architecture

to arise – in economical, socio-political or geographical

terms?

The young Medellín-based office Paisajes Emergentes

(Luis Callejas, Edgar Mazo and Sebastian Mejia) started

with small-scale projects and diverse competitions. In

2008 they won the competition for the Aquatic Complex

in Medellín that has been opened in 2010 and was their

first big commission. With regard to their philosophy to

approach architectural tasks, Paisajes Emergentes seem

to pose the right questions to come up with the necessary

answers. With the Aquatic Complex, the office has generated

a new type of public space in Medellín, where the

public doesn’t ask for space although it is urgently needed.

In the sense of a Re-Definition, that approach

should be considered in wider terms, not locally limited.

Could that strategy serve as a model for other places as

well? HORIZONTE scrutinizes the role that Paisajes

Emergentes plays within this discourse.

The corridor of Michael’s apartment is crowded. Several

people take off their shoes and jackets, putting them all

over the place. The entrance door is just closed, as suddenly

the door bell rings again. A few seconds later a person

stands in the doorway, wrapped in a large winter coat,

in his hands a few bottles of wine. His glasses get steamed

immediately. There must be a temperature difference of

nearly 30°C between inside and outside...

RIPE are a leading manufacturer/supplier of inflatable packers for a wide variety of applications that include but are not limited to Geotechnical & Environmental investigations, Water Wells/Bores, Oil/Gas, Civil & Mining as well as Construction. We also supply the associated ancillary equipment providing a complete system. We are based in Perth, Western Australia but ship world-wide. Feel free to contact us at packers@ripe-packers.com or on (+61 8) 9475 0700 for all your packer related needs..

RIPE are a leading manufacturer/supplier of inflatable packers for a wide variety of applications that include but are not limited to Geotechnical & Environmental investigations, Water Wells/Bores, Oil/Gas, Civil & Mining as well as Construction. We also supply the associated ancillary equipment providing a complete system. We are based in Perth, Western Australia but ship world-wide. Feel free to contact us at packers@ripe-packers.com or on (+61 8) 9475 0700 for all your packer related needs..

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