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アガパンサス・プラエコックス ‘アーリー・ライラック’
Agapanthus praecox Willd., 1809 ‘Early Lilac’
This name is accepted. 11/28, 2021.
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Family:Amaryllidaceae (APG IV)
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Authors:
Carl Ludwig von Willdenow (1765-1812)
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Published In:
Enumeratio Plantarum Horti Botanici Berolinensis, . . . 1: 353. 1809. (Enum. Pl.) Name publication detail
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Distribution:Cape Prov. to KwaZulu-Natal
(10) grb (21) cny mdr (24) eri eth 27 CPP NAT (28) sth (50) nfk vic (51) nzn nzs (79) mxc mxg mxs mxt (80) cos hon (90) tdc
Lifeform:Geophyte
Original Compiler:R.Govaerts
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Homotypic Names:
Tulbaghia praecox (Willd.) Kuntze, Revis. Gen. Pl. 2: 718 (1891).
Tulbaghia africana (L.) Kuntze forma praecox (Willd.) Kuntze, Revis. Gen. Pl. 3(3): 317 (1898).
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This name is Accepted by:
Govaerts, R. (1995). World Checklist of Seed Plants 1(1, 2): 1-483, 1-529. MIM, Deurne.
Germishuizen, G. & Meyer, N.L. (eds.) (2003). Plants of Southern Africa: an annotated checklist. Strelitzia 14.: i-vi, 1-1231. National Botanical Institute, Pretoria.
Gremmen, N. & Halbertsma, R.L. (2009). Alien plants and their impact on Tristan da Cunha 2: 1-307. Overseas Territories Environment Programme (OTEP).
Lambdon, P. (2012). Flowering plants & ferns of St Helena: 1-624. Pisces publications for St Helena nature conservation group.
Davidse, G., M. Sousa Sánchez & A.O. Chater. 1994. Alismataceae a Cyperaceae. 6: i–xvi, 1–543. In G. Davidse, M. Sousa Sánchez & A.O. Chater (eds.) Fl. Mesoamer.. Universidad Nacional Autónoma de México, México, D. F.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. (eds.) 2011. Fl. Antioquia: Cat. 2: 9–939. Universidad de Antioquia, Medellín.
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Vickery, A. R. 1994. 8. Agapanthus L'Hér. 6: 31. In G. Davidse, M. Sousa Sánchez & A.O. Chater (eds.) Fl. Mesoamer.. Universidad Nacional Autónoma de México, México, D. F.
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Nikon D800E
SIGMA MACRO 70mm F2.8 EX DG for Nikon AF Mount
We are downsizing, so I’m going through all of my stuff and getting rid of some things but photographing them before I do. In the late 1980s we lived in London and our landlord was involved with the English National Opera so we were given free tickets to these wonderful events. The theatre programmes are the UK and Australia, mostly from the 1980s and 1990s.
I thought I had visited St Mary years ago. And indeed I had, or stood on the green in front of it, but didn't set foot inside.
This I didn't realise until Saturday when I was standing outside it looking at the row of cottages leading to the lych gate, I knew the scene was new to me.
The drizzle was still falling, so I could not linger in the churchyard, and scampered along the south side of the building, looking for the porch, but there wasn't one. Instead a simple door near to the chancel gave way when I turned the handle, after stepping over the void that acts as a drain for rainwater falling from the roof.
I tried hard to find the lightswitches, as in the gloom of the early afternoon, it was almost dark inside. Even when I found the switches in the south chapel, there seemed to be no power to them, so the church remained in half darkness.
What I did see, and was dazzled by, were tiles used to line the lower part of the chancel walls, like a mosaic, creating fantastic patterns.
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A mainly thirteenth century church restored by Sir George Gilbert Scott. There is a high window which originally shed light onto the Rood figures (see also Capel le Ferne). Some medieval glass survives in the heads of the windows in the chancel showing angels holding crowns. The west window was designed by Morris and Co in 1874 to commemorate a former Rector, whilst the south chapel has a set of continental glass brought here by the Beckingham family from their house in Essex. Above the nave arcade is a good set of murals including a figure of St Nicholas. The famous Elizabethan theologian Richard Hooker is commemorated in the chancel.
www.kentchurches.info/church.asp?p=Bishopsbourne
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Bishopsbourne is another example of a parish church belonging to the church (the archbishop, in this case), which was totally rebuilt on a large(r) scale in the 13th century (cf. Chartham). The chancel, as rebuilt, was as wide as the nave, and there is no chancel arch (and probably never has been).
The nave and chancel both show at least two phases of work of about the mid to later 13th century, so it seems likely that a rebuilding programme was being carried on in stages during the 2nd half of the 13th century (no sign exists, above-ground, of the earlier church).
Perhaps the earliest visible work are the two pairs of two-light windows on either side of the chancel. They have geometrical tracery and all sit on an internal moulded string course (there is medieval glass at the top of all these windows). This string course rises up in the east wall, and has on it the five-light east window, within trefoiled lancets, which is perhaps slightly later in date. There is also a late 13th century piscina at the east end of the south wall (though with a 19th century back wall). Externally the N.E. and S.E. corners of the chancel have angle buttresses, but these are heavily restored. It is also just possible that there were further geometrical windows further west in the chancel, which were covered/removed when the 15th century additions were made.
In the nave, as John Newman has pointed out, the two slender arcades have slight differences (N. capitals more complex than the S. ones). Also that the nave abaci are undercut, while the chancel string course is not. Originally the south arcade was at least three bays long (ie. longer than the present nave), but on the north this is not so clear. The aisles themselves are very narrow, with shed roofs continuing the slope of the main nave roof (though this shape may only be 15th century when the aisles were remodelled). The only surviving feature of the 13th century in the outer aisle walls (again heavily restored externally in the 19th century) is the north doorway with its niche (called a stoup by some writers, but not necessarily one) immediately to the east. This doorway has slightly projecting pilasters on either side, and the whole was covered by a porch until 1837.
The second main phase of work took place in the later 15th century. First, the whole of the west end of the church was demolished and a new tower was constructed with diagonal buttresses. The tower is of three main stages with the top stage rendered. The whole of the south face is mostly rendered. As this was being built, short walls were erected from the eastern diagonal buttresses to the 13th century arcade (ie. leaving the western ends of the aisles outside). (This is perhaps due to a population decrease in the parish). New west walls (containing two light perpendicular square headed windows) to the shortened aisles were also built, and four new 2-light perpendicular windows were inserted into the outer aisle walls. Along the top of the inside of the aisles walls a new moulded timber stringcourse was made (the roofs were perhaps also remade, but they are hidden beneath plaster in the aisles, and the main nave roof was replaced in 1871). At the west end of the nave the new short north and south walls contain five 3-light windows with perpendicular tracery under a 2-centred arch in their heads. On the upper nave walls, above the arcade, are remains of some fine painted figures on a painted 'ashlar' background. These were perhaps painted after the 15th century rebuilding (a date of around 1462 for the rebuilding is perhaps suggested by the will of William Harte (see below). At the extreme west end of the nave are two areas (N. and S.) of in situ medieval floor tiles. It is just possible that they predate the tower building work. (They must continue eastwards under the pews). There is also a 15th cent. octagonal font bowl (on a 1975 base). The southern chapel (the Bourne Pew after the Reformation) with its diagonal buttresses and 3-light east window is also 15th century but it was very heavily restored in c. 1853 (date over new S. door). It has a separate roof (and plaster ceiling). The rectangular N. addition with a plinth is also 15th century and was perhaps built as a vestry. It had an external door and only a small door into the chancel until the rebuilding of 1865, when a massive new arch was put in to accommodate a new organ (earlier the organ was under the tower arch). At this time also a totally new pitched roof was built over the vestry, perhaps replacing a low pitched 15th century roof. There is a high up window on the north side above the pulpit, with some old glass in it.
A new boiler house was dug under the western half of the vestry (in the 1880s - date on radiator), and its N.W. corner was rebuilt, incorporating a fireplace and chimney. The cut through N. chancel wall (and foundation) can be seen in the boiler room below.
The door into the Rood loft is in the S.E. corner of the nave.
In 1871-2 a major restoration took place under Scott, when the boarded wagon roofs were put in (nave and chancel) and new pews were installed (and choir stalls). The c. 18th century pulpit was remodelled and has its larger tester removed. The west window contains 1874 Morris & Co glass with figures by Burne Jones. There is also much c. 1877 mosaic work on the lower chancel walls and a large Reredos. The chancel floor was also raised.
BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles, etc.):
The main building materials are flintwork with Rag and Caenstone quoins/jambs, etc. However much of this has been removed externally by the heavy 19th century restoration. The nave arcades are of Reigate stone. The 15th century tower has fine large quoins of Kent Rag (Hythe/Folkestone stone with boring mollusc holes), and a few reused pieces of Caen, Reigate and Roman brick.
The south chapel was "partly of brick" in 1846 (Glynne) but this has now gone in the Restoration. There is also some fine early post-medieval glass in the east window of this chapel.
(For medieval glass, wall paintings and floor tiles ,see above).
(Also 15th century choir stalls, see below). There are also the arms and Cardinals Cap of Cardinal Morton (hence 1494-1500) in the S.W. chancel window.
There are now 4 bells (2 J Hatch of 1618; Christopher Hodson 1685 and Robert Mot 1597). The later from St. Mary, Bredman, Canterbury was installed in 1975 (a cracked bell was 'discarded').
A late medieval brass (of John and Elizabeth Colwell) lies under the organ - another of 1617 (John Gibon) is under the choir stalls.
EXCEPTIONAL MONUMENTS IN CHURCH To Richard Hooker (1633) - originally on N chancel wall and moved to S chancel will c. 1865.
Also John Cockman (+1734) - also on N. chancel wall and moved to E. wall of N. aisle c. 1865 (when the organ was put under new vestry arch).
Also a fine Purbeck marble (14th century) grave slab under the N.E. corner of the tower.
There are also two fine 15th century (c. 1462) stall fronts in the chancel with carved panels and ends (and 'poppy heads'). The added Victorian choir stalls copy them.
CHURCHYARD AND ENVIRONS:
Shape: Rectangular
Condition: Good
Earthworks:
enclosing: drop on N. and W. sides (?Ha-Ha) into Bourne Park adjacent:
Building in churchyard or on boundary: Lychgate of 1911
HISTORICAL RECORD (where known):
Earliest ref. to church: Domesday Book
Evidence of pre-Norman status (DB, DM, TR etc.):
Late med. status: Rectory
Patron: The Archbishop
Other documentary sources: Test. Cant. (E. Kent 1907) 23 mentions 'one piece of that stone on which the Archangel Gabriel descended when he saluted the 'BVM' to the Image of the BVM of the church of Bourne. Towards the work of the Church of Bourne, of the stalls and other reparations, 4 marcs. Wm. Haute (1462). Also 'Beam, now before altar of B. Mary in the church' (1477) and Lights of St. Mary, St. Katherine and St. Nicholas (1484) and light of Holy Cross (1462) and 'The altar of St. Mary and St. Nicholas in the nave' (1476).
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: Good - main nave and chancel floor raised in 19th century (earlier levels should be intact beneath (except where burials, etc.).
Outside present church: Drainage trench cut round outside of church.
Quinquennial inspection (date\architect): October 1987 David Martin
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
The church and churchyard: A fine 13th and 15th century church, with an impressive collection of medieval wall paintings, stained glass, floor tiles and pew fronts inside. The 13th century architectural details of the chancel windows and nave arcade are very good. There are, no doubt, the remains of the earlier church beneath.
The wider context: One of a group of fine later 13th century rebuildings (cf. Hythe, Chartham, Adisham, etc.)
REFERENCES: Notes by FC Elliston Erwood, Arch. Cant. 62 (1949), 101-3 (+ plan) + S. R. Glynne Notes on the Churches of Kent (1877), 130-1 (He visited in 1846); Hasted IX (1800), 335-7; Newman BOE (N.E. and E Kent) (3rd ed. 1983) 144-5.
Guide book: by Miss Alice Castle (1931, rev. 1961, 1969, 1980) - no plan.
Plans & drawings: Early 19th century engraving of interior looking W. NW (before restoration).
DATES VISITED: 25th November 1991 REPORT BY: Tim Tatton-Brown
www.kentarchaeology.org.uk/01/03/BIS.htm
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BISHOPSBORNE
LIES the next parish eastward from Bridge, described before, in the hundred of that name. It is called in Domesday, Burnes, that is, borne, from the bourn or stream which rises in it, being the head of the river, called the Lesser Stour; and it had the name of Bishopsborne from its belonging to the archbishop, and to distinguish it from the several other parishes of the same name in this neighbourhood. There is but one borough in this parish, namely, that of Bourne.
THIS PARISH lies about five miles eastward from Canterbury, just beyond Bridge, about half a mile from the Dover road, and the entrance of Barham downs in the valley on the left hand, where the church and village, the parsonage, the mansion and grounds of Bourne place, and the seat of Charlton at the opposite boundary, with the high hills behind them, topped with woods, from a most pleasing and luxuriant prospect indeed. In this beautiful valley, in which the Lesser Stour rises, and through which the Nailbourne at times runs, is the village of Bourne-street, consisting of about fifteen houses, and near it the small seat of Ofwalds, belonging to Mr. Beckingham, and now inhabited by his brother the Rev. Mr. Beckingham, and near it the church and court-lodge. On the rise of the hill is the parsonage, an antient building modernized, and much improved by the present rector Dr. Fowell, and from its whiteness a conspicuous object to the road and Barham downs. About a mile distant eastward, in the vale, close to the foot of the hills, is Charlton, in a low and damp situation, especially when the nailbourne runs. On the opposite side of the church westward, stands the ornament of this parish, the noble mansion of Bourne-place, (for several years inhabited by Sir Horace Mann, bart. but now by William Harrison, esq.) with its paddocks, grounds, and plantations, reaching up to the downs, having the bourn, which is the source of the Lesser Stour, which rises here in the front of it, directing its course from hence to Bridge, and so on by Littleborne, Ickham and Wickham, till it joins the Greater Stour river. This valley from this source of the bourn upwards, is dry, except after great rains, or thaws of snow, when the springs of the Nailbourn occasionally over flow at Liminge and Elham, and directing their course through this parish descend into the head of the bourn, and blend their waters with it. From this valley southward the opposite hills rise pretty high to the woodland, called Gosley wood, belonging to Mr. Beckingham, of large extent, and over a poor, barren and stony country, with rough healthy ground interspersed among it, to the valley at the southern boundary of the parish, adjoining to Hardres; near which is the house of Bursted, in a lonely unfrequented situations, hardly known to any one.
THE MANOR OF BOURNE, otherwise Bishopsborne, was given by one Aldhun, a man of some eminence in Canterbury, from his office of præfect, or bailiff of that city, (qui in hac regali villa bujus civitatis prafectus suit), (fn. 1) to the monks of Christ-church there, towards the support of their refectory. After which, anno 811, the monks exchanged it, among other estates, with archbishop Wlfred, for the manor of Eastry, and it continued part of the possessions of the see of Canterbury, at the time of taking the survey of Domesday, in which it is thus entered, under the title of the archbishop's lands:
In Berham hundred, the archbishop himself holds Burnes in demesne. It was taxed for six sulings. The arable land is fifty carucates. In demesne there are five carucates, and sixty-four villeins, with fifty-three borderers having thirty carucates and an half. There is a church, and two mills of eight shillings and six pence, and twenty acres of meadow. Wood for the pannage of fifteen hogs. Of herbage twenty-seven pence. In its whole value, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, now thirty pounds.
The manor of Bishopsborne appears by the above entry to have been at that time in the archbishop's own hands, and it probably continued so as long as it remained part of his revenues, which was till the 35th year of king Henry VIII. when archbishop Cranmer, by an act specially passed for the purpose, exchanged this manor with the park, grounds and soil of the archbishop in this parish, called Langham park, with Thomas Colepeper, sen. esq. of Bedgbury, who that year alienated it to Sir Anthony Aucher, of Otterden, who gave this manor, with the rest of his possessions in this parish, to his second son Edward. Since which it has continued in the same line of ownership as Bourne-place, as will be more particularly mentioned hereafter, down to Stephen Beckingham, esq. the present owner of it. A court leet and court baron is held for this manor.
BOURNE-PLACE, formerly called the manor of Hautsbourne, is an eminent seat in this parish, for the manor has from unity of possession been for many years merged in the paramount manor of Bishopsborne. It was in very early times possessed by a family who took their name from it. Godric de Burnes is mentioned in the very beginning of the survey of Domesday, as the possessor of lands in it. John de Bourne had a grant of free-warren and other liberties for his lands in Bourne and Higham in the 16th year of king Edward I. He left an only daughter Helen, who carried this estate in marriage to John de Shelving, of Shelvingborne, whose grandson, of the same name, died anno 4 Edward III. at which time this manor had acquired from them the name of Shelvington. He left an only daughter and heir Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, whose son Nicholas Haut gave to William, his youngest son, this estate of Bishopsborne, where he afterwards resided, and died in 1462, having been knight of the shire and sheriff of this county. From him it descended down to Sir William Haut, of Hautsborne, sheriff in the 16th and 29th year of king Henry VIII. whose son Edmund dying unmarried in his life-time, his two daughters, Elizabeth, married to Thomas Colepeper, esq. of Bedgbury, and Jane, to Sir Thomas Wyatt, of Allington-castle, became his coheirs, and on the division of their estates, this of Hautsborne was allotted to the former, and her hus band Thomas Colepeper, in her right, became possessed of it, and having acquired the manor of Bishopsborne by exchange from the archbishop, anno 35 Henry VIII. immediately afterwards passed away both that and Hautsborne to Sir Anthony Aucher, of Otterden, whose family derived their origin from Ealcher, or Aucher, the first earl of Kent, who had the title of duke likewise, from his being intrusted with the military power of the county. He is eminent in history for his bravery against the Danes, in the year 853. They first settled at Newenden, where more of the early account of them may be seen. He at his death gave them to his second son Edward, who afterwards resided here at Shelvington, alias Hautsborne, as it was then called, whose great-grandson Sir Anthony Aucher was created a baronet in 1666, and resided here. He left surviving two sons Anthony and Hewitt, and two daughters, Elizabeth, afterwards married to John Corbett, esq. of Salop, LL. D. and Hester, to the Rev. Ralph Blomer, D. D. prebendary of Canterbury. He died in 1692, and was succeeded by his eldest son, who dying under age and unmarried, Hewitt his brother succeeded him in title and estate, but he dying likewise unmarried about the year 1726, the title became extinct, but his estates devolved by his will to his elder sister Elizabeth, who entitled her husband Dr. Corbett afterwards to them, and he died possessed of the manor of Bishopsborne, with this seat, which seems then to have been usually called Bourneplace, in 1736, leaving his five daughters his coheirs, viz. Katherine, afterwards married to Stephen Beckingham, esq. Elizabeth, to the Rev. Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignat. Geohegan, esq. and Margaret-Hannah-Roberta, to William Hougham, esq. of Canterbury, the four latter of whom, with their respective husbands, in 1752, jointed in the sale of their shares in this estate to Stephen Beckingham, esq. above-men tioned, who then became possessed of the whole of it. He married first the daughter of Mr. Cox, by whom he had the present Stephen beckingham, esq. who married Mary, daughter of the late John Sawbridge, esq. of Ollantigh, deceased, by whom he had an only daughter, who married John-George Montague, esq. eldest son of John, lord viscount Hinchingbrooke, since deceased. By his second wife Catherine, daughter of Dr. John Corbet, he had two daughters, Charlotte and Catherine, both married, one to Mr. Dillon and the other to Mr. Gregory; and a son John Charles, in holy orders, and now rector of Upper Hardres. They bear for their arms, Argent, a sess, crenelle, between three escallop shells, sable. He died in 1756, and his son Stephen Beckingham, esq. above-mentioned, now of Hampton-court, is the present owner of the manor of Bishopsborne, and the mansion of Bourneplace.
BURSTED is a manor, in the southern part of this parish, obscurely situated in an unfrequented valley, among the woods, next to Hardres. It is in antient deeds written Burghsted, and was formerly the property of a family of the same name, in which it remained till it was at length sold to one of the family of Denne, of Dennehill, in Kingston, and it continued so till Thomas Denne, esq. of that place, in Henry VIII.'s reign, gave it to his son William, whose grandson William, son of Vincent Denne, LL. D. died possessed of it in 1640, and from him it descended down to Mr. Thomas Denne, gent. of Monkton-court, in the Isle of Thanet, who died not many years since, and his widow Mrs. Elizabeth Denne, of Monktoncourt, is the present possessor of it.
CHARLTON is a seat, in the eastern part of this parish, which was formerly the estate of a family named Herring, in which it continued till William Herring, anno 3 James I. conveyed it to John Gibbon, gent. the third son of Thomas Gibbon, of Frid, in Bethers den, descended again from those of Rolvenden, and he resided here, and died possessed of it in 1617, as did his son William in 1632, whose heirs passed it away to Sir Anthony Aucher, bart. whose son Sir Hewitt Aucher, bart. in 1726, gave it by will to his sister Elizabeth, and she afterwards carried it in marriage to John Corbett, LL. D. of Salop, who died possessed of it in 1735, leaving his window surviving, after whose death in 1764 it came to her five daughters and coheirs, who, excepting Frances, married to Sir William Hardres, bart. joined with their husbands in the sale of their respective fifth parts of it in 1765, to Francis Hender Foote, clerk, who resided here. Mr. Foote was first a barrister-at-law, and then took orders. He married Catherine, third daughter of Robert Mann, esq. of Linton, by whom he had three sons, John, mentioned below, who is married and has issue; Robert, rector of Boughton Malherb, and vicar of Linton, who married Anne, daughter of Dobbins Yate, esq. of Gloucestershire, and Edward, in the royal navy; and three daughters, of whom two died unmarried, and Catherine, the second, married first Mr. Ross, and secondly Sir Robert Herries, banker, of London. Mr. Foote died possessed of them in 1773, leaving his wife Catherine surviving, who possessed them at her death in 1776, on which they descended to their eldest son John Foote, esq. of Charlton, who in 1784, purchased of the heirs of lady Hardres, deceased, the remaining fifth part, and so became possessed of the whole of it, of which he is the present owner, but Mr. Turner now resides in it.
Charities.
MRS. ELIZABETH CORBETT, window, executrix of Sir Hewit Aucher, bart. deceased, in 1749, made over to trustees, for the use and benefit of the poor, a tenement called Bonnetts, and half an acre of land adjoining, in this parish; now occupied by two poor persons, but if rented, of the annual value of 3l.
The poor constantly relieved are about eleven, casually seven.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
¶The church, which is dedicated to St. Mary, is a large building, consisting of three isles and three chancels, having a tower steeple at the west end, in which are four bells. This church is a large handsome building, but it is not kept so comely as it ought to be. In the chancel is a monument for Richard Hooker, rector of this parish, who died in 1600; on it is his bust, in his black gown and square cap. A monument for John Cockman, M. D. of Charlton. His widow lies in the vault by him, obt. 1739; arms, Argent, three cocks, gules, impaling Dyke. Memorial for Petronell, wife of Dr. John Fowell, the present rector, second daughter of William Chilwich, esq. of Devonshire, obt. 1766. She lies buried in a vault under the altar. A large stone, twelve feet long, supposed to be over the remains of Mr. Richard Hooker. A memorial on brass for John Gibbon, gent. of this parish, obt. 1617; arms, Gibbon, a lion rampant-guardant, between three escallops, impaling Hamon, of Acrise, quartering Cossington. Memorials for Mrs. Jane Gibbon, his wife, obt. 1625, and for William Gibbon, gent. obt. 1632. A memorial for William Gresham, obt. 1718. In one of the windows are the arms of the see of Canterbury impaling Warham. In the middle isle, in the south wall, above the capital of the pillar, opposite the pulpit, is a recess, in which once stood the image of the Virgin Mary, the patron saint of this church, to which William Hawte, esq. by will anno 1462, among the rest of his relics, gave a piece of the stone on which the archangel Gabriel descended, when he saluted her, for this image to rest its feet upon. On the pavement near this, seemingly over a vault, is a stone with an inscription in brass, for William, eldest son of Sir William Hawt. A memorial for Farnham Aldersey, gent. of this parish, only son of Farnham Aldersey, gent. of Maidstone, obt. 1733. Memorials for several of the Dennes, of this parish. In a window of the south isle, are the arms of Haut, impaling Argent, a lion rampant-guardant, azure. The south chancel is inclosed and made into a handsome pew for the family of Bourne-place, under which is a vault appropriated to them. The window of it eastward is a very handsome one, mostly of modern painted glass; the middle parts filled up with scripture history, and the surrounding compartments with the arms and different marriages impaled of the family of Beckingham. On each side of this window are two ranges of small octagon tablets of black marble, intended for the family of Aucher, and their marriages, but they were not continued. In the church-yard, on the south side, is a vault for the family of Foote, of Charlton, and a tomb for Mrs. Elizabeth Corbett, obt. 1764; arms, Corbett, which were Or, two ravens, sable, within a bordure, gules, bezantee. At the north-east corner of the church-porch are several tombs for the Dennes.
The church of Bishopsborne, with the chapel of Barham annexed, was antiently appendant to the manor, and continued so till the exchange made between the archbishop and Thomas Colepeper, in the 35th year of king Henry VIII. out of which the advowson of this rectory was excepted. Since which it has continued parcel of the possessions of the see of Canterbury to the present time, his grace the archbishop being the present patron of it.
This rectory, (including the chapel of Barham annexed to it) is valued in the king's books at 39l. 19s. 2d. and the yearly tenths at 3l. 19s. 11d. In 1588 here were communicants one hundred. In 1640 one hundred and forty-eight, and it was valued, with Barham, at two hundred and fifty pounds per annum.
Church of Bishopsborne with the Chapel of Barhan annexed.
www.british-history.ac.uk/survey-kent/vol9/pp328-337
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Richard Hooker (March 1554 – 3 November 1600) was an English priest in the Church of England and an influential theologian.[2] He was one of the most important English theologians of the sixteenth century.[3] His defence of the role of redeemed reason informed the theology of the seventeenth century Caroline Divines and later provided many members of the Church of England with a theological method which combined the claims of revelation, reason and tradition.[3] Scholars disagree regarding Hooker's relationship with what would later be called "Anglicanism" and the Reformed theological tradition. Traditionally, he has been regarded as the originator of the Anglican via media between Protestantism and Catholicism.[4]:1 However, a growing number of scholars have argued that he should be considered as being in the mainstream Reformed theology of his time and that he only sought to oppose the extremists (Puritans), rather than moving the Church of England away from Protestantism.
This sermon from 1585 was one of those that triggered Travers attack and appeal to the Privy Council. Travers accused Hooker of preaching doctrine favourable to the Church of Rome when in fact he had just described their differences emphasising that Rome attributed to works "a power of satisfying God for sin;..." For Hooker, works were a necessary expression of thanksgiving for unmerited justification by a merciful God.[11] Hooker defended his belief in the doctrine of Justification by faith, but argued that even those who did not understand or accept this could be saved by God.
Of the Lawes of Ecclesiastical Politie is Hooker's best-known work, with the first four books being published in 1594. The fifth was published in 1597, while the final three were published posthumously,[2] and indeed may not all be his own work. Structurally, the work is a carefully worked out reply to the general principles of Puritanism as found in The Admonition and Thomas Cartwright's follow-up writings, more specifically:
Scripture alone is the rule that should govern all human conduct;
Scripture prescribes an unalterable form of Church government;
The English Church is corrupted by Roman Catholic orders, rites, etc.;
The law is corrupt in not allowing lay elders;
'There ought not to be in the Church Bishops'.[12]
Of the Lawes has been characterised as "probably the first great work of philosophy and theology to be written in English."[13] The book is far more than a negative rebuttal of the puritan claims: it is (here McAdoo quotes John S. Marshall) 'a continuous and coherent whole presenting a philosophy and theology congenial to the Anglican Book of Common Prayer and the traditional aspects of the Elizabethan Settlement."[14]
Quoting C. S. Lewis,[15] Stephen Neill underlines its positive side in the following terms: Hitherto, in England, "controversy had involved only tactics; Hooker added strategy. Long before the close fighting in Book III begins, the puritan position has been rendered desperate by the great flanking movements in Books I and II. . . . Thus the refutation of the enemy comes in the end to seem a very small thing, a by-product."[16]
It is a massive work that deals mainly with the proper governance of the churches ("polity"). The Puritans advocated the demotion of clergy and ecclesiasticism. Hooker attempted to work out which methods of organising churches are best.[2] What was at stake behind the theology was the position of the Queen Elizabeth I as the Supreme Governor of the Church. If doctrine were not to be settled by authorities, and if Martin Luther's argument for the priesthood of all believers were to be followed to its extreme with government by the Elect, then having the monarch as the governor of the church was intolerable. On the other side, if the monarch were appointed by God to be the governor of the church, then local parishes going their own ways on doctrine were similarly intolerable.
In political philosophy, Hooker is best remembered for his account of law and the origins of government in Book One of the Politie. Drawing heavily on the legal thought of Thomas Aquinas, Hooker distinguishes seven forms of law: eternal law ("that which God hath eternally purposed himself in all his works to observe"), celestial law (God's law for the angels), nature's law (that part of God's eternal law that governs natural objects), the law of reason (dictates of Right Reason that normatively govern human conduct), human positive law (rules made by human lawmakers for the ordering of a civil society), divine law (rules laid down by God that can only be known by special revelation), and ecclesiastical law (rules for the governance of a church). Like Aristotle, whom he frequently quotes, Hooker believes that humans are naturally inclined to live in society. Governments, he claims, are based on both this natural social instinct and on the express or implied consent of the governed.
The Laws is remembered not only for its stature as a monumental work of Anglican thought, but also for its influence in the development of theology, political theory, and English prose.
Hooker worked largely from Thomas Aquinas, but he adapted scholastic thought in a latitudinarian manner. He argued that church organisation, like political organisation, is one of the "things indifferent" to God. He wrote that minor doctrinal issues were not issues that damned or saved the soul, but rather frameworks surrounding the moral and religious life of the believer. He contended there were good monarchies and bad ones, good democracies and bad ones, and good church hierarchies and bad ones: what mattered was the piety of the people. At the same time, Hooker argued that authority was commanded by the Bible and by the traditions of the early church, but authority was something that had to be based on piety and reason rather than automatic investiture. This was because authority had to be obeyed even if it were wrong and needed to be remedied by right reason and the Holy Spirit. Notably, Hooker affirmed that the power and propriety of bishops need not be in every case absolute.
King James I is quoted by Izaak Walton, Hooker's biographer, as saying, "I observe there is in Mr. Hooker no affected language; but a grave, comprehensive, clear manifestation of reason, and that backed with the authority of the Scriptures, the fathers and schoolmen, and with all law both sacred and civil."[17] Hooker's emphasis on Scripture, reason, and tradition considerably influenced the development of Anglicanism, as well as many political philosophers, including John Locke.[2] Locke quotes Hooker numerous times in the Second Treatise of Civil Government and was greatly influenced by Hooker's natural-law ethics and his staunch defence of human reason. As Frederick Copleston notes, Hooker's moderation and civil style of argument were remarkable in the religious atmosphere of his time.[18] In the Church of England he is celebrated with a Lesser Festival on 3 November and the same day is also observed in the Calendars of other parts of the Anglican Communion.
Just in time for the Ashes 4th Test at Chester-le-Street are these kindly donated cricket programmes; New Zealand 1949 cricket tour handbook and souvenir programme, complete with filled out score card, and a South African 1951 tour fixture, facts and averages handbook.
History
The Bishop's throne
The city of Chester was an important Roman stronghold. There may have been a Christian basilica on the site of the present cathedral in the late Roman era, while Chester was controlled by Legio XX Valeria Victrix. Legend holds that the basilica was dedicated to St Paul and St Peter. This is supported by evidence that in Saxon times the dedication of an early chapel on this site was changed from St Peter to St Werburgh. In the 10th century, St Werburgh's remains were brought to Chester, and 907 AD her shrine was placed in the church. It is thought that Ethelda turned the church into a college of secular canons, and that it was given a charter by King Edgar in 968. The abbey, as it was then, was restored in 1057 by Leofric, Earl of Mercia and Lady Godiva. This abbey was razed to the ground around 1090, with the secular canons evicted, and no known trace of it remains.
In 1093 a Benedictine monastery was established on the site by Hugh Lupus, Earl of Chester, and the earliest surviving parts of the structure date from that time. The abbey church was not at that time the cathedral of Chester; from 1075 to 1082 the cathedral of the diocese was the nearby church of St. John the Baptist, after which the see was transferred to Coventry. In 1538, during the dissolution of the monasteries, the monastery was disbanded and the shrine of St Werburgh was desecrated. In 1541 St Werburgh's abbey became a cathedral of the Church of England by order of Henry VIII. At the same time, the dedication was changed to Christ and the Blessed Virgin. The last abbot of St Werburgh’s Abbey, Thomas Clarke, became the first dean of the new cathedral at the head of a secular chapter.
While no trace of the 10th century church has been discovered, there is much evidence of the monastery of 1093. This work in the Norman style may be seen in the north west tower, the north transept and in remaining parts of the monastic buildings. The abbey church, beginning with the Lady Chapel at the eastern end, was extensively rebuilt in Gothic style during the 13th and 14th centuries. At the time of the dissolution of the monasteries, the cloister, the central tower, a new south transept, the large west window and a new entrance porch to the south had just been built in the Perpendicular style, and the south west tower of the façade had been begun. The west front was given a Tudor entrance, but the tower was never completed.
In 1636 the space beneath the south west tower became a bishop's consistory court. It was furnished as such at that time, and is now a unique survival in England. Until 1881, the south transept, which is unusually large, also took on a separate function as an independent ecclesiastical entity, the parish church of St Oswald. Although the 17th century saw additions to the furnishings and fittings, there was no further building work for several centuries. By the 19th century, the building was badly in need of restoration. The present homogeneous appearance that the cathedral presents from many exterior angles is largely the work of Victorian restorers, particularly Sir George Gilbert Scott. The twentieth century has seen continued maintenance and restoration. In 1973–75 a detached belfry designed by George Pace was erected in the grounds of the cathedral. In 2005 a new Song School was added to the cathedral.
External appearance
The cathedral is built of New Red Sandstone, like the cathedrals of Carlisle, Lichfield and Worcester. The stone lends itself to detailed carving, but is also friable to rain and wind, and is badly affected by pollution. With the other red sandstone buildings, Chester is one of the most heavily restored of England's cathedrals. The restoration, which included much refacing and many new details, took place mainly in the 19th century.
Because the south transept is similar in dimension to the nave and choir, views of the building from the south-east and south-west give the impression of a building balanced around a central axis, with its tower as the hub.See image, top The tower is of the late 15th century Perpendicular style, but its four large battlemented turrets are the work of the restoration architect George Gilbert Scott. With its rhythmic arrangement of large, traceried windows, pinnacles, battlements and buttresses, the exterior of Chester Cathedral presents a fairly homogeneous character, which is an unusual feature as England's cathedrals are in general noted for their stylistic diversity. Close examination reveals window tracery of several building stages from the 13th to the early 16th century. The richness of the 13th-century tracery is accentuated by the presence of ornate, crocketted drip-mouldings around the windows; those around the perpendicular windows are of simpler form.See image, top
The west front of the cathedral is not of particular architectural significance, as neither of its towers was completed. To the north is lower stage of a Norman tower, while to the south is the lower stage of a tower designed and begun, probably by Seth and George Derwall, in 1508, but left incomplete following the dissolution of the monastery in 1538. The façade is dominated by a large eight-light window in the Perpendicular style, which rises above a Tudor screen-like porch.The cathedral's façade is largely obscured from view by the building previously used as the King's School, which is now a branch of Barclays Bank. The door of the west front is not used as the normal entrance to the cathedral, which is through the south west porch. This porch was probably designed by Seth Derwall, and it formed part of the same late 15th-century building programme as the south transept, central and southwest towers, and cloister.
The nave, looking towards the choir
Interior
The interior of Chester Cathedral gives a warm and mellow appearance because of the pinkish colour of the sandstone. The proportions appear spacious because the view from the west end of the nave to the east end is unimpeded by a pulpitum and the nave, although not long, is both wide and high compared with many of England's cathedrals. The piers of the nave and choir are widely spaced, those of the nave carrying only the clerestory of large windows with no triforium gallery.See image, left The proportions are made possible partly because the ornate stellar vault, like that at York Minster, is of wood, not stone.
Norman remnants
The present church, dating from around 1283 to 1537, replaced the earlier monastic church founded in 1093 and built in the Norman style. It is believed that the newer church was built around the older one. That the few remaining parts of the Norman church are of small proportions, while the height and width of the Gothic church are generous would seem to confirm this belief. Aspects of the design of the Norman interior are still visible in the north transept, which retains wall arcading and a broadly moulded arch leading to the sacristy, which was formerly a chapel. The transept has retained an early 16th-century coffered ceiling with decorated bosses, two of which are carved with the arms of Henry VIII and Cardinal Wolsey.
The north west tower is also of Norman construction. It serves as the baptistry and houses a black marble font, consisting of a bowl on a large baluster dating from 1697. The lower part of the north wall of the nave is also from the Norman building, but can only be viewed from the cloister because the interior has been decorated with mosaic.
Early English
The Early English Gothic chapter house, built between 1230 and 1265, is rectangular and opens off a "charming" vestibule leading from the north transept. The chapter house has grouped windows of simple untraceried form. Alec Clifton-Taylor describes the exterior of this building as a "modest but rather elegant example of composition in lancets" while Pevsner says of the interior "[It is] a wonderfully noble room" which is the "aesthetic climax of the cathedral". To the north of the chapter house is the slype, also Early English in style, and the warming room, which contains two large former fireplaces. The monastic refectory to the north of the cloister is of about the same date as the chapter house.
The Lady Chapel to the eastern end of the choir dates from between 1265 and 1290. It is of three bays, and contains the Shrine of St Werburgh, dating from the 14th century. The vault of the Lady Chapel is the only one in the cathedral that is of stone. It is decorated with carved roof bosses representing the Trinity, the Virgin and Child, and the murder of St Thomas à Becket. The chapel also has a sedilia and a piscina.
Decorated Gothic
The choir, looking towards the nave
The choir, of five bays, was built between 1283 and 1315 to the design of Richard Lenginour, and is an early example of Decorated Gothic architecture. The piers have strongly modelled attached shafts, supporting deeply moulded arches. There is a triforium gallery with four cusped arches to each bay.See image, right The sexpartite vault, which is a 19th century restoration, is supported by clusters of three shafts which spring from energetic figurative corbels. The overall effect is robust, and contrasts with the delicacy of the pinnacled choir stalls, the tracery of the windows and the rich decoration of the vault which was carried out by the ecclesiastical designers, Clayton and Bell. The choir stalls, dating from about 1380, are one of the glories of the cathedral.
The aisles of the choir previously both extended on either side of the Lady Chapel. The south aisle was shortened in about 1870 by George Gilbert Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The eastern end of the north aisle contains the chapel of St Werburgh.
The nave of six bays, and the large, aisled south transept were begun in about 1323, probably to the design of Nicholas de Derneford. There are a number of windows containing fine Flowing Decorated tracery of this period. The work ceased in 1375, in which year there was a severe outbreak of plague in England. The building of the nave was recommenced in 1485, more than 150 years after it was begun. The architect was probably William Rediche. Remarkably, for an English medieval architect, he maintained the original form, changing only the details. The nave was roofed with a stellar vault rather like that of the Lady Chapel at Ely and the choir at York Minster, both of which date from the 1370s. Like that at York, the vault is of wood, imitating stone.
Perpendicular Gothic
From about 1493 until 1525 the architect appears to have been Seth Derwall, succeeded by George Derwall until 1537. Seth Derwall completed the south transept to a Perpendicular Gothic design, as seen in the transomed windows of the clerestory. He also built the central tower, southwest porch and cloisters. Work commenced on the south west tower in 1508, but it had not risen above the roofline at the time of the dissolution of the monasteries, and has never been completed. The central tower, rising to 127 feet (39 m), is a “lantern tower” with large windows letting light into the crossing. Its external appearance has been altered by the addition of four battlemented turrets by George Gilbert Scott in the 19th century.
The Perpendicular Gothic cloister is entered from the cathedral through a Norman doorway in the north aisle. The cloister is part of the building programme that commenced in the 1490s and is probably the work of Seth Daerwell.
The south wall of the cloister, dating from the later part of the Norman period, forms the north wall of the nave of the cathedral, and includes blind arcading.
Among the earliest remaining structures on the site is an undercroft off the west range of the cloisters, which dates from the early 12th century, and which was originally used by the monks for storing food.
It consists of two naves with groin vaults and short round piers with round scalloped capitals.
Leading from the south of the undercroft is the abbot's passage which dates from around 1150 and consists of two bays with rib-vaulting. Above the abbot's passage, approached by a stairway from the west cloister, is St Anselm's Chapel which also dates from the 12th century. It is in three bays and has a 19th-century Gothic-style plaster vault. The chancel is in one bay and was remodelled in the early 17th century. The screen, altar rails, holy table and plaster ceiling of the chancel date from the 17th century. The north range of the cloister gives access to a refectory, built by Simon de Whitchurch in the 13th century. It contains an Early English pulpit, approached by a staircase with an ascending arcade. The only other similar pulpit in England is in Beaulieu Abbey.
The Quadripartite vault of the choir
the 19th century the fabric of the building had become badly weathered, with Mr. Charles Hiatt writing that "the surface rot of the very perishable red sandstone, of which the cathedral was built, was positively unsightly" and that the "whole place previous to restoration struck one as woebegone and neglected; it perpetually seemed to hover on the verge of collapse, and yet was without a trace of the romance of the average ruin". Between 1818 and 1820 the architect Thomas Harrison restored the south transept, adding corner turrets. This part of the building served until 1881 as the parish church of St Oswald, and it was ecclesiastically separate. From 1844 R. C. Hussey carried out a limited restoration including work on the south side of the nave.
The most extensive restoration was carried out by the Gothic Revival architect, Sir George Gilbert Scott, who between 1868 and 1876 "almost entirely recased" the cathedral. In addition to extensive additions and alterations to the body of the church, Scott remodelled the tower, adding turrets and crenellations. Scott chose sandstone from the quarries at Runcorn for his restoration work. In addition to the restoration of the fabric of the building, Scott designed internal fittings such as the choir screen to replace those destroyed during the Civil War. He built the fan vault of the south porch, renewed the wooden vault of the choir and added a great many decorative features to the interior. Later in the century, from 1882, Sir Arthur Blomfield and his son Charles made further additions and modifications, including restoring and reinstating the Shrine of St Werburgh. More work was carried out in the 20th century by Sir Giles Gilbert Scott between 1891 and 1913, and by F. H. Crossley in 1939.
Rare fittings
The treasures of Chester Cathedral are its rare fittings, specifically its choir stalls and the 17th century furnishing of the bishop’s consistory court in the south tower, which is a unique survival. The choir stalls date from about 1380. They have high, spiky, closely set canopies, with crocketed arches and spirelets. The stall ends have poppyheads and are rich with figurative carving. The stalls include 48 misericords, all but five of which are original, depicting a variety of subjects, some humorous and some grotesque. Pevsner states that they are "one of the finest sets in the country",while Alec Clifton-Taylor calls them “exquisite” and says of the misericords that “for delicacy and grace [they] surpass even those at Lincoln and Beverley”.
Stained glass
Chester suffered badly at the hands of the Parliamentary troops. In consequence, its stained glass dates mainly from the 19th century. Of the earlier Victorian firms, William Wailes is the best represented here, as well as Hardman & Co.. Glass from the High Victorian period is well represented by two leading London firms, Clayton and Bell and Heaton, Butler and Bayne. The Aesthetic style is represented by Kempe. There are also several notable modern windows, the most recent being the refectory window of 2001 by Ros Grimshaw which depicts the Creation.
Organ
In 1844, an organ by Gray & Davison of London was installed in the cathedral, replacing an instrument with parts dating back to 1626. The organ was rebuilt and enlarged by Whiteley Bros of Chester in 1876, to include harmonic flutes and reeds by Cavaillé-Coll. It was later moved to its present position at the front of the north transept. In 1910 William Hill & Son of London extensively rebuilt and revoiced the organ, replacing the Cavaillé-Coll reeds with new pipes of their own. The choir division of the organ was enlarged and moved behind the choirstalls on the south side. The instrument was again overhauled by Rushworth and Dreaper of Liverpool in 1969, when a new mechanism and some new pipework made to a design drawn up by Roger Fisher was installed. Since 1991 the organ has been in the care of David Wells of Liverpool.
Communion plate
The communion plate includes two flagons dated 1662–63, two small and two large patens dated 1662, a silver chalice dating from about 1665, a silver gilt alms dish dated 1669, a chalice spoon of 1691, two small alms dishes dated 1737, two chalices dated 1838, a small chalice dated 1897, a small paten of 1903, two candlesticks dated 1662 and two vergers' maces of 1662.
Tour of features
Nave
The west end of the nave is dominated by an eight-light window in the Perpendicular Gothic style which almost fills the upper part of the west wall. It contains stained glass designed by W. T. Carter Shapland dating from 1961 and depicts the Holy Family in the middle two lights, flanked by the northern saints Werburgh, Oswald, Aidan, Chad and Wilfrid, and Queen Ethelfleda.
The stained glass in the north aisle, dated 1890, is by Heaton, Butler and Bayne.[35] The south aisle includes three stained glass windows, dated 1992, designed and made by Alan Younger to replace windows damaged in the Second World War. They were donated by the 6th Duke of Westminster to celebrate the 900th anniversary of the cathedral.[36] The stained glass in another window in the south aisle is by William Wailes, dated 1862.The stone nave pulpit was designed by the restorer R. C. Hussey and the lectern, dated 1876, is by Skidmore.] The mosaic floor of the tower bay was designed by Dean Howson and executed by Burke and Co. The same firm installed the mosaics which decorate the wall of the north aisle, depicting the patriarchs and prophets Abraham, Moses, David and Elijah. They were designed by J. R. Clayton of Clayton and Bell, and date from 1883–86.
Monuments in the nave include those to Roger Barnston, dated 1838, by John Blayney, to Bishop Stratford, dated 1708, to Bishop Hall who died in 1668, to Edmund Entwistle, dated 1712, to John and Thomas Wainwright who died respectively in 1686 and 1720, to Robert Bickerstaff who died in 1841 by Blayney, to Dean Smith who died in 1787 by Thomas Banks, and to Sir William Mainwaring, dated 1671.
Choir stall with canopy and misericord
Choir
The most famous feature of the choir is the set of choir stalls, dating from about 1380, and described above. The lectern, in the form of a wooden eagle, symbol of John the Evangelist, dates from the first half of the 17th century. The candlesticks also date from the 17th century and are by Censore of Bologna who died in 1662.
With these exceptions, most of the decoration and the fittings of the choir date from the 19th century and are in keeping with the Gothic Revival promoted by the Oxford Society and Augustus Welby Pugin. The restored vault of the choir is typical of the period, having been designed by Scott and decorated and gilded by Clayton and Bell.
The choir is entered through a screen designed by Sir George Gilbert Scott, with gates made by Skidmore. The rood was designed by Sir Giles Gilbert Scott, and was made by F. Stuflesser. The bishop’s throne or “cathedra” was designed by George Gilbert Scott to complement the choir stalls. It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.
Lady Chapel
The 13th century Lady Chapel contains the stone shrine of St Werburgh which dates from the 14th century and which used to contain her relics. The shrine, of the same pink stone as the cathedral, has a base pierced with deep niches. The upper part takes the form of a miniature chapel containing statuettes. During the dissolution of the monasteries it was dismantled. Some of the parts were found during the 1873 restoration of the cathedral and the shrine was reassembled in 1888 by Blomfield. A carving of St Werburgh by Joseph Pyrz was added in 1993. Also in the chapel are a sedilia and a piscina. The stained glass, dated 1859, is by William Wailes. The chapel contains a monument to Archdeacon Francis Wrangham, made by Hardman & Co. and dating from 1846.
North choir aisle
The north choir aisle has a stone screen by R. C. Hussey and an iron gate dated 1558 that came from Guadalajara. At the east end of the aisle is the chapel of St Werburgh which has a vault of two bays, and an east window depicting the Nativity by Michael O'Connor, dated 1857. Other stained glass windows in the north aisle are by William Wailes, by Heaton, Butler and Bayne, and by Clayton and Bell. The chapel contains as a piscina dating from the 14th century, and monuments to Bishop Graham dated 1867, and to William Bispham who died in 1685, Other monuments in the north aisle include a tablet to Bishop Jacobson, dated 1887, by Boehm to a design by Blomfield.
North transept, sacristy and chapter house
The small Norman transept has clerestory windows containing stained glass by William Wailes, dated 1853. The sacristy, of 1200, has an east window depicting St Anselm, and designed by A. K. Nicholson. In the north transept is a freestanding tombchest monument to Bishop Pearson who died in 1686, designed by Sir Arthur Blomfield and carved by Nicholas Earp, with a recumbent effigy by Matthew Noble. Other monuments in the transept include one to Samuel Peploe, dating from about 1784, by Joseph Nollekens. The wall monuments include cenotaphs to members of the Cheshire (Earl of Chester's) Yeomanry killed in the Boer War and in the First and Second World Wars. At the corner of the transept with the north aisle is a 17th-century Tree of Jesse carved in whale ivory. A niche contains a rare example of a "cobweb picture", painted on the web of a caterpillar. It depicts Mary and the Christ-Child, and is based on a painting by Lucas Cranach the Elder.
The chapter house has stained glass in its east window by Heaton, Butler and Bayne and grisaille windows in the north and south walls, dated 1882–83, by Blomfield. It contains an oak cope cupboard from the late 13th century, and houses part of the cathedral library. In the vestibule is a copy of Ranulf Higdon's Polychronicon.[46] The front of the chapter house was rebuilt to a design by Hussey.
South choir aisle
Flowing Decorated tracery and glass by Heaton, Butler and Bayne in the south transept
The south aisle was shortened in about 1870 by Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The stained glass in the apse window is dated 1872 and is by Clayton and Bell. Below this is a mosaic designed by J. R. Clayton and made by Salviati, and a fresco painting by Clayton and Bell, dated 1874. Elsewhere the stained glass in the aisle is by Wailes, and by Hardman & Co. to a design by Pugin.[42] The aisle contains the tomb of Ranulf Higdon, a monk at St Werburgh's Abbey in the 12th century who wrote a major work of history entitled Polychronicon,[47] a monument to Thomas Brassey (a civil engineering contractor who died in 1870), designed by Blomfield and made by Wagmuller, a monument to Bishop Peploe who died in 1752, and three painted monuments by Randle Holme.
South transept
The south transept, formerly the parish church of St Oswald contains a piscina and sedilia in the south wall. On the east wall are four chapels, each with a reredos, two of which were designed by Sir Giles G. Scott, one by Kempe and the other by his successor, W.E. Tower. The south window is dated 1887 and was made by Heaton, Butler and Bayne to a design by R. C. Hussey. Other stained glass in the transept is by Clayton and Bell, by C. E. Kempe and by Powell. The monuments include those to George Ogden who died in 1781, by Hayward, to Anne Matthews who died in 1793, by Thomas Banks, to John Philips Buchanan who died at Waterloo in 1815, and to the first Duke of Westminster, designed by C. J. Blomfield. On the wall of the southwest crossing pier are monuments which include a cenotaph to the casualties in HMS Chester in the Battle of Jutland in 1916 who included the 16-year-old Jack Cornwell VC. The west wall of the south transept has many memorials, including cenotaphs to the Cheshire Regiment, the Royal Air Force and the Free Czech Forces.
Cloisters and refectory
The cloisters were restored in the 20th century, and the stained glass windows contain the images of some 130 saints.[26] The cloister garth contains a modern sculpture entitled The water of life by Stephen Broadbent. The refectory roof is dated 1939 and was designed by F. H. Crossley. The east window with reticulated tracery was designed by Sir Giles G. Scott and is dated 1913. The stained glass in the west window, depicting the Creation, was designed by Ros Grimshaw and installed in 2001 to celebrate the Millennium. On the refectory's west wall there is a tapestry depicting Elymas being struck with blindness which was woven at Mortlake in the 17th century from a cartoon by Raphael. The heraldic paintings on the north wall represent the arms of the Earls of Chester.
Bell tower
Towards the end of 1963 the cathedral bells, which were housed in the central tower, were in need of an overhaul and ringing was suspended. In 1965 the Dean asked George Pace, architect to York Minster, to prepare specifications for a new bell frame and for electrification of the clock and tolling mechanism. Due to structural difficulties and the cost of replacing the bells in the central tower it was advised that consideration should be given to building a detached bell and clock tower in the southeast corner of the churchyard. It was decided to proceed with that plan, and in 1969 an announcement was made that the first detached cathedral bell tower was to be erected since the building of the campanile at Chichester Cathedral in the 15th century. In February 1969, nine of the ten bells in the central tower were removed to be recast by John Taylor & Co as a ring of twelve bells with a flat sixth. The new bells were cast in 1973. Work on the new bell-tower began in February 1973. Two old bells dating from 1606 and 1626 were left in the tower. On 26 February 1975 the bells were rung for the first time to celebrate the wedding of a member of the Grosvenor family. The official opening on 25 June 1975 was performed by the Duke of Gloucester. The belfry is known as the Dean Addleshaw Tower, after the dean of the cathedral responsible for its construction. Between the bell tower and the south transept is a garden in remembrance of the Cheshire Regiment (originally the 22nd Regiment of Foot).
The choral tradition at Chester is 900 years old, dating from the foundation of the Bendedictine monastery. There are usually ten choral services at the cathedral each week. Chester has a cathedral choir of male lay clerks, boy trebles and since 1997 the cathedral has recruited a choir of girl choristers, who sing on alternate Sundays to the boys and the same number of weekday services. There is no choir school at Chester, so the choristers come from local schools. On occasions the boy and girl choristers sing together. There is also a nave choir which sings Evening Prayer on Sundays, and sometimes joins with the cathedral choir on special occasions. The nave choir was formed in the middle of the 19th century, and was England’s first voluntary cathedral choir. The director of music is Philip Rushforth and the assistant organist is Ian Roberts. There are lunchtime organ recitals weekly on Thursday.The monthly program of music is available on the cathedral's website.
SONIC ACTS BIENNIAL 2022
Listening Session with Félix Blume
12 October 2022 – W139, Amsterdam
Photo by Amie Galbraith.
The Trade Facilitation Programme (TFP) currently includes over 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD partner banks the opportunity to review and discuss industry challenges, pricing, limits and trade opportunities with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and local National ICC Committees.
It also featured the highly popular award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘The Best Transaction of 2016’.
after yesterdays lesson
www.flickr.com/photos/horsesqueezing/5768380045/in/photos...
Mr peabody has turned his attention to the boys fitnesse, touching their toes seemed very difficult.
The 1972 Football League Cup Final took place on 4 March 1972 at Wembley Stadium and was contested by Chelsea and Stoke City.
Chelsea went into the match as strong favourites having won the FA Cup and the UEFA Cup Winners' Cup in the previous two seasons, whereas Stoke were attempting to win their first major trophy. Terry Conroy put Stoke into the lead early on, but Chelsea hit back through Peter Osgood just before half time. Stoke got the decisive final goal from veteran George Eastham to end their 109-year wait for a major honour
Deputy PM Nick Clegg meets students at Number 10 who are part of the government's Arrival Education programme and all of whom received their GCSE results this morning. 24 August 2010, Crown copyright
The Arts Council of Australia
Newcastle City Hall
April 1952
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 2
Reading a review of Let’s Make an Opera from the Newcastle Morning Herald and Miners Advocate 1952 provides a great insight into the performance. The cast consisted of five adults and hundreds of school children which was something of a challenge for the conductor Eric Starling who, ‘sometimes had to act as school teacher as well as conductor to enlist full co-operation from them’.
The play consisted of two parts, the preparation of the opera and its dress rehearsal followed by the actual opera. Audience involvement in the performance was also expected. ‘Owls, herons, turtle-doves and chaffinches will carol together when Newcastle audiences take their part in ‘Let’s Make an Opera”.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
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The Arts Council of Australia
Newcastle City Hall
April 1952
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 4
Reading a review of Let’s Make an Opera from the Newcastle Morning Herald and Miners Advocate 1952 provides a great insight into the performance. The cast consisted of five adults and hundreds of school children which was something of a challenge for the conductor Eric Starling who, ‘sometimes had to act as school teacher as well as conductor to enlist full co-operation from them’.
The play consisted of two parts, the preparation of the opera and its dress rehearsal followed by the actual opera. Audience involvement in the performance was also expected. ‘Owls, herons, turtle-doves and chaffinches will carol together when Newcastle audiences take their part in ‘Let’s Make an Opera”.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
Naomi walked more than 200 miles to reach the hospital in Lodwar, northern Kenya, with her ten-month-old daughter Kinyonga, who was badly malnourished. The hospital has recently been refurbished with British support.
"When I was referred here I was given treatment", she says. "I was given blood and food, and so was my baby. Before admission my child couldn’t eat but now if she sees someone else eating she will eat as well. I am pleased that my child is doing so well."
British aid is feeding more than 2.4 million people such as Naomi, in the drought-stricken Horn of Africa, according to new figures released today.
Three months after famine was declared in Somalia, 13m people are now caught up in the effects of the drought. Lodwar, in Kenya's nothern Turkana county has been badly affected, but UK aid is also providing a long-term Hunger Safety Net programme here, which is helping mitigate the impact of the drought for some 60,000 families.
British aid is reaching vast numbers of people in Ethiopia, Kenya and Somalia, including:
1.3 million people who are being vaccinated against measles and 680,00 against polio;
1.2 million people who are being provided with clean water and sanitation equipment such as latrines;
Nearly 500,000 children and pregnant or breastfeeding mothers who are receiving supplementary nutritional packages;
400,000 doses of UK-funded anti-malarial medication are currently en route to Somalia; and,
More than 200,000 people who are being given seeds to plant when conditions have improved.
To find out more, please visit: www.dfid.gov.uk/eastafricafoodcrisis
Picture: Marisol Grandon/Department for International Development
Terms of use
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Launch of the IAEA Marie Sklodowska-Curie Fellowship Programme held at the Agency headquarters in Vienna, Austria. 9 March 2020
Photo Credit: Dean Calma / IAEA
Moderator:
Sophie Boutaud de la Combe, Moderator and IAEA Director, Office of Public Information and Communication, Director General’s Office for Coordination
PANELISTS:
Ms Karen Hallberg, Principle Researcher, Bariloche Atomic Centre, National Atomic Energy Commission and Professor, Physics, Balseiro, Institute, Argentina
HE Mr Xavier Sticker, Resident Representative of France to the IAEA
HE Ms Dominika Anna Krois, Resident Representative of Poland to the IAEA
The Marine Species Population Index provides an assessment of the average changeover time in the populations of 217 species of marine mammals, birds, reptiles, and fish. The index represents the average value of six regional ocean indices. More pronounced declines are seen in the southern oceans, attributed to the fact that major losses and degradation of marine ecosystems in the industrialized world took place prior to 1970. Marine species are generally more difficult to monitor than terrestrial ones. Assessments are therefore based primarily on fishery catches, and the monitoring of land breeding species (e.g. turtles, birds and seals). However, these species are over-represented in the index, which should have a far greater proportion of invertebrate species.
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Philippe Rekacewicz, February 2006
The Arts Council of Australia
Newcastle City Hall
April 1952
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 9
Reading a review of Let’s Make an Opera from the Newcastle Morning Herald and Miners Advocate 1952 provides a great insight into the performance. The cast consisted of five adults and hundreds of school children which was something of a challenge for the conductor Eric Starling who, ‘sometimes had to act as school teacher as well as conductor to enlist full co-operation from them’.
The play consisted of two parts, the preparation of the opera and its dress rehearsal followed by the actual opera. Audience involvement in the performance was also expected. ‘Owls, herons, turtle-doves and chaffinches will carol together when Newcastle audiences take their part in ‘Let’s Make an Opera”.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
Fulham versus Crystal Palace football programme, pre-season friendly match, Saturday 01 August 2015.
The Blancpain Race Series held on the Silverstone Arena Grand Prix circuit on Sunday 2nd June
The early Sunday morning start for the Blancpain Endurance series qualifying session was greeted by blue skies, bright sunshine but chilly temperatures which are nearly always present as Silverstone seems to have its own weather system, not connected to the rest of the country. At least no rain is forecast.
Once into the venue, there didn't seem to be any race programmes on sale. This is going to make following the track action particularly difficult in a multi-driver endurance race. There were very few grandstands open and a very sparse crowd in attendance. All this this is a bit of a shame for such a prestigious Europeon series with a top quality line up.
The qualifying session was split into three 15-minute sessions, with the single best time in any session counting for pole. The massive field is split into three groups, the PRO category, the PRO-AM category and the Gentleman Drivers category.
Altogether there were 58-GT3 supercars entered for the event, made up of a mixture of exotic examples of various supercar GT models including the Aston Martin Vantage, Audi R8 LMS Ultra, Nissan GT-R, BMW Z4, Ferrari 458 Italia, McLaren MP4-12C, Lamborghini LP560-4, Mercedes SLS AMG and the ever present Porsche 997.
A number of familiar names had entered from the world on sportcar racing and a number of the cars had been seen in various other events this season already, from the British GT, WEC and the main GT series.
The performance balancing of the GT3 format always produces close, exciting racings. This along with the huge field of experienced drivers should make for an excellent three-hour race later this afternoon.
After the spectacular GT supercars, the next cars out on track were the very underwhelming return of Renault 2.0 to the UK. This series was the North European championship. I always used to enjoy the Renault UK 2.0 championship when it was part of the TOCA British Touring Car package. The single seaters broke up the procession of tin top cars during the day and the racing was always full on and viewed as a stepping stone up to Formula 3. Unfortunately putting this junior formula on directly after the big booming GT cars on the full Grand Prix circuit made them look very junior indeed and they did take an awful long time to come round on each lap.
Next up were the Lamborghini Super Trofeo series for the Gentleman Drivers (very rich men) consisting of a glorious field of identical race prepared Gallardo LP570-4s. As a special one off, Adrian Newey was in the no1 VIP car but....unfortunately he span and crashed into a concrete barrier on the formation lap whilst warming his tyres a bit too enthusiastically. His car was far too damaged to be included in the start.
Shortly into the start of the race, one of the cars crashed very heavily on the Wellington Straight, the car had speared off to the right of the track and through the bottom two sections of the Armco barrier. This left parts of Lamborghini liberally spread across the track which resulted in a safety car period. This then developed into a full race stoppage whilst a temporary concrete barrier was brought into place to seal up the gap in the barrier. After a lengthily delay, which turned into the lunch break, the truncated race continued with Andrea Amici eventually taking the victory.
Whereas next should have been the lunchbreak and a chance to wander around the pit and paddock area in the warm sunshine, out of the continuous chilly breeze. Due to the long stoppage during the Lamborghini event, the second of the weekend's Auto GP races start almost immeadiately. I believe that the Auto GP cars have developed from the old Italian F3000 series. The current cars, powered by V8 3.4 litre engines producing 550 bhp, are certainly very fast and loud. The mandatory pitstop adds drama to what could be a fairly mundane processional affair.
The series has attracted a few big names, Narain Karthikeyan, the Indian ex-Formula One driver who had already won the first race of the weekend and Briton's Luciano Bacheta the 2012 champion of the now defunct Formula Two series was also on the grid with a number of other F2 refugees.
The 13-lap race was won by Kimiya Sato, who had started in third and made his way to the front. The Auto GP cars were able to lap the full GP circuit in an impressive 1:47, which made them by far the quickest cars here this weekend.
The main event of the weekend, the Blancpain Endurance Series three-hour race, was due off at 2:45pm. It took best part of half an hour for the huge field of 57 starters to form up on the grid. The double line of supercars extended back all the way passed Woodcote.
Once the grid was finally cleared of the hundreds of people who had amassed around the cars, they were off in a blaze of noise on their green flag lap behind the pace car. Three minutes elapsed before they came back into sight at the end of the Wellington Straight. Forming back up into a neat two by two format as they trundled around the last couple of corners. Dropping back from the pace car as he ducked into the pits, the two front row cars, the Aston Martin and the Nissan GT-R, waited and waited and then go go go. What a sight, as a continuous wave of the best GT cars in Europe, hit the gas and accelerated down the National Straight and around Copse Corner. A testament to the quality of the field, is that this huge field could all safety negotiate the first corner without incident.
For most, the race would be split up into three parts. Each of the cars could go at least 60-minutes on one tank of fuel. Darren Turner took the first stint in the no 97 Aston Martin Vantage and spent the first few laps jinking it out with the Nissan GT-R.
As the race settled down, the Aston Martin looked the strongest entry, closely followed by a gaggle of Audi R8s. After 3-hours 1-minutes 36. (very appropriately) 007- seconds the final result was
1st - 97 - Aston Martin Vantage driven by Turner/Makowiecki/Mucke
2nd - 1 - Audi R8 LMS driven by Ortelli/Vanthoor/Rast
3rd - 13 - Audi R8 LMS driven by Strippler/Sandstrom/Mies
One strange point from the day was the disappearance of the grandstand behind the banked terrace area at the Luffield complex. I'm sure there was one there last time I was here. Maybe the F1 Grand Prix tickets aren't selling as well this year.
By bringing water to people water resellers extend the coverage of piped water and provide a service with important benefits for households - but at a price. That price rises with distance from the utility, as defined by the number of intermediaries between the network and the end consumer. Having a regular supply of clean water piped into the household is the optimal type of provision for human development. Experience suggests that households with water delivered through one tap on a plot (or within 100 metres) typically use about 50 litres of water a day, rising to 100 litres or more for households with multiple taps. Household connections to a utility offer financial benefits. In unit price terms, utility water is by far the lowest cost option. Because of economies of scale once the network is in place, the marginal cost of delivering each additional unit of water falls sharply. Subsidies are another important price-reducing mechanism: utilities are usually the gatekeeper for a wide range of direct and indirect subsidies that keep the price of water well below cost. Every step removed from the household tap adds to the price. Water vendors often act as a link between unconnected households and the utility. In some cases water is purchased from the utility and sold on to households, as in the case of private standpipe operators. In other cases water is purchased from the utility and sold to intermediaries, who in turn sell to households. As water passes through the marketing chain, prices increase. Water delivered through vendors and carters is often 10–20 times more costly than water provided through a utility. In Barranquilla, Colombia, the average price of water is $0.55 per m 3 from the utility and $5.50 per m 3 from truckers. Similarly, in the slums of Accra and Nairobi people buying water from vendors typically spend eight times as much per litre as households with piped water supplied by utilities. (UNDP Human Development Report 2006).
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Philippe Rekacewicz, February 2006
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Front Cover
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
Preparing young Queenslanders for life in the 1990s, we saw personal computers make their way into schools during the 80s with a strong focus on health, regional education and the arts by Queensland Education.
The photographic unit at the Premier’s Department, Office of State Affairs, captured a snapshot of various events, programmes and initiatives for school children throughout Queensland. This collection contains several arts, music and drama as well as students participating in computer usage.
In the early 1980s, several different computer manufacturers were vying for a foothold in the education market, Apple, Tandy, Atari, Sinclair, Amstrad, Microbee and many others. By 1985 Apple Macintosh was considered a standard system (alongside several others) for all states except Western Australia which adopted the BBC Model B and Microbee computer systems as a standard.
These photos are part are the photographic records held at Queensland State Archives, www.archivessearch.qld.gov.au/series/S189
1985
The discussion paper, Education 2000: Issues and options for the future of Education in Queensland was released.
The use of technology to enhance distance education, work in schools and educational administration was supported.
Approval was given for schools to alter the placement of the three pupil free days.
The Department of Education developed a policy on the education of gifted children.
The Special Education Resource Centres were formed as state-wide services, as part of the Division of Special Education.
Early special education officially commenced.
1986
The age of first attendance at primary school increased. Children had to turn five years by 31 January to be eligible for enrolment in Year 1.
There was an expansion of the curriculum in secondary schools and TAFE colleges evident in the further development of co-operative secondary-TAFE programs.
The Advisory Committee which reviewed submissions made in response to Education 2000 reported to the Minister.
The distance education trial began through the Mt Isa School of the Air.
A Preschool to Year 10 (P–10) Syllabus Framework was developed.
Endeavour Foundation schools transferred to Department of Education.
Policy Statement 15 Integration: Mainstreaming of Students with Special Needs introduced.
1987
Children had to turn 5 years by 31 December to be eligible for enrolment in Year 1 in the following year.
The Department of Education launched a series of documents entitled Meeting the Challenge which highlighted a corporate style of management.
The Department reshaped its central administration by strengthening the role of the Policy Committee, appointing a Chief Inspector and adopting comprehensive strategic planning processes.
In regions, initiatives were built on the commitment to decentralisation, while further devolution of responsibility occurred in the operational management of educational programs.
Two new education regions were formed (South Coast and Sunshine Coast regional offices).
The P–10 Curriculum Framework was developed and curriculum documents revised.
The Roma Middle School opened and catered for students in Years 4–10.
A post-compulsory college, the Alexandra Hills Senior College opened.
Two new centres of distance education opened at Longreach and Charters Towers.
1988
The Inspectorate was regionalised.
There was continued development of an integrated P–10 curriculum.
The senior secondary curriculum was broadened to cater for all learners.
Cooperative programs between secondary schools and TAFE colleges were conducted.
The use of computers and information technology in schools was given a high priority.
The Special Education Resource and Development Centres were formed as a consequence of the reorganisation of the Division of Special Education.
Individual education plans for students with disabilities were introduced as part of the new policy Policy Statement 16: Policy and Practice for Special Education Services.
The report National Overview of Educational Services for Isolated Severely Handicapped Children resulted from a Project of National Significance undertaken as a joint project of the Commonwealth Department of Employment Education and Training and the Department of Education Division of Special Services.
The Queensland School for the Deaf closes, as a consequence of decentralisation of services to students with hearing impairments during the 1980's. Programs for students with vision impairment were also decentralised during this period.
1989
A new Education Act 1989 was enacted.
The Department of Education's first strategic plan was adopted.
Decisions about school budgets were devolved to the school level.
There was an amalgamation of correspondence schools which became the School of Distance Education — Brisbane Centre P–12.
The first high school built to a new design opened at Bribie Island.
New prototype buildings for preschool, primary and special education units were assessed.
1989–1990
A comprehensive internal review of the Department of Education commenced through the consultation process, Education Have Your Say.
Professor Nancy Viviani reviewed Tertiary Entrance and produced the report, A Review of Tertiary Entrance in Queensland.
The Offices of Higher Education and Non-State Schooling were established.
The Department developed The Corporate Vision for Senior Schooling in Queensland to accommodate the diverse needs of students in Years 11 and 12.
The first entire primary school based on the new building model opened to students.
1990–1991
The report, Focus on Schools was released. A major restructure of the Department of Education followed.
The Public Sector Management Commission (PSMC) reviewed the Department of Education including its role, operations, responsibilities and management.
Greater responsibilities were devolved to 11 regions for resource, financial administration and human resource management.
A new English Language Arts Syllabus was introduced.
Priority was given to expanding languages other than English (LOTE).
The Viviani Report recommended the establishment of the Tertiary Entrance Procedures Authority (TEPA).
Consultants were engaged to assist in the development of an Equal Employment Opportunity (EEO) management plan.
The Equity Directorate (Workforce and Studies) was established. A social justice strategy was developed.
The PSMC developed guidelines for recruitment and selection based on merit and equity principles.
The inspectorate ended.
The report Focus on Schools recommended that a strategy for managing the integration policy in Queensland schools be developed as a matter of urgency, and that a state-wide support centre for students with low incidence disabilities be established. A restructure of the Department of Education followed.
Occupational therapists and physiotherapists were employed by the Department of Education to work in schools with students with disabilities. (These services were transferred from the Department of Families).
Policy Statement — Management of Support Teaching: Learning Difficulties (P–7) was introduced.
education.qld.gov.au/about-us/history/chronology-of-educa...
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 3
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 4
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
Yesterday evening I was at the launch for this year's programme for the Edinburgh International Book Festival, the world's largest literary festival, which takes place here in Edinburgh each August (and which I am often fortunate enough to take part in chairing some events).
The programme is now live, with hundreds of authors from sixty counties, from books for the youngest to adults, politics to fiction (hard to tell the difference so much these days!), poetry, workshops, performances with other media and so much more. Apologies for not being the sharpest pic, I was shooting from several rows back in the seating, but you take what you can get at these functions!
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 7
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.